Free energetic, polyrhythmic concert featuring post-minimalist artist Lukas Ligeti. Performing live solo electronic music mainly on the innovative Marimba Lumina, Lukas brings elements of African music, electronica, jazz, and indie pop. Program includes new works off of Lukas’ latest album Afrikan Machinery (Tzadik).
Described as “one of the most interesting compositional voices working today,” Lukas Ligeti is known for combining his talents as a composer with his improvisational fantasy, and highly diverse African-tinged soundscapes. Steeped in the musical traditions of his father György Ligeti, Lukas embodies reinvention by making his contemporary music crackle with energy. As a composer, he has been commissioned by Bang on a Can, the Vienna Festwochen, Ensemble Modern, Kronos Quartet, Radio France, and many others. As a drummer, he has played and/or recorded with artists such as John Zorn, Gary Lucas, Eugene Chadbourne, Henry Kaiser, Raoul Björkenheim, Michael Manring, Daniel Carter, Eyal Maoz, John Tchicai, Benoît Delbecq, Pyrolator, Jim O'Rourke, Borah Bergman, Robert Dick, and Rupert Huber. As band leader, he co-leads Burkina Electric, the first electronica band of the West African country of Burkina Faso.
Klimchak loves opposites. That may explain why he's played with bands as diverse as disco diva RuPaul and avant hipster Bruce Hampton. "I think of music as a crazy-quilt of different styles and patterns. I'm the thread that holds the whole mess together," says the Atlanta-based composer and percussionist. "I love the clash of colors and opposing patterns. That's where the music comes alive."
On his solo CD, The Beat and The Buzz, he works the difference between electronic and acoustic music styles. Electrobeat buzzes clash with soulful hand drumming. An urban funk groove explodes into a hoedown of jaw harp and handclaps. Tuvan throat singing provides a sound bed for a flowering samba ensemble featuring the pig-like grunting of the Brazilian Cuica. This could be the loops of sample-hungry turntable collagists and laptop-toting poindexters. But it's not. One of the important qualities of Klimchak's music is that he plays it all himself. "I don't have anything against buying and using samples and loops of other people's music. For what I'm doing it's easier and quicker just to record myself playing the instrument."
Of course that is easy for Klimchak to say, since he owns and plays literally hundreds of instruments. "I've been collecting sound-makers since the late 1970's. When I have some free time, I usually sit down and learn to play a new flute or percussion instrument." It could be an early electronic instrument like the sci-fi staple, the theremin or a low-tech rawhide frame drum from the Middle East. It's all grist for the sound-mill. "In the modern world of Ebay and the internet, locating exotic instruments for cheap and getting instructions on playing them is a lot easier than it used to be."
Klimchak has been working exclusively in this style since the mid-eighties. Between stints with RuPaul, Hampton, and his two bass-vocal-percussion band, Fab Area, he began working on solo works for modern dance and theater. He uses his knowledge of exotic instruments and the sounds they make to provide a live underscore theater productions. Many of his recent works have been at the Georgia Shakespeare Festival. He has written and performed scores for the plays: Othello, Henry IV, Hamlet, Tartuffe, A Midsummer Night's Dream and Cymbeline. In addition, he's done scores for Shakespeare's Coriolanus at Shakespeare Santa Cruz, a live score for No Exit at Le Neon Theater in Washington, DC (nominated for a Helen Hayes Award for best sound design), and a live score for Malinche performed at the Bovenzaal Stadsschouwburg in Amsterdam. His latest score was for the Center for Puppetry Art's version of The Ugly Duckling for which he composed taped music & live music composed for the puppeteer, using instruments Klimchak designed as part of the set. Next up is the remount of Klimchak's rock & roll musical Weather Rocks opening in January at the Puppetry Center.
Klimchak's dance work is equally important to his style. His recent work includes scores for Jane Comfort ("Three Bagatelles for the Righteous, excerpt (Election Update 2004)", performed in NYC at the Joyce Theater by Jane Comfort and Co in September) and Jawole Willa Jo Zollar of Urban Bush Women ("Are We Democracy?", performed at Emory University's Schwartz Center for the Performing Arts). He regularly composes for faculty and guest choreographers at Emory University.
Theme: "The New Romantic'
...or maybe it could be the 'neuro-mantic',
shaman of the nervous system,
master of the rattled gourd, maybe the old romanticism
never left us moderns,
but for one night let's entertain a different possibility,
a different yearning.
What could be more forward/'avant'/out-there??!
1often capitalized a (1): a literary, artistic, and
philosophical movement originating in the 18th century,
chiefly by a reaction against neoclassicism and an emphasis
on the imagination and emotions, and marked especially in
English literature by sensibility and the use of
autobiographical material, an exaltation of the
primitive and the common man, an appreciation of
external nature, an interest in the remote,
a predilection for melancholy
monthly show on WREK 91.1 FM
October 5, 2008 7:00PM - 9:00PM
On the first Sunday of every month, at 7 p.m., Eyedrum does a show on WREK (91.1 FM / www.wrek.org) that features nuggets from Eyedrum's archive of live performances.
After the show airs "live", you can listen to it via WREK's 7-day archive if you forget to tune in. Here are the direct links to Sunday Special streams: lo-fi or hi-fi. These streaming links from WREK expire 7 days after the show airs on the radio.
But wait, there's more! We now have a podcast available, for those of you who have discovered podcasting. You can also just download the whole show (right click on "download") although be forewarned that the file is over 50 MB in size. These podcast and download links will NOT expire for months to come -- download and listen!
the word "noise" has such stigma attached to it. the behavioralist model of communication defines it as anything that interrupts an attempted communicated signal between a set encoder and a decoder. when two people are talking and a dog barks in the background, the word "fat" can be misheard as "shat", for example...often leading to bizarre and wonderful misinterpretations and lending to a whole world of seemingly irresponsible rhetoric.
to some, noise music is the "new punk rock", in place to act in rebellion against the tired conventions of contemporary music.
and yet to others, it can be a cleansing element, something to help clear your head after hearing so much bullsh*t rock and roll that you just think you might implode after hearing just one more note....
This night at eyedrum, there will be some noise, rest assured gentle reader...Climax Denial, Stillbirth,Peter J. Woods (all 3 touring bands), Self Inflict and a special appearance by Sublimichop....do you need links, mp3, descriptions? look em up if so inclined, go ahead, but in the end, your sh*tty computer speakers will not do justice to what a full-on wall assault of sonic brutality will do to you in a live setting...
yes, atlanta is a very rock and roll town. all well and good, though so much else drizzles through the cracks, forever chalked up to fringe abnormalities in the broader mainstream cross section...no so good...like tim burton's joker said, "this town needs an enema!" and it starts with all of the delicious bouts of belligerant racket mustered in these echoey chambers...
so come cleanse your pallete, get your ears cleared out, open your body and mind to wanton aural mayham and thank your lucky f*ckin' stars that you don't HAVE to listen only to the sounds of rock and roll if you don't want to.
it will be fun...and it's cheap, too!
Bob Drake Cabinet of Curiosities, Ascended Masters
October 14, 2008 9:00PM - - - Price: $7
Bob Drake's Cabinet of Curiosities
Bob Drake has been making strange sounds since he was a kid in the 60s and 70s. His website details portable tape deck recordings "featuring a lot of arrhythmic drumming and shrieking," which is oddly close to how someone might describe his relentlessly creative 2002 solo disc, Skull Mailbox (and Other Horrors) and this year’s 13 Songs & A Thing. Drake lived in Denver, Colorado for most of the 1980's, working as a sound engineer on low budget horror movies, performing with many of that city’s experimental rock bands ("innumerable"), and forming a the first version of out-rockers Thinking Plague. He relocated to Los Angeles at the close of the '80's, and worked as a recording engineer on stuff ranging from Ice Cube’s AmeriKKKa’s Most Wanted to a Charo album. And, while a daily regiment of knobs and "vibe" worthy of the Mixerman saga might turn your everyday engineer into California mush, it seemed only to have been a catalyst for Drake’s artistic development – in addition to providing him access to the best studios in the world to record his own music.
Despite a 1994 self-pressed solo album, Drake made his biggest splash as a member of the avant-prog outfit 5uus, via 1994’s Hunger’s Teeth. For many prog diehards, their brand of complex, aggressive music was a godsend in an era before bands like Ruins and the army of post-rockers gave the sound a good name in hip circles. Throughout the '90's, Drake’s music with 5uus, Thinking Plague and other projects like the Science Group (with Chris Cutler and Fred Frith) provided sustenance for a legion of Internet-informed prog fans, but his solo records revealed still another wrinkle. Where many experimental musicians are damned for emphasizing "elitist" tendencies, Drake’s music is inviting, and not easily associated with any particular style of music (unless avant-hillbilly is a genre).
Ascended Masters assembled in early 2008 in the halls of the Georgia State University School of Music around a shared love for 70's progressive rock and fusion. The various members' interests in other music such as jazz, shoegaze, pop, metal, bossa nova, and romantic and contemporary classical help to add new shades and colors to the group's core sound. Ascended Masters are currently working on their first album, a 45-minute continuous piece of music consisting of three movements which are subdivided into three subsections each. Aside from this, composers/band leaders Bill Graham and Micah Martin have already theorized and written multiple other albums worth of music and hope to be playing some local shows in the near future.
Ominous Castle! So Freaking Ominous young Atlanta rock n' roll crazy party times!
and the BALKANS!! yes!!!
PLUS, HOLY SHIT! the WORLD FAMOUS!
Beerhunter & The Plaque Lips!!
Baby Dee w/Arianna-Found Objects of Desire
October 24, 2008 9:00PM - - - Price: 10
Performance artist, songwriter, classically trained harpist, circus sideshow veteran, and transgender street legend Baby Dee was born in 1953 in Cleveland, OH. She spent ten years as music director and organist for a Catholic church in the Bronx before joining the circus as the bilateral hermaphrodite at Coney Island. This landed her a gig as the bandleader for performance art group the Bindlestiff Family Circus and a tour with the Kamikaze Freak Show in Europe. After moving back to New York City, she became a fixture in lower Manhattan with a street act on a high-rise tricycle with a concert harp. She recorded her first record, Little Window, on the Durtro label in 2000, a four-track EP in 2001, and her second full-length, the double-disc Love's Small Song, in 2002. Dee returned to Ohio during the latter record's recording, taking vows as a novitiate of the Little Sisters of Crabby Doom (a Cleveland-based order dedicated to the care of smelly old men), vows that she has since forsaken. For her third full-length recording, Dee recruited a typically eclectic army of fellow musicians, including Will Oldham, Andrew W.K., Robbie Lee, Max Moston (Antony and the Johnsons), Bill Breeze (Psychic TV), John Contreras (Current 93), James Lo (Chavez), and Lia Kessel. The resulting Safe Inside the Day arrived in January 2008 on Drag City Records.
"A SHORT AUTOBIOGRAPHICAL SOMETHING WRITTEN ON THE OCCASION OF THE COMPLETION OF THE ALBUM SAFE INSIDE THE DAY FOR DRAG CITY. I was born in Cleveland Ohio. This album is very much about the street I grew up on. Where The Earlie King ruled without mercy. And Bobby Slot and Freddy Weiss invented the Dance of Diminishing Possibilities. I left for New York in 1972 and eventually became a musician. I was good at the sacred and I was good at the profane but I could never get the hang of anything in between and I went from the street to the church to the street again and then I stopped. I found myself back in Cleveland and began to write songs. And then I stopped writing songs. I thought I had said everything I had to say and there was nothing left to say so I simply stopped. And then I remembered Bobby Slot and Freddy Weiss and my own father and all the little ghosts that lived with us and I realized that there was something left to say after all. The inside is bigger than the outside, more important, and less destructible. “ Many mansions” and all that. Kingdom of god. I love everybody" — Dee
Arianna Sykes, originally from NC, played mostly keyboard-driven music in parks and produced experimental/ritual theatre in the late 1990's. Upon buying a Kay acoustic/electric guitar and moving to Atlanta, she performed as Teravioles with vocalist Adeeba Lodhi from 2000-2003, and solo with bands assembled on the spot after that. Her current "Found Objects of Desire" are earthy, watery, bluesy, and percussive open story songs, with multi-instrumentalist/producer Melissa Lonely, cellist Becca B, and varying local musicians. Bring your sailors, sirens, masks, and percussion to play along.
Aunt Dracula, Johnny Buffalo, Carnivores
October 27, 2008 9:00PM - - -
sort of fucked up hazy uber-melodic pop caught in a tropical cyclone...read what others are saying...and check this band out. pretty, wonderful, outrageous...
"Operatic, comic book-esque, story-based songwriting, featuring oddball characters, scale-sliding vocal arrangements and schizophrenic tempo changes...the band incorporates a strange "tropical" vibe, one that makes the song sound like it belongs on the soundtrack to some perverted, campy horror flick set on an uncharted island." -- The Walrus Blog
"Shoegazers in a sewer tunnel, Philly noiseboys Aunt Dracula sing in itinerant voices that wander from unhinged hollers to demented croons. On their debut album, Face Peel, echoing guitars creep up in a sickly cloud that clings like a sweet hot fart and wilt out of tune in the middle of their own phrases" -- The Chicago Reader
"Aunt Dracula crosses frenetic, goofy, and intense vocals (think xiu xiu) with spacey effects and wild but tight instrumentation." -- The Baltimore Examiner
"...I'm not entirely sure Aunt Dracula are definable. Whatever they are, they're a far leap away from the post-punk bands that immediately spring to mind. With more and more creative indie types coming out of Northern America and Canada, it's getting harder to mold modern influences into something new, but Aunt Dracula do it with style." -- Drunkenwerewolf
"With a sound that conjures up a way-too-stoned evening on an almost-tropical beach, quirky psych-rock band Aunt Dracula probably feel more at home here in Miami than in their hometown of Philly." -- Flavorpill Miami
"Fortunately, Aunt Dracula rise above the norm, and not the undead, and have a sound not unlike what a vampire would feel like locked in a closet full of blood and garlic" -- Blackbook Magazine, San Fransisco
Aunt Dracula will be supported by local bizarro crooners Johnny Buffalo and quirky rocksters Carnivores.