At Railroad Earth / Last Exit Studios
1467 Oxford Ave.
Atl, GA 30307
PHILIPPE PETIT
is interested in soundtracks; even if he creates original music he'd rather be introduced as a "musical travel agent" than a composer.
PETIT uses an Electric Psalterion + Hackbrett Cymbalum + Guitars as well as computer and synths a computer and synths to build up electronic layers, process acoustic and field recordings. To second the machine he likes to move various glasses, or percussive objects, and take advantage of vinyl material to fondle released sounds.
A journalist for various magazines and radio as well as a musical activist, PETIT has celebrated his 28th year of sharing his musical passions as the man behind the cult labels Pandemonium Rdz. and BiP_HOp.
He has assembled what people call a dream-team of collaborators, often joining Lydia Lunch, Murcof, Cindytalk, PAS or Faust onstage, and worked with: Eugene S. Robinson (Oxbow), Foetus, Edward Ka-Spel, Hugh Hopper (Soft Machine), Kumo, Scott McCloud (Girls Against Boys), Cosey Fanni Tutti, My Brightest Diamond, Sybarite, Pantaleimon, Graham Lewis (Wire), Barry Adamson, Scanner, Mira Calix, Kammerflimmer Kollektief, Guapo, Leafcutter John, Simon Fisher Turner, Jarboe and many more...
Aside his solo works, PETIT is active in Strings Of Consciousness.
http://www.philippepetit.info/
PAS
is a group out to create musical collages through the form of abstract sound. Their name refers metaphorically to those who have been aborted by society, because their point of view doesn’t fit in the constraints of “normal” society. The term also refers the negative form in French, metaphorically negating everything that is established to start from a new beginning. The viewpoint fuels our creativity to create our own world of beauty. Since our inception the band has been interested in making music from the fringes of perception, creating soundscapes that aren’t defined by any particular conventions or viewpoints. The aesthetic underpinnings are defined by the notion that music can be whatever the ear perceives. It’s a conception fueled by the love of life and art. It’s a desire for honest artistic self-expression. The compositions themselves are more akin to soundscapes than “songs” in the traditional sense. There are no clearly defined melodies, no structural landmarks that give you any sense of traditional anchor. This is not music making with any sense of or desire for commercial viability, but sonic sculptures in the mode of pure art.
www.pasmusic.weebly.com
Aon Brood
is the new project of Mitch Foy from Peneal Ventana, Tenth to the Moon and many other local institutions.
Kyle Sherrill
plays in Red Sea and Polish Nails.
Anita Arliss Opening
May 11, 2012 7:00PM - - - Price: FREE
At 364 Nelson St.
Atlanta, GA 30313
Anita Arliss captures a wide range of compelling images spontaneously in motion with her camera phone while driving about. She digitally manipulates the images and then transforms them again into larger veiled photographs on canvas overlaid with meticulous layers of oil paints. In this final stage, on the painted surface, what is seemly real merges with an imagined perspective leading viewers either to a moment of deception or euphoria.
Since 2000, Arliss has been in an inquiry as to the most basic forms of painting and was intrigued with Vermeer’s portraits, which led her to this series of painted pictures. There has been much speculation that Vermeer used a camera obscura to create his intensely detailed scenes, which Arliss decided to explore for her own work. She then realized that what painting offered, photographs lacked, and vice versa. By combining these processes of photo, digital, and paint into one piece – Arliss feels it gives more life to her work, a perceptual distortion or aura.
Bent Frequency
May 11, 2012 8:00PM - - - Price: Donations
This event is in conjunction with the Anita Arliss opening at the Nelson Street building.
Program:
Blow Back - Steve Everett
Saxophone Etudes - Jason Freeman
Bass X Sung - Tae Hong Park
Out of the Vivid Air - Robert Scott Thompson
Worker's Union - Louis Andriessen
Curios - Darren Nelsen
As Guilty as the Artist, No. 1 - Mark Gresham
The program includes world premieres by composers Jason Freeman, Mark Gresham, Darren Nelsen, and Robert Scott Thompson.
Suggested donation of $10 at the door
Bent Frequency is a performance ensemble possessing a vision to redefine the traditional music experience - ushering it from the strict formality of the concert hall into the fresh air of contemporary artistic expression and experimentation. This vision is a product of the close collaboration of our artistic board:Jan Baker, Stuart Gerber, Sarah Kapps, and Amanda Pepping.
Writers Exchange
May 15, 2012 8:00PM - 11:00PM Price: free
This event occurs in the Warhorse Cafe at The Goat Farm, 1200 Foster Street, Atlanta 30318. From Howell Mill Road, take Huff Road west (away from downtown Atlanta), then take the first left, which is Foster Street. Entrances to the Goat Farm are on the right, after the driveway for the Howard School. Come share your literary output aloud for 10 minutes and get feedback for 5 minutes. Lost? Call 678-642-0612 or 404-578-4430.
Invent Room Pop 13
May 18, 2012 9:30PM - - - Price: FREE
At Beep Beep Gallery
696 Charles Allen Dr.
Atl, GA 30308
This is the 13th installment of Invent Room Pop. Six musicians are invited to play in duos and trios determined at random, with names drawn out of a hat. Featuring projections by Graham Tavel and Anna Spence.
Featuring a special set by Pedestrian Deposit.
started winter 2000 by lungmotor zero; joined by masked owl in mid-2008.
early intentions were to create various layers of abstract and structured electronic sound, with no pre-determined relation to each other until mixed -- the final mix creating the piece. this approach failed, and a brief six-month hiatus followed.
in 2008, the project extended to a duo, and the present intentions began with the focus on reverse tension; sublimation; hybrids of electro-acoustic / tape music; sound collage / musique concrete; harsh noise; academic, neo-classical, lowercase, and beyond; all richly composed, as usual.
The Lineup:
Stu Jones - Random Electronics
John Gregg - Percussion
Stuart Gerber - Percussion
Richard Gess - Drums
Nicolette Emanuelle - Cello
Renee Lambert - Drums
Hold
May 21, 2012
Villages, Quiet Evenings, Merryl, Tree Creature
May 22, 2012 9:30PM - - - Price: 5
At the Goat Farm
1200 Foster St.
Atl, GA 30318
Villages
Asheville, North Carolina resident Ross Gentry performs and records under the guise of VILLAGES. With dense layers and glacial droning, he creates engaging narrative soundscapes that evoke the shifting fragility of the early ambient movement as well as the elegance of symphonic composition. - Harvest Records
Quiet Evenings
"Quiet Evening are Grant and Rachel Evans, co-curators of the prolific cassette, VHS and CDr label, Hooker Vision. Acknowledging their influence upon his own work, Digitalis Recordings head Brad Rose closes the labels year with one of their finest releases to date 'Easy Listening Circles'. In the foggy density of their sound it's difficult to discern what's what, as saturated synths blur into a wash of layered tonal colours, but the morphing shapes also hint at well woven field recordings and it's possible to catch glimpses of heavily treated guitar phosphorescing under it all. Save your central heating bills and slip this on for almost instant radiation. Lovely." - Boomkat
Merryl
Taking moody sound exploration to a much dreamier level, it's highly recommended from me to hit the bowl for this one. Merryl's heady, expansive soundscapes seem to actually induce a feeling of floating all on their own, however; these ethereal drones are just about perfect. - Decoder Magazine
Tree Creature
Originality is hard to come by with electronic music, particularly in these laptop times. Tree Creature plays a fluid, organic blend of largely electronic sounds, by hand, augmented with occasional chanting and singing. It’s a heady mix, and intensely psychedelic.
During the set, I heard the occasional glimpse of possible influences, and refractions of artists I love: Klaus Schulze, Terry Riley, Plone… But the way in which they approach arrangement and performance was definitely their own. Everything seems to be suspended in the air around you: static, but always changing (I’m aware that’s an oxymoron… you have to be there).
They certainly defied my expectations: I had anticipated a worthy, ‘experimental’ set of low drones and furrowed brows, and was very pleasantly surprised by how playful and fun it was. At times I felt like I was watching ‘The Last Unicorn’, or riding a racing snail with Giorgio Moroder in the Never Ending Story. - Judi Chicago
Chamber Cartel 5: Durations
May 26, 2012 8:00PM - - - Price: Donations
At The First Existentialist
Congregation of Atlanta
470 Candler Park Dr., NE
Atlanta, GA 30307
404-736-6416
Morton Feldman's Durations
In these five innovative pieces, the composer gave over control of the duration parameter entirely to the performers (there are only notes without stems, therefore no divided rhythm) -- the pulse (ictus) is slow, all is quiet, the tones have a minimum of attack. Thus, each performance is unique, and creates its own timbre combinations and exquisite beauty of a transparent sound texture. By contrast, "Coptic Light" for orchestra is of an extremely dense, polyrhythmic texture that shifts slowly by rhythmic staggering (phase shifting) within orchestral groups, creating the unique effect of a shimmering of sound analogous to the shimmering of light on water. The specific visual analog in Feldman's mind was the fine interweaving of ancient Coptic textiles he had seen in a museum. He was also attempting to create the effect of a piano's sustaining pedal for the orchestra, which allows tones to continue resonating and to blend together and overlap.
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