Geodesic Getty Address Summer Tour 0005
featuring:
THE DIRTY PROJECTORS THE WIND-UP BIRD THE DIRTY PROJECTORS is a Nine-piece orchestra assembled to complete the vision of one Dave Longstreth. Known for solo-guitarsman tours and performances with the likes of Microphones, Adam "White Rainbow" Forkner, Bobby Birdman, Landing, Tyondai Braxton, more. "To Dirty Projectors mastermind Dave Longstreth, execution is as important as the music itself. Longstreth started The Getty Address years ago as a Yale student, eventually abandoning the project, dropping out of school, and releasing two other LPs. He's now revisited the work with a new approach, and though one could listen to the album and skim the lyrics without noticing the subtext, The Getty Address is a modern opera about post-9/11 America, the destruction of our natural wilderness, the confrontation between Hernan Cortes and the Aztecs in the early 16th century, and a protagonist named after Don Henley.
Mind you, The Getty Address is compelling without the back story. Where the Dirty Projectors' previous albums featured drifting song structures, Getty Address tosses verse-chorus-verse out the window and relies on stuttering, repeated musical themes. Longstreth indulges the classical influences he first explored on last year's Slaves' Graves and Ballads, but the instrumentation (strings, woodwinds, a female choir) is sampled musique concrete-style and infused with electronic R&B beats. This isn't just opera with a little thump for flavor, though-- Longstreth comes at modern R&B just as he does folk and classical, with a deep appreciation and an outsider's flair.
It's a disjointed listen, but that's not a criticism; Longstreth has never made pop records, and this is no exception. When things click, Getty Address features a series of stunning moments: The staccato guitar and cascading beats in "I Will Truck", the impressionistic flutes on "Gilt Gold Scabs", the female vocal solo on the swinging "Tour Along the Potomac", the pleading yet ecstatic falsetto on "Jolly Jolly Jolly Ego". Longstreth's excellent voice is the most accessible point of these compositions, although on this LP he's left out the tape hiss, chirping crickets, and subway-tunnel caterwauling about Orange Crush. Crisp production suits his vocals, and his performances here are more controlled (and with a wider range) than his past work.
Learning the conceit of The Getty Address didn't change my opinion of the album either way. It's a challenging concept, but Longstreth's thorough deconstruction of classical elements gives the colonization theme some precedence. And at the end of the day, it's the music that makes this the Dirty Projectors' most ambitious and successful project to date."
THE GETTY ADDRESS
Performed in full, the story of Don Henley's traverse through a colonized wilderness. Rock opera, art exhibit, collapsed time, enormous love, tests of faith. THE GETTY ADDRESS features a portable orchestra, Finnish goth divas, an animated film accompaniment provided by James Sumner, full stage dressing and an epic taste in the mouth. To HEAR samples from THE GETTY ADDRESS, INVESTIGATE the opera's synopsis, or READ the Open Letter to Don Henley, please visit http://www.westernvinyl.com/west032.htm
Opening Entertainment provided by:
THE WIND-UP BIRD As The Wind-Up Bird, Joe Grimm has released four cd's and toured the United States extensively, sharing the stage with the likes of The Microphones, Lightning Bolt, Oval, Landing, [[[VVRSSNN]]], Mono, Tyondai Braxton, Growing, Pleasurehorse, etc. Grimm has also performed live or on record as a member of many other bands: the post-rock chamber music of 33.3, the electronic lullabies of The One AM Radio, the lo-fi orchestral pop of Dirty Projectors, the glitch-folk of Lucky Dragons, and Glenn Branca's symphonic guitar ensemble.
public buildings' members are bryan fielden, brian parks, and nat slaughter. respectively, they play drums, piano, and contrabass. public buildings began playing in winter 2003 after each member, raised in and around atlanta, returned to their hometown, fielden from manhattan, parks and slaughter from boston. in this text, brian parks speaks on behalf of the group, to explicate the content of their work, and to elucidate the construction of such work.
here, brian parks describes his contribution to public buildings' singular process of sound production: 'when i began composing in earnest for ensembles, it became clear that there were processes available which allowed for unimprovised but indeterminate outputs of sonic and other elemental organisation, primarily through the auspices of time machines -- clocks which delineate how long you should perform a task -- and time abstractions -- how long it takes to complete an action. these notions, in their infancy, began to inform my own performance with the piano as i became insistent that the things i did to the piano be things that anyone could to do to a piano, as opposed to the things that i knew i could do which separated myself from my audience. the temperature in the room, the smell of the surroundings, the time of day in which it took place, the number of people who looked alike, the clothes they were wearing, the clothes i was wearing, the food they had just ingested, the air we were breathing, these variegated but simultaneous stimuli were as instructive to me in determining the form of a spontaneous composition as the technical proficiency of my colleagues with their instrument. composition and spontaneous composition is stenography. i document the salient elements of my environs in as precise a manner as possible using the apparatus in front of me, an object which emits sound as a result of its being operated.'
"to describe the actions our band takes in performance, you must describe the sounds in the room present before we perform, the feelings we have toward each other, the feelings we have toward our loved ones, the smells emanating from everywhere, the last sip, the last breath of air, the absolute abstraction of immediacy. we are in every way manifesting that."
"we have no idea what each piece will sound like, because we don't know what the piece could sound like, and we are not aware of what form will come into relief after the onset of performance."
brian parks speaks about the future: "we perform at eyedrum on june 4th. we might not play again after that. i really only play on pianos or harpsichords, so it is difficult to find venues in atlanta. my sponsor company southern keyboards is providing an instrument for me on that night, for which i am grateful. but that intractibility combined with nat's imminent departure (for graduate school in architecture in the fall) make the transience of this reunion sad and wonderful."
and so goes the chaotic, abstruse, and undeniably powerful music that public buildings has outputted since their inception in 2003. their brief but heady ride atop the experimental music scene is the stuff of legend, if not archival proof.
monthly show on WREK 91.1 FM
June 5, 2005 7:00PM - 9:00PM
On the first Sunday of every month, at 7 p.m., Eyedrum does a show on WREK that features nuggets from Eyedrum's archive of live performances.
Remember that, after the show airs, you can always listen to this and any recent Sunday Special via WREK's 7-day archive if you forget to tune in (direct links to Sunday Special streams: lo-fi or hi-fi).
Doh. There was a baseball game scheduled to happen in the afternoon before our show -- WREK carries most GT sports events, and the baseball team is now in playoffs. But the game got rain delayed and ended up preempting our show. Force majeure.
All addressing the ins, outs, ups, downs, and meanderings of whether or not you
do in fact want to be a cowboy ...
AND
the GUESS WHAT IS IN THE BOXES Contest!
regular gallery hours
June 10, 2005 12:00PM - 5:00PM
Michael Wright/ Daniel Clay Sings
June 10, 2005 9:00PM - - - Price: $5
Michael Wright Baltimore percussionist Michael Wright utilizes a wide variety of percssive instuments including conga, bells, lens drum, talking drum, shakers, shekere, chimes, gong, balafon, bass drum, caxaxia, guiro, woodblock, frying pan, metal sheets, cymbals, cicada calls, bird whistles, ocrina, and of course a traditional drumset, to create an organic mix of avant garde, jazz, & "world" music.
Daniel Clay "i have spent all of my life in the south-eastern
united states, in the bible belt where it is hard to
perceive the boundaries between religion, social
ethics, politics and consumer-driven popular culture; i am very confused and have written some songs as a means to cope with my confusion.
i am tempted to provide an aesthetic description of
the music though it seems ultimately pointless as i
would have to resort to some form of comparative
analysis. i feel that would cheapen my music and the music of any artist, style or genre i chose to use as
a point of reference.
suffice it to say that i sing and play a very old acoustic guitar."
regular gallery hours
June 11, 2005 12:00PM - 5:00PM
Infusion ends
June 11, 2005
regular gallery hours
June 15, 2005 12:00PM - 5:00PM
Emerging Arts Leaders of Atlanta
June 15, 2005 4:00PM - 6:00PM Price: (free)
Meeting of the Emerging Arts Leaders of Atlanta, a group of arts professionals under 35 and/or with fewer than five years' experience. Panelists this time include reps from the Atlanta Symphony, Rialto Center, and Creative Loafing; the theme is "PR: Getting the Word Out." The meeting will be held in conjunction with the Southern Arts Federation.
Sugar Kayne presents ‘The Tribe of the Forty Five’, An Interactive Soulstice. A Celebration of Drums, Dance, Art & Electronica
regular gallery hours
June 18, 2005 12:00PM - 5:00PM
Indie Craft Fest
June 18, 2005 8:00PM - 12:00AM Price: $8
Indie Craft Experience will be the first, massive crafty event in the Southeast.
Including a craft sale and fashion show, ICE will be the premiere event to bring together crafters, designers, and artists for fashion, craftiness, music and good times!
The Evens are duo from Washington, D.C. Ian MacKaye (Fugazi) plays baritone guitar and Amy Farina (The Warmers) plays drums. They both sing. Together they play stripped down, almost folk−like variations on the rock song. Their sound relies on intimacy as much as intensity, their lyrics as politically charged as they are emotionally wrought. Yet at the heart of the band’s dynamic is a certain quietitude and sensitivity that ties all this together into a strong pop sensibility.
The Submerged Artist Show is Eyedrum's tribute to those artists who operate in active opposition to the mainstream concepts of 'career.' The contributing artists have all worked steadily and independently for long spans of time with little or no interaction with the usual systems of art distribution and validation. No gallery shows, no teaching gigs, no grants, no dealers: these artists have not sought the rubber stamps that most artists collect to prove to curators, universities, foundations, and art salespeople that they are real artists and not mere hobbyists. But Eyedrum's art committee suspected that some of the strongest work in town was being made by the artists who were the least concerned with playing the Art Game.
The Submerged Artist show confirms that suspicion. These elusive artists have honored Eyedrum by allowing this show. And Eyedrum is honored to present to Atlanta the artists you didnąt know you were missing.
walt stevens (wood sculpture)
eula Ginsburg (painting)
sonic kantana (AKA nazareth) (found object installation)
steve seaberg (found wood installation-skeletons)
albino (video)
mark mcLemore (photography)
derr r. steadman (comics)
sarah coleman (painting)
Travis Medford (photography)
Sarah Dixon (painting)
Runs through July 30th
Cargo of Despair Twenty Fourth Anniversary
June 26, 2005 8:00PM - - - Price: Free!!!
Cargo of Despair celebrates their twenty fourth anniversary presenting an evening of music, film, and performance. Originally from Springfiled, MA, this group relocated slowly to Atlanta and continues to perform their strange mix of music, performance, visuals, spoken word and chaos. A reviewer once wrote: "Springfield's answer to everyone from Kukla, Fran Ollie to Lenny Bruce". Free show!
Also appearing: GFE
GFE:
Jeff Bradley - double bass
Robert Cheatham - saxophones, keyboards
Milton Jones - drums, percussion
http://tk-jk.net/euphonic/GFE1.html
"Boom! Boom! Wow!"
- Iva Keranova
"They sound like an orchestra tuning up."
- Martha McCall
"Here comes a charging, wild rhino. If you want to listen, fine. Either way. This rhino stops for no one."
- R. Walter Riley
Atlanta band THE ROLLING SIXTIES play tight angular rock reminiscent of the Make Up and Drive Like Jehu with plenty of funked up stage bravado and heavy guitar lines intertwined with rolling synthesizers which compliment the emotionally charged vocal delivery unique to their fresh sound.
Elaborating on the standard guitar/bass/drums formula, Boston-based THE LIST EXISTS utilize everything from Wurlitzer, synths, trumpet, loops, samples, and programmed drums to create their unique dream-pop sound. Falling somewhere between the sweeping post-rock of Sigur Ros, the ambient electronic pop of Air, and the shoegazing intensity of My Bloody Valentine, THE LIST EXISTS have been building a fan base throughout the Northeast since late 2003. Their rigorous tour schedule has included shows at The Middle East and T.T. the Bear’s in Boston, and Sin-e and Arlene’s Grocery in New York.
regular gallery hours
June 29, 2005 12:00PM - 5:00PM
The Bullet Conscience / the X's & y's
June 30, 2005 9:00PM - - - Price: 6
X's & Y's: a three-piece consisting
of guitar, bass and drums. Mostly instrumental
rock with many math/art/goth/folk rock
influences, such as: 90 day men, mogwai, the cure, mercury program,
battles, don cab, The music tries to tell the tale of
life through its ups and downs - its highs and
lows. The epic journey of quiet screams and loud
whispers that converge on your sences as the
instruments learn why they were bought.
www.myspace.com/xsys
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The Bullet Conscience: a three-piee instrumental rck band with mothly math-rock influences such as Don Caballero, Unwed Sailor, a Hella, with a much bigger stress on melodic songwriting than their other math-rock influences.
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"We play because it keeps us alive. It's that simple."
The Bullet Conscience has always prided themselves on the blistering rhythmic structures emanating from Kaplan's madman drumming. Max writes melodic tapping parts and is increasing his focus on the subtle aspects of sound as he is currently studying formal composition at Stanford. Jon's bass playing bridges the line between melodic and rhythmic, as bass melody is a key element in a three-person instrumental band. In the end, you can break down The Bullet Conscience's playing and structures, but it defies their process. They write organic instrumental music meant to be raw and expressive.
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