home Resources
Email
All music events for the month of May:

The MockingBird Festival:a benefit May 1, 2010
4:00PM - 6:00PM
Price:  $10-$15; $75 week long pass
Photobucket

4:00 pm CMC Classical Recital, featuring intermediate and advanced pianists

ABOUT THE MOCKINGBIRD FESTIVAL:
April 25 - May 1, 2010
A week of concerts, recitals, jams, and installations at Eyedrum with CMC faculty, students, and friends, presented by Bang! Arts Management and the CMC Atlanta

All events at Eyedrum :: 290 MLK Drive Southeast, Atlanta, GA 30312

Advanced Purchase Ticket sales guarantee entrance. Box office opens one hour before all shows. All Advanced Purchase Tickets held at Will Call. All sales are final. No refunds. No exchanges.

All tickets : general admission $10-$15. Best deal. Buy a Gold Pass to attend all events for $75.

Unless a show is sold out, tickets may also be purchased at the door.

Ticket sales to benefit the CMC Atlanta Scholarship Fund

Click here for more information and advance tickets

The MockingBird Festival:a benefit May 1, 2010
9:00PM - - -
Price:  $10-$15; $75 week long pass
Photobucket

9:00 pm Atlanta Punk, featuring Savant, Lotus Slide, and others.

ABOUT THE MOCKINGBIRD FESTIVAL:
April 25 - May 1, 2010
A week of concerts, recitals, jams, and installations at Eyedrum with CMC faculty, students, and friends, presented by Bang! Arts Management and the CMC Atlanta

All events at Eyedrum :: 290 MLK Drive Southeast, Atlanta, GA 30312

Advanced Purchase Ticket sales guarantee entrance. Box office opens one hour before all shows. All Advanced Purchase Tickets held at Will Call. All sales are final. No refunds. No exchanges.

All tickets : general admission $10-$15. Best deal. Buy a Gold Pass to attend all events for $75.

Unless a show is sold out, tickets may also be purchased at the door.

Ticket sales to benefit the CMC Atlanta Scholarship Fund
Online tickets available for this event here.

Monthly Cycle: The All-Chick Jam Session May 2, 2010
11:30AM - 2:00PM
Price:  $5 suggested donation

Eyedrum is pleased to host its first ever All-Female Jam Session, aptly titled "Monthly Cycle." We'll meet up at 11:30 am, chat, have a mimosa, and then rock out for 2 hours! Bring your gear and song ideas!

Any and all females welcome, at any skill level, any age. Don't be shy! And please help spread the word so that we can turn this into a regular gig / musicians' exchange. Invite your girlfriends!

It's going to be a blast! See you there!

First Thursday Improv-Cardew May 6, 2010
9:00PM - 12:00PM


This month's opening feature will be devoted to the improvisation graphic scores of Cornelis Cardew, known for the Scratch Orchestra and the group AMM.
( http://en.wikipedia.org/wiki/Cornelius_Cardew )

"This kind of thing happens in improvisation. Two things running concurrently in haphazard
fashion suddenly synchronise autonomously and sling you forcibly into a new phase. Rather
like in the 6-day cycle race when you sling your partner into the next lap with a forcible
handclasp. Yes, improvisation is a sport too, and a spectator sport, where the subtlest
interplay on the physical level can throw into high relief some of the mystery of being
alive.

Connected with this is the proposition that improvisation cannot be rehearsed. Training is
substituted for rehearsal, and a certain moral discipline is an essential part of this training.
Written compositions are fired off into the future; even if never performed, the writing
remains as a point of reference. Improvisation is in the present, its effect may live on in
the souls of the participants, both active and passive (ie audience), but in its concrete form
it is gone forever from the moment that it occurs, nor did it have any previous existence
before the moment that it occurred, so neither is there any historical reference available.
Documents such as tape recordings of improvisation are essentially empty, as they
preserve chiefly the form that something took and give at best an indistinct hint as to the
feeling and cannot convey any sense of time and place.

At this point I had better define the kind of improvisation I wish to speak of. Obviously a
recording of a jazz improvisation has some validity since its formal reference -the melody
and harmony of a basic structure- is never far below the surface. This kind of validity
vanishes when the improvisation has no formal limits. In 1965 I joined a group of four
musicians in London who were giving weekly performances of what they called 'AMM
Music', a very pure form of improvisation operating without any formal system or
limitation. The four original members of AMM came from a jazz background; when I joined
in I had no jazz experience whatever, yet there was no language problem. Sessions
generally lasted about two hours with no formal breaks or interruptions, although there
would sometimes occur extended periods of close to silence. AMM music is supposed to
admit all sounds but the members of AMM have marked preferences. An open-ness to the
totality of sounds implies a tendency away from traditional musical structures towards
informality. Governing this tendency -reining it in- are various thoroughly traditional
musical structures such as saxophone, piano, violin, guitar, etc., in each of which reposes a
portion of the history of music. Further echoes of the history of music enter through the
medium of the transistor radio (the use of which as a musical instrument was pioneered by
John Cage). However, it is not the exclusive privilege of music to have a history -sound
has history too. Industry and modern technology have added machine sounds and
electronic sounds to the primeval sounds of thunderstorm, volcanic eruption, avalanche
and tidal wave.

Informal 'sound' has a power over our emotional responses that formal 'music' does not, in
that it acts subliminally rather than on a cultural level. This is a possible definition of the
area in which AMM is experimental. We are searching for sounds and for the responses
that attach to them, rather than thinking them up, preparing them and producing them.
The search is conducted in the medium of sound and the musician himself is at the heart of
the experiment."
C. Cardew Towards an Ethics of Improvisation









Eyedrum's long-running Open Improv night occurs on the first Thursday of every month -- our monthly gathering for instrumentalists and improvisers of all stripes. Bring your instrument! Hosted by the indefatigable Robert Cheatham.

WPBA 30, Atlanta's PBS station, did a bit about Eyedrum's Improv Night a couple years ago for their "This Is Atlanta" show. Click for their description and the video itself (Windows Media, 2m40s).

Strotter Inst. + guests! May 7, 2010
9:00PM - - -
Price:  $7
Strotter
watch/listen to some Strotter Inst. here:


http://www.hinterzimmer-records.com/extras.html
listen some more here:
strotter on myspace

brainworlds, matt cherry (maserati), magicicada, dayvid lee mcClung ( magic apron ) & hopi torvald open the show with a group collaboration.

maserati - http://www.myspace.com/maseratirocks

magic apron - http://www.myspace.com/thesoulraydio

magicicada - http://magicicada.com

hopi torvald - listen to one track here http://soundcloud.com/squidskid

brainworlds -http://www.myspace.com/brainworlds


What Other People Say About Strotter Inst.

"The sound may be simple and subtle, but it's also intense and overwhelming, like Jeck spinning Skullflower, or Marclay armed with only some Mingus bass solo dubplates, or a Tiermes / Bastien soundclash. So dark and mysterious and totally pure and primal sounding. This is SOUND as much as it is music. This is the turntable as musical instrument. This is rhythm and rhythms, this is machine music, but a machine freed from its shackles, a new instrument, born, loosed, unleashed. Amazing." -Aquarius Records (from a review on Monstranz, aQ record of the week, May 12, 2006)

"Using five old utilitarian Lenco turntables from Europe, he transmogrifies the doldrums of the factory into a beautiful butterly mirror image, reshaping their bourgie stodginess into exotic sqeaks and creaks. Similar to the sound poetry power in the raw and infatile repitition of words, the 7" is so full of vitality, it fairly jumps off the spindle itself." -Signal To Noise (from review of "Anna/annA" 7 inch)

What You Might Like to Know:

Strotter Inst. is the musician and artist Christoph Hess (born 1968, Solothurn)

Strotter Inst. creates dense, rhythmic structures through the use of five modified Lenco-turntables and various manipulated (cut and/or taped) records. The music ranges from a low-fi rumble changing into concrete clicks and scrapes, followed by epic drones and multi-layered broken beats to fall back into tricky bass-meditations. Hardly using sounds from LP's the main source of sound are the prepared pick-ups (i.e. sewing needles or strings instead of the diamond or the extended use of rubber bands). The treatment involves the unclean nature of the sounds as part of the music.

The anacronistic machineries have dual roles as objects and as instruments. The first live impact is as installations, then the sounds start to grab the listeners' attention. The auditive level surpasses the visual one. Therefore, the optical comprehension of how the sound is generated plays an important role. In spite or probably because of the analogue creation the structures produce a contemporary and accurate atmosphere in space and time. The set is adapted for each rooms conditions and depends upon the uncertain behavior of the machines. So each live appearance becomes an acoustic original.

Strotter Inst. prefers to play in the middle of the audience. The installation is set up especially for each room. Strotter Inst. has released records through Everest Records (Switzerland), Public Guilt (US), Hinterzimmerr-Records (Switzerland), and 1000+1 Tilt Records (Greece). He has played shows in China, Russia, Bolivia, Poland, Germany, Italy, Hungary, Slovenia, Austria, France, and Switzerland. This tour will mark his first ever shows in the US.





Tiger Hatchery, Lechuguillas May 11, 2010
11:45PM - 3:00AM
Price:  $5
SPECIAL LATE SHOW: STARTS AT MIDNIGHT



Tiger Hatchery

Watch them play live at Death by Audio:









Lechuguillas

Watch them play like at The Mopery:






Tour Poster

More Videos on Acid Marshmallow





Pony Bones, Nymph, Dan Hole Pond May 12, 2010
9:00PM - - -
Price:  7

Kirkwood Ballers Club May 17, 2010
10:00PM - - -
Price:  FREE!
Kirkwood Ballers Club

NOTE: STARTING AT 10 THIS TIME!

Established in 2004, Kirkwood Ballers Club has long been a weekly staple for Atlanta’s more adventurous musicians. Over the course of approximately 5 years KBC has been housed at 6 locations: a private residence in Kirkwood, the old Lenny’s Bar, 11:11 Teahouse, the Highland Inn Ballroom Lounge, the new Lenny’s Bar, and now at Eyedrum.

Kirkwood Ballers Club’s mission is to moderate monthly free-form musical exchanges, ideas and performances between an evolving cast of experimentally-minded Atlanta area artists in an effort to encourage creative live performances and to foster a greater artistic community.

Just come with your instrument/project/performance and sign up at the door for a 15 minute slot. the lineup is first come/first serve. Also, there will be tables available for local artisans to display their crafts for sell, trade or exhibition...

This event is free to everyone. Doors open at 8pm for artists to sign up to perform. The program will get started promptly at 10pm and end at 1am.

Visit www.kirkwoodballersclub.org for further details, guidelines, etc...

Fun!

Freedom Fest After Pary May 22, 2010
10:00PM - 4:00AM
Bands. Art. Djs.

eyedrum
 May 2010
   all       art          music          film          literature          special      
 Sun  Mon  Tue  Wed  Thur  Fri  Sat
            1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
         

© 2001 Eyedrum, Inc. www.eyedrum.org

contact

abouthomecontact link to Mission Statementabout 501(c)(3)to Membershipto online exhibits