Upcoming Concerts

MERIDIAN + JOHN WIESE + THE EPICUREANS
Goethe-Institut Boston
Friday, May 1, 2015

JEPH JERMAN/TIM BARNES (duo) + FRAUFRAULEIN
Goethe-Institut Boston
Friday, May 22, 2015

JASON LESCALLEET + PARK/TAMIRISA (duo) + DINNERSSS at the ICA
Thursday, May 28, 2015

POLE with MFO + LUCY LEWIS
Middlesex Lounge
Sunday, June 7, 2015

MERIDIAN + JOHN WIESE + THE EPICUREANS
Goethe-Institut Boston
Friday, May 1, 2015

Non-Event presents

MERIDIAN (Tim Feeney, Nick Hennies, Greg Stuart)
JOHN WIESE
THE EPICUREANS (David Gross, Polly Hanson, Ryan McGuire)

Goethe-Institut Boston
170 Beacon Street
Boston, MA 02116
Doors: 7:30pm | Music: 8pm
Advance tickets: $12 general admission, $8 members + students
Tickets at the door: $15 general admission, $10 members + students

MERIDIAN is dedicated to the exploration of percussion through various non-traditional approaches. Drawing on their experience performing both improvised and composed works, the group -- Tim Feeney, Nick Hennies, and Greg Stuart approaches percussion in a way that places the exploration of sound in the foreground rather than a focus on rhythm, gesture, or technique. The trio’s members eschew their training as "classical" percussionists in favor of a musical approach that is primarily concerned with exploring acoustic phenomena, rather than exercising their abilities as virtuosos.

JOHN WIESE is a sound artist based in Los Angeles. In the late 1990s, he moved from St. Louis, Missouri to the West Coast to study graphic design at the California Institute of the Arts, and soon became a notable contributor to Bastard Noise. His ongoing projects include LHD and Sissy Spacek, with plenty of freelance work with many artists as diverse as GX Jupitter-Larsen, Sunn O))), Wolf Eyes, Merzbow, Evan Parker, Smegma, Kevin Drumm, Yellow Swans, Cattle Decapitation, No Age, C. Spencer Yeh (Burning Star Core) and Kommissar Hjuler und Frau.

Wiese toured extensively, covering Europe, Scandinavia and Australia as a member of Sunn O))). He toured the UK as part of the Free Noise tour (a tentet including Evan Parker, C. Spencer Yeh, Yellow Swans, etc.). He also toured the United States alongside Wolf Eyes, and recently performed in the 52nd Venice Biennale with artist Nico Vascellari.

This program is supported in part by a grant from the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council, administrated by the Mayor’s Office of Arts, Tourism, and Special Events.

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JEPH JERMAN/TIM BARNES (duo) + FRAUFRAULEIN
Goethe-Institut Boston
Friday, May 22, 2015

Non-Event presents

JEPH JERMAN + TIM BARNES
FRAUFRAULEIN (Anne Guthrie + Billy Gomberg)

Goethe-Institut Boston
170 Beacon Street
Boston, MA 02116
Doors: 7:30pm | Music: 8pm
Tickets:
Advance: $12 general admission, $8 members + students
Door: $15 general admission, $10 members + students

JEPH JERMAN: I grew up in a military family, so we moved around a lot, a different place every two years until my father retired in Colorado. I started playing music in a number of bar bands, whilst also experimenting with other forms – playing around with tape recorders and trying to find people to improvise with. Formed a few long lasting bands (Big Joey, City Of Worms, Blowhole) and began recording and playing solo as hands to. Ran a cassette label during the 80s cassette culture explosion. 

Eventually ended up in Seattle, where I fell in with the local musical community. Two years of near-constant playing with people like Paul Hoskin, Doug Theriault, Dave Knott, Angelina Baldoz, Lori Goldston, Mike Shannon and Wally Shoup. One memorable concert with John Butcher. Continued to develop my solo work, and began improvising with natural sound makers (stones, shells, pine cones) around 1996. Formed the first animist orchestra in 1999, to perform works for same. 

Moved to Arizona and have since done tours with Tim Barnes, Sean Meehan and David Daniell, Paul Hoskin, and toured Australia and New Zealand with Greg Davis. In 2001 I made recordings of the desert and it's interaction with man made structures and released a new cassette every month for a year. I continue to investigate the desert, build crude sound making devices and play and record whenever the opportunity arises.

TIM BARNES is a globally recognized percussionist, composer, sound designer, and audio archivist. He has performed at the Guggenheim, Whitney, and Pompidou museums, as well as in galleries and performance halls in Tokyo, Berlin, Rome, Belgium, Stockholm, Mexico City, and Melbourne. He has been recruited to perform with some of experimental music's most accomplished players, including John Zorn, Kim Gordon, Ikue Mori, Jim O’Rourke, Lee Ranaldo, and Jeph Jerman. American corporations such as Starbucks, Nike, Cadillac, and Merrill Lynch have hired Tim to create sound collages for their television advertisements. He has also worked closely with Fluxus artists La Monte Young and Henry Flynt with archival restoration of recorded works, and in 2005, Tim performed and recorded Alison Knowles’ composition “Onion Skin Song”. Currently, he is working with Vito Acconci and the publisher Primary Information on presenting Mr. Acconci’s complete recorded works. Tim lives in Louisville, Kentucky, where he is the Artistic Director of the performing and visual art space Dreamland.

FRAUFRAULEIN is Billy Gomberg and Anne Guthrie.

BILLY GOMBERG lives in Brooklyn NY. His studio practice incorporates analog synthesis, digital treatments, acoustic recordings and occasional instrumentation, navigating impressions of physicality via improvisation, process and space. Flyover Sound (Experimedia, a collaboration with Offthesky) received a nomination in the Experimentation/Research category of the 7th Qwartz Awards in Paris. Other releases include his LP False Heat (False), Certain Words Again and Again (Sunshine Ltd), and four years later (since, why not) on CD by the trio Delicate Sen (with Anne Guthrie & Richard Kamerman).

ANNE GUTHRIE is an acoustician, composer, and French horn player living in Brooklyn, NY. She studied music composition and english at the University of Iowa and architectural acoustics at Rensselaer Polytechnic Institute, where she recently completed her Ph.D. Her music combines her knowledge of acoustics and contemporary composition/improvisation. Her electronic music has focused on exploiting the natural acoustic phenomena of unique architectural spaces through minimal processing of field recordings. Her composition has focused on the orchestration of non-musical sounds, speech in particular. Her French horn playing has focused on electronic processing and extended techniques used in improvisatory settings, as a soloist and with Fraufraulein and Delicate Sen, among others. Her acoustics research has focused on the use of ambisonics for stage acoustics.

This program is supported in part by a grant from the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council, administrated by the Mayor’s Office of Arts, Tourism, and Special Events.

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JASON LESCALLEET + PARK/TAMIRISA (duo) + DINNERSSS at the ICA
Thursday, May 28, 2015

Non-Event, Ricardo De Lima, and the Institute of Contemporary Art present

JASON LESCALLEET
CAROLINE PARK & ASHA TAMIRISA (duo)
DINNERSSS

The Institute of Contemporary Art
Barbara Lee Family Foundation Theater
60 Northern Avenue
Boston, MA 02210
617-478-3100
7p.m./FREE

JASON LESCALLEET makes his music using a collection of vintage reel-to-reel tape recorders and simple electronics, running loops of crumpled tape between machines. He blends layers of found sound, amplified silences, and artifacts of everyday noise, all transformed through various microphones and speakers. Lescalleet has built a reputation for delivering a visceral live experience in his concert performances. He lives in Maine.

“[It’s hard to think of anyone else who can render the sound of nada with such physicality and make even the most barren sonic palette seem oddly expressive. This Is What I Do is a trip to the furthest extremes of sound and the kind of immersive sonic experience that is truly brain-bombing with a set of headphones and that takes over whatever space it plays out in.” — David Keenan, Volcanic Tongue

ASHA TAMIRISA is often found working with some combination of sound, video, sculpture, and movement. She graduated from Oberlin College with a degree in Technology in Music and Related Arts [ TIMARA ] and is currently a doctoral student in the Multimedia and Electronic Music Experiments [ MEME ] program at Brown University. She is also concurrently working towards an MA in Modern Culture and Media [ MCM ] at Brown. Current research interests include gender, race and technology, interfaces and tool-making, and audiovisual synthesis. She is a founding member of OPENSIGNAL, a group of artists concerned with the state of gender and race within electronic / computer based art practices.

CAROLINE PARK is a composer, musician, and artist working primarily within minimal means. As a composer-performer, she has shared the stage with Mem1, Steve Roden, a canary torsi, Evidence, Dollshot, and Arnold Dreyblatt, and she has performed at the Stone (NYC), AS220 (Providence), and in Jordan Hall (Boston). Solo releases can be found on labels Private Chronology, Bathetic Records, VisceralMediaRecords, Pure Potentiality Records and Absence of Wax. Caroline is 1/4 of BUMPR (with Peter Bussigel, Stephan Moore, and Timothy Rovinelli) and is 1/2 of a collaborative duo project with Asha Tamirisa. She is also a founding member of opensignal, a group of artists concerned with the state of gender and race within electronic and computer-based art practices. She holds B.M. and M.M. degrees in composition from the New England Conservatory and is currently a Ph.D. candidate in Multimedia and Electronic Music Experiments at Brown University. She lives and works in Providence.

JIMMY HUGHES is an artist and musician living in Jamaica Plain. He performs improvised electronic music on an analog+ digital modular synthesizer as DINNERSSS. In his art, he focuses primarily on new interfaces for creating and hearing electronic sound. In performances as Dinners, Hughes often incorporates different sensors and circuits – light, sound, touch – that allow for more expressive (and sometimes unpredictable) sonic results from the synthesizer. Prior to performing as Dinners, Hughes was in the electronic pop duo, Turtle Ambulance. He currently plays keyboards in the Boston-based rock band, Huge Face. Jimmy has vinyl and cassette releases out on Whitehaus Family Record and Moss Archive.

Presented as part of the 2015 James and Audrey Foster prize exhibition

This program is supported in part by a grant from the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council, administrated by the Mayor’s Office of Arts, Tourism, and Special Events.

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POLE with MFO + LUCY LEWIS at the Middlesex
Sunday, June 7, 2015

Photo: Tim Bugbee

Non-Event and the Goethe-Institut Boston present

POLE with MFO
special multimedia performance
LUCY LEWIS

Middlesex Lounge
315 Massachusetts Avenue
Cambridge, MA
(617) 868-MSEX
Doors: 8pm, Music: 9pm
Admission: $15 / 21+

Dusseldorf-born, Berlin-based dub techno pioneer Stefan Betke (aka POLE) has devoted the past two decades to dismantling rhythmic structures and seeking out new beginnings, whether as label owner, producer or master engineer. Well known for his expansive slices of dub inflected minimalism, Betke found beauty in the creaks and crackles of a damaged Waldorf-4-Pole filter, which inspired his nom de plume in the mid 1990s. Betke's work has since fluctuated between jazz, techno, house, dub, and beyond.

Pole made his belated Boston debut two years ago, when he almost literally knocked out the Back Bay power grid and brought the house down at the Goethe-Institut. He returns to town to present a sparkling, technologically complex A/V ballet with visual artist and designer Marcel Weber (MFO) at the Middlesex Lounge. Freely inspired by the light sculptures of Otto Piene and the dreamlike forms of the Ballets Russe, this multifaceted performance will meld new and old media forms – Betke's analog mixers and effect appliances sharing the spotlight with Weber’s prisms, projectors and mirrors – as MFO translates Pole’s emotional, nature minded musical matter into a cosmos of sensory laden textures and disturbances. Pole's musical themes of the last decade are enriched, looped and remodeled through MFO’s tightly choreographed visual language.

 

Presented as part of the Goethe-Institut Boston's New Music from Germany series

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MORGAN PACKARD at Café Fixe
Tuesday, June 9, 2015

Non-Event Presents
Our June Experimental Coffee House
featuring

MORGAN PACKARD

Café Fixe
1642 Beacon Street (Washington Square)
Brookline, MA 02445
617-879-2500
8 p.m./$5

Growing up in rural New England, Morgan Packard planned to be a jazz saxophone player when he grew up. After graduating from high school, he enrolled in jazz school in Boston. There he discovered that jazz wasn't the only cool music in the world. He quit studying jazz, moved to New York, and spent the next five years immersed in drum and bass music, which was the most explosively creative electronic music of the time.

Then he got tired of making only drum and bass music and studied western classical music and wrote little pieces for acoustic instruments for a while. He also learned how to program computers and started building his own music software. Programming his own tools allowed him to create sounds that no one else could make, and he began to feel like his own voice was finally shining through.

He started working closely with visualist/programmer Joshue Ott, and also found himself aligned with musician and label man Ezekiel Honig. Josh challenged him to write better software, Ezekiel challenged him to make an album for his label, Anticipate. His first solo album, "Airships Fill the Sky", pricked up ears around the world, got good reviews, and people started buying him airplane tickets to travel and perform in their cities.

His sound is characterized by constantly shifting textures, a minimalist approach to rhythm, unconventional use of traditional acoustic instruments, and a sensitivity to melody and harmony. While his music is influenced by dub techno, ambient, and other established styles, it is best understood on its own terms, rather than through the lens of genre.

This program is supported in part by a grant from the Brookline Commission for the Arts, a local agency supported by the Massachusetts Cultural Council.

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WILL GUTHRIE + ASHER TUIL
Washington Street Art Center
Wednesday, June 16, 2015

Non-Event and the Washington Street Art Center present

WILL GUTHRIE
ASHER TUIL

Washington Street Art Center
321 Washington Street
Somerville, MA
617-623-5315
8pm/$10-$15

WILL GUTHRIE is an Australian drummer / percussionist living in France. He works in many different settings of music: live performance, improvisation and studio composition using various combinations of drums, percussion, objects, junk, amplification and electronics. He plays solo and in various projects such as THE AMES ROOM, ELWOOD & GUTHRIE & THE SOMMES ENSEMBLE. His music has been released on labels such as Gaffer Records, Erstwhile, Clean Feed, 23five, Editions Mego, Ipecac, iDEAL and his own label Antboy Music.

While studying jazz and improvised music(s) at the Victorian College of the Arts in Melbourne, alongside Ren Walters he started the weekly concert series 'Improvised Tuesdays', now known as the Make It Up Club and is Australia's longest running performance space dedicated to experimental and improvised musics. In Nantes, France he is part of the collective CABLE# which also organizes regular concerts and an annual festival. He also runs the experimental improvised CD label and mail-order service; ANTBOY MUSIC. He plays solo using different combinations of drums, percussion, amplification and electronics, in minimalist/maximalist free jazz trio THE AMES ROOM (with Jean-Luc Guionnet & Clayton Thomas), in appalachian mutant folk duo ELWOOD & GUTHRIE (with Scott Stroud), as well as the improvised/composed ensemble THE SOMMES ENSEMBLE (with Pierre-Antoine Badaroux, Julien Desperez & Maxime Petit).

Regular collaborators past and present include Jerome Noetinger, David Maranha, Keith Rowe, Anthony Pateras, Toma Gouband, Erell Latimier, Ava Mendoza, Adam Sussmann, Matt Earle, Ren Walters, Jean-Philippe Gross, Greg Kingston, Helmut Schafer, David Ades, Mark Simmonds, among others.

ASHER TUIL is a composer living in Somerville, MA. Working with room recordings, location recordings, found recordings, and other sources asher has created a body of work which examines these materials in a variety of ways. Asher has worked in collaboration with artists such as Richard Garet, Jason Kahn, Christopher Mcfall, Brendan Murray, Ubeboet, and Zimoun. Asher’s recordings have been released by conv, Homophoni, Leerraum, Sourdine, and Room40. Asher performs rarely. His last Boston performance was in 2012.

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GLENN JONES with Matt Azevedo
Waterworks Museum
Wednesday, June 24, 2015

Non-Event and the Metropolitan Waterworks Museum present

GLENN JONES (guitar, banjo)
assisted by MATT AZEVEDO
Act TBD

Metropolitan Waterworks Museum
2450 Beacon Street
Boston, MA 02467(map)
Doors: 6:30pm, Performance: 7:00pm
$15 general admission / $10 members/students
Please RSVP at info@waterworksmuseum.org or 617-277-0065

Hot tea and cookies will be provided
Parking is limited, so bike, walk, or take the T, if you can!

GLENN JONES is a Boston-based composer of original compositions for solo acoustic guitar and banjo, and one of the leading exponents of the so-called American Primitive school, a term originally used to describe the music of guitarist John Fahey (1939-2001). The style is noted for its use of drones and open strings, as well as the influence of American roots music (such as blues and old time music); Indian raga and modern classical forms, among others.

The style tends to be syncopated and dynamic in nature (loud / soft; fast / slow; dark / light) and eschews technical virtuosity for its own sake in favor of an emotional experience.

Glenn will perform his original works, each of which suggests its own spatial character, within the unique environment that is Boston’s Metropolitan Waterworks Museum, a pumping station in operation from the late 1800s till 1976. In addition to being a visually arresting space, the Museum allows for the placing of speakers below, above, and throughout the listening area.

In bringing what he does to the Waterworks space, Jones aims to make a compelling evening of music that takes advantage of the space, without sacrificing the value and nature of performance for the sake of the novelty of a “surround-sound” experience.

For this show Jones will be aided by sound engineer and electronic music composer Matthew Azevedo, with whom he has worked for more than 15 years.

This program is supported in part by grants from the Boston Cultural Council and the Brookline Commission for the Arts, local agencies supported by the Massachusetts Cultural Council.

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