Aaron Bradford Turner and William Fowler Collins, photo by Faith Coloccia
September 1, 2012
8-10pm
Human Resources
410 Cottage Home St in Chinatown
Los Angeles, CA 90012
FREE
VOLUME and Vacation Vinyl present A Slow Unraveling, an evening of performances by Hive Mind, Aaron Bradford Turner and William Fowler Collins, Steve Roden, and Marc Manning. Each of these artists embrace an exploratory practice, investigating pace, dissonance, volume, and noise.
If Faust were the initiates of noise than Greh Holger’s Hive Mind project shares a common conscience: to exist both inside and outside the path of contemporaneous synth travelers. Holger’s been around the block a few times, his Chondritic Sound label — of which you’ll find something like 35 Hive Mind releases — has been undoubtedly important in the molding of the American cassette culture phenomenon.
Both known for their intense musical output, the pairing of Aaron Bradford Turner and William Fowler Collins seems only natural. While both of their sound worlds may be filled with darkness and even beauty, this collaborative effort seeks to explore new territories. The two are currently at work on their debut album.
Steve Roden is a visual and sound artist based in Pasadena. His work includes painting, drawing, sculpture, film/video, sound installation and performance. Roden’s working process uses various forms of specific notation (words, musical scores, maps, etc.) and translates them through self-invented systems into scores; which then influence the process of painting, drawing, sculpture, and sound composition. These scores, rigid in terms of their parameters and rules, are also full of holes for intuitive decisions and left turns. The inspirational source material becomes a kind of formal skeleton for the finished abstract works. In his visual works, translations of information such as text and maps become rules and systems for generating visual actions such as color choices, number of elements, and image building.
Marc Manning
Since his first recording under the name “everything is fine” in 2000, Marc Manning has been using his guitar to slowly churn a bubbling sonic cauldron. Conducting a strange decades long dark reverb ritual that pulls inspiration from the weird dark energies of his past homes of Philadelphia and Portland Oregon, and his current home in San Francisco. What is the purpose of all this? To help you realize that there most likely is none.
Photo: Zach Dilgard
July 14, 2011
7-9 pm
LACE
6522 Hollywood Blvd.
Los Angeles, CA 90028
$10 suggested donation
LACE and VOLUME are pleased to present a very rare Los Angeles appearance by New York based composer Ezekiel Honig, with performances by Los Angeles artists Steve Roden and Infinite Body.
Using the loop as more of a tool than a rule, Ezekiel Honig paints outside the lines of electroacoustic music, nestling into a comfortable, shared space between muted techno, melodic, event-driven ambient, textural downtempo and slowmotion house – using them as reference points from which to stray, rather than as steadfast frameworks. Drawing on the rich history of musique concrete, Honig looks to incorporate a material nature into his music by imbuing it with a host of field recording/found-sound sources in the search for a balance between digital software innovation and the physicality of the world around us. Using the sounds of plastic, metal, wood and air in collaboration with Rhodes, guitar, horns, piano and other instrumental origins, his music is one of contrast and contradiction, combining minimal, abstract tendencies with a core of timeless harmonics – pairing inviting, fuzzy chords with clunky and dirty “mishaps.”
Steve Roden is a visual and sound artist from Los Angeles. His work includes painting, drawing, sculpture, film/video, sound installation, and performance. Roden’s working process uses various forms of specific notation (words, musical scores, maps, etc.) And translates them through self invented systems into scores; which then influence the process of painting, drawing, sculpture, and sound composition. These scores, rigid in terms of their parameters and rules, are also full of holes for intuitive decisions and left turns. The inspirational source material becomes a kind of formal skeleton that the abstract finished works are built upon.
Roden has performed his soundworks at various arts spaces and experimental music festivals worldwide including the Serpentine Gallery London, the San Francisco Museum of Modern Art, the Walker Art Center, Minneapolis, the DCA Dundee Scotland, Redcat Theater Los Angeles, as well as performance tours of Brazil and Japan.
Kyle Parker, better known as Infinite Body, is no stranger. He burrows deep inside what a song is, how to strip down something so far to where it just becomes two things, sound and feeling. Infinite Body started in August 2007, after performing and collaborating within the land of LA’s harsh noise world (Haircut Mountain Transit, Gator Surprise, Men Who Can’t Love). After years of making “Harsh” sounds with the other groups, Kyle started Infinite Body to encompass all things beautiful and began performing and recording this new project. On record, at times it can be hypnotizing and emotionally charging. Other times it inspires you to think about life and drift off. Live, it takes another form — learning the ropes from the noise world, Infinite Body sets out to bliss out your mind, soul and ears by taking over your senses (he plays LOUD and he has a lot of lights that warp and dance with the music). It becomes an extremely vibrating, beautiful, and rewarding experiment. After a self released CD titled “White Hymn”, which has won over many listeners, and a few limited 12″s, Infinite Body recorded “Carve Out The Face Of My God” for PPM. It is a step in a new direction with swells, peaks, and valleys of ethereal noise and field recordings arranged for Infinite body’s extreme contextual mind. This vaporous and concise recording effort marks Infinite Body’s transition into deeper waters and opening up to the world around him.
On behalf of all of us at VOLUME, we would like to thank all of the artists, de Young staff, SFEMF, swissnex San Francisco, and everyone who attended for making rE/Visioning the Collection such a terrific success. A year and a half in the making, we couldn’t have asked for a better experience. Thank you.
