Choose Your Own Adventure

Thursday, April 29

Read R.D. Pohl On the New York Times Book Review of Charles Bernstein's All the Whiskey in Heaven

By R.D. Pohl for the Buffalo News Artsbeat:
If there remained any doubt that "Language writing"--once the scourge of the sclerotic "Official Verse Culture" and mainstream literary media in the United States that it sought to critique--is now the dominant linguistic frame through which literary innovation is parsed, last week's laudatory New York Times Book Review of Charles Bernstein's All The Whiskey in Heaven: Selected Poems (Farrar, Straus & Giroux) convincingly puts it to rest.

If the occasion of the review is Bernstein's first volume of poems "not published by a university or independent press," what reviewer Daisy Fried writes about the former University at Buffalo professor and co-founder of the UB Poetics program ("famous as a poet and anti-poet") is a kind of performative utterance:

With “All the Whiskey in Heaven,” ...Bernstein takes his place in the mainstream of American poetry, the very “Official Verse Culture” he’s attacked entertainingly for years — a fate awaiting all our best outsiders. Bernstein is identified with the Language poets, who emerged in the 1970s. Interested in the materiality of language, they are politically left, theoretically grounded and deeply suspicious of the lyric “I” that speaks from the heart in traditional poems without examining its own existence in a sociopolitical power structure.

If the New York Times Book Review, ostensibly the house organ of the "Official Verse Culture" in the United States proclaims it, it must necessarily be a fait accompli. Never mind that All the Whiskey in Heaven is the first of Bernstein's sixteen full length collections of poetry and five books of essays over the past three decades ever to earn a New York Times review. Never before has the ascent from persona non grata to literary icon been accomplished with such selective hindsight.

In the current (Spring 2010) issue of BOMB Magazine Bernstein is interviewed by journalist Jay Sanders on the origins of L=A=N=G=U=A=G=E magazine (the title for which Bernstein attributes to co-founder Bruce Andrews), the various misconceptions that arose about language writing, and its influence on a broad range of 21st century poetics. In response to a question from Sanders about the perceived "militant aesthetic break" from prevailing poetic practice that the procedural and constraint-based techniques of language writing is thought to have represented, Bernstein avers:

When we started L=A=N=G=U=A=G=E we were trying to open up conversations across divides. As you say, rather than trying to narrow things down, the journal was about dialogue not just among poets of the same generation and the same perspective, but among poets of different generations, and also with those in the other arts. Still, the reaction in terms of the parochial world of poetry was that somehow something exclusive was being launched. We proposed an alternative to what then dominated as respectable poetry. Ours was a poetics of (some of) the excluded....

...We tried to trace a history of radical poetics, taking up the model presented in Jerome Rothenberg’s Revolution of the Word, and later by Rothenberg and Pierre Joris in Poems for the Millennium and Marjorie Perloff in The Futurist Moment. When you go back 30 years, you see that poetics that now are widely accepted as foundational for contemporary poetry were harshly rejected then. Poetry’s center of gravity has shifted to the poetic left, to call it that, though not everyone has heard the news. Even in the more mainstream poetry magazines now there’s a certain amount of work that is far looser and formally radical than you would have seen in the mid-’70s.

Asked about to what extent he and peers contributed to an "opening of the field" (Robert Duncan's phrase) for innovation, Bernstein points out that "...some recent poetry and poetics concertedly take out the contentiousness from formal invention." Discussing the 2009 Norton American Hybrid poetry anthology, he observes that "while the editors welcome a certain kind of elliptical, fragmented style, they also try to find a happy mean between extremes."

It's what he says next that speaks to the lasting influence of Language writing on 21st century poetics:

For me, it’s the extremity, the eccentricity, even the didacticism, that shakes things up. When poetry becomes normalized and more oriented toward craft, it loses the point. I’m not interested in any of the styles, per se, that were developed in the ’70s and ’80s—my own or anybody else’s. The issue was never stylistic technique as such. You have to read that era in the context of the intense resistance to nonlinear poetry, to algorithmic forms, to appropriated language, and non-“I”-centered poems—all of which are now accepted. Even the procedural is just one technique or form that emerges, sometimes zombie-like, to reveal hidden codes, or other times just as textile, as generator of texture.

In this sense, it's not the "mainstream" of American poetry that Bernstein and Armantrout have entered; it's the river itself that has changed its course.

Read "The Look of Music, on Show in Dublin": Morton Feldman & Abstract Painting

By Mariana Schroeder for The Wall Street Journal:
Dublin: As a composer, Morton Feldman was part of an avant-garde movement called the New York school -- the abstract expressionists of music. In fact, he said his music was abstract painting, and demonstrated his devotion to the idea by dedicating pieces to friends whose art inspired him; artist friends, in turn, dedicated works to him. In 1967 Feldman even curated a show in Houston, Texas, called "Six Painters" (the six being Philip Guston, Franz Kline, Willem de Kooning, Piet Mondrian, Jackson Pollock and Mark Rothko). It's a connection the Irish Museum of Modern Art celebrates with its exhibit "Vertical Thoughts."
Read the rest here.

Download "Acres of Skin," the Glittering, Skronking New Single From Zs, Read Q&A with Tenor Saxophonist Sam Hillmer

By Christopher Weingarten for the Village Voice Sound of the City blog:
Brooklyn's Zs have always walked a jagged line between 21st Century composers and bratty art-punks; their voluminous, decade-strong output evokes everything from Schoenberg's jagged beep-boops to Glass's hypnotic minimalism to the headbanging abandon of crusty loft-party noiseniks. Despite having armloads of singles, EPs, and live albums, New Slaves (due May 11 on the Social Registry) is only their second proper record, and it moves the band fearlessly into more rhythmic, noisy, and downright terrifying waters. Anyone who's seen Zs recently knows they have abandoned their infamous music stands and sheet music. Instead, the band has transformed itself into a battering ram of brackish sound and befuddling rhythms--think of Steve Reich phasing experiments produced into a blackened soup by the Boredoms and you're getting close; think Black Dice performed by Sun Ra and you're getting closer. "Acres Of Skin" showcases the band's gnarly new feel, with saxophonist Sam Hillmer squonking out inhuman squeals, dual guitarists Annon Friedlin and Ben Greenberg (full disclosure, an old pal) creating a detuned, rhythmic ooze, and drummer Ian Antonio earnestly clapping and pounding along.
Read the rest here. Zs played Soundlab on 01/29/07 with Cages. They returned 04/22/08 to perform on a bill that also included Ecstatic Sunshine and Cex.

Watch Mary Halvorson on Roulette TV

By plwn for the Roulette blog:
On March 18th, 2010 at Roulette, guitarist/composer Mary Halvorson premiered a set of new pieces for the Mary Halvorson Quintet as well as material from her upcoming release on Firehouse 12 Records. Halvorson has been active in New York since 2002, following jazz studies at Wesleyan University and the New School. In addition to her own band, The Mary Halvorson Trio, she co-leads a chamber music duo with violist Jessica Pavone and the avant-rock band, People, with drummer Kevin Shea.
Mary has played Soundlab in a handful of different incarnations, including MAP with Tatsuya Nakatani and most recently, the Halverson/Jessica Pavone Duo, which made a return visit on 2/15/10. Check it out here.

Tuesday, April 27

See Royal Bangs Tonight at Soundlab

Tuesday, April 27, 9pm, $10-12--ROYAL BANGS. By Cory Perla for Artvoice:
Royal Bangs from Nashville, Tennessee, will bring their mixture of indie rock and electronic pulses to Soundlab on Tuesday (April 27). Formerly a five piece, the band has condensed down to three. Anchored by keyboardist/vocalist Ryan Schaefer, their music is a blend of familiar sounding indie rock and electronic synth laser tones. Percussionist Chris Rusk plays his style of fast and precise drumming while guitarist Sam Stratton leads the trio with fidgety overdriven guitar riffs. The music has a clear science fiction influence to it. The video for their latest single “War Bells” portrays a furry alien creature pulling human body parts from his gut and laying them on a psychedelic contraption which eventually brings the body parts to life. Of course, our alien friend is continuously shooting lasers from his finger tips in synchronization with the song. The track sounds like it could be a B-side to Beck’s Guerro or The Information, while others like “My Car Is Haunted” have a dance-punk sound similar to bands like Friendly Fires or White Denim. Both tracks belong to their recently released, and appropriately titled, full length album Let It Beep.

Sunday, April 25

Read - Robert Dick Interview

By plwn for the Roulette blog:
Robert Dick’s contributions to the development of the flute and its music are profound. With equally deep roots in classical music old and new, free improvisation and new jazz, he is known as the flute’s visionary. On April 18, at Roulette, Robert Dick teams up with visual improviser Joshue Ott and electronic musician Billy Gomberg for Dog or God – an immersive, improvised experience, unabashedly journeying from maelstrom to serenity via spontaneous emotional ports of call.

ROULETTE: Tell us as about the work you’ll be doing at Roulette.

ROBERT DICK: Dog or God “originated” when I saw Joshue Ott do his superDraw live video improvisations with the American Composers Orchestra a couple of years ago. The music on that program didn’t do to much for me, but I was blown away by Joshue’s work and thought that I’d have to make contact with him.
Read the rest here. Robert Dick performed with Steve Baczkowski and Ravi Padmanaba at Soundlab on 07/14/05.

Attend "Soundzilla" Sound Art Show Tonight at Soundlab

Sunday, April 25, 7pm FREE--SOUNDZILLA.
SOUNDZILLA is a collection of final projects by students in Intermediate Sound Art, an undergraduate-level course taught by Jessica Thompson in the Department of Media Study, University at Buffalo. This exhibition is supported by the Department of Media Study and Soundlab. Many of the projects are interactive. Gallery visitors will be invited to participate in the projects over the course of the evening.

Featuring work by: Geoffrey Cook; Laura Diemer; Alec Erlebacher; Martin Freeman; Erica Grisanti; David Jamieson; Kirill Kolomyts; Ryan Mallette; Allen Mapenzauswa; Julia Norris; Michael Schmitz; Carl Smith; Will Stachnik; Alex Sunga; Jerry Theresanathan; EJ Vogel; Jesse Wekerle.

Saturday, April 24

Listen to Junior Boys Remix Caribou

By Tom Breihan for Pitchfork:
Swim, the new Caribou album, just became the fourth Caribou LP to score Best New Music props (counting 2003's Up in Flames, released under the name Manitoba). We like us some Caribou over here, and here's even more: a remix of Swim's first single "Odessa", by Junior Boys. It's available as a bonus track if you buy Swim from iTunes or you can listen to it here.
Caribou played Soundlab in the summer of 2008. Junior Boys hit Soundlab on 11/03/09 with Wooden Hand.

Read - Nels Cline Interview

By Tad Hendrickson for
Nels Cline was been straddling the line between jazz and rock guitar since the late '70s. He got his start working with jazz musicians of the likes of Julius Hemphill, Charlie Haden and Tim Berne, while also doing more rock-oriented stuff with Mike Watt, the Geraldine Fibbers and others, though his major claim to fame these days is his gig as lead guitarist for Wilco. While that band is seemingly on a never-ending tour, Cline has found time to work with his main band, the Nels Cline Singers, as well as a side project with Yuka Honda called Fig, with other stuff coming down the pipe, as well. We caught up with Cline on the day his excellent new album, 'Initiate,' came out on Cryptogramophone. Read the interview here.
Nels Cline visited Mohawk Place on 10/01/01 as part of Gregg Bendian's Interzone featuring Gregg Bendian/Nels Cline/Kermit Driscol/Alex Cline. The show was a Hallwalls/Soundlab co-production.

Attend Big Night: Ecopoetics Season Finale Tonight at WNYBAC

Saturday, April 24, Western New York Book Arts Center, 2nd Floor, 468 Washington St. @ Mohawk. Just Buffalo presents Big Night: Ecopoetics Season Finale. The program will feature poetry from JONATHAN SKINNER, art by JULIAN MONTAGUE, and sound and video installations by LEAH RICO. During her tenure as Big Orbit Gallery's Gallery Director, Leah was instrumental in helping launch the Soundlab program. Julian is an old friend who debuted his Shopping Cart Project installation in the gallery at the original Soundlab back in 2002.

Friday, April 23

Attend We Are, an Exhibition of New Drawings, Prints & Peformance by Hyeyoung Shin at Big Orbit Gallery Tonight

Friday, April 23, 8-11 (opening reception--performance begins 8:30), Big Orbit Gallery, 30d Essex St.
The series “We are” explores the concept of creating memories in the present as the viewer moves along with images of human feet. “We are” consists of graphite drawings on individual sheets of paper and on clothing that I made out of Korean paper. I see the paper as an embodiment of culture with the ability to hold and communicate experiences and memories like human skin. 

I am also fascinated with how the empty space on paper allows us to put ourselves directly into the space. I strive to create some sort of an ambiguous space where we are not able to define ourselves through the notion of race, language and culture. We can only realize ourselves as a human being without prejudice. The space is for pure empathy that people can understand each other not by their own cultural background but by their visual perception from a visual language that they see. I’m engaged with organic form and part of the human body to guide viewers to a space that I want to create among us. 

In my “Feet Washing” performance, I want to expand the idea of space one step further for the viewers. I seek to create direct dialogue by providing access to myself as a host. I see myself as a creator of a theatrical situation that elevates one’s capacity for empathy. The representation of feet washing can be understood as an action of acceptance and caring of humanity. I choose the action of feet washing as a tool of empathy not only because I have a Catholic upbringing but also because this event suggests a global culture that different people can recognize as being a thoughtful communication method.

Listen to The xx Remix YACHT

By Tom Breihan for Pitchfork:
That freaky-looking image you see above is the cover art to YACHT's "The Afterlife" single. The single, now available digitally from DFA, includes a motley assortment of folks remixing the See Mystery Lights track: Andrew W.K., DAT Politics, Joy Electric, May Ling, and, most notably, the xx. You can stream the xx's dubsteppy take on the track over at the DFA website right now.

It's nice to see that YACHT and the xx didn't let their opposing stances on capitalization get in the way of working together.
YACHT played soundlab first on 08/27/07 with Dirty Projectors and Vampire Weekend. On 03/07/10, YACHT returned with MNDR, Bobby Birdman.

Watch New Dosh Video - "Airlift"

By Jessica for Stereogum:
Martin Dosh still creates the complex electro-acoustic mash he’s known for here on his fifth LP, Tommy (named for a friend who passed, not the Who), but there’s more room in his song structures. Sometimes that room is for guest vocalists, like longtime collaborator Andrew Bird. Other times it just adds space to breathe. “Airlift” fits the latter. Even “Airlift’”s video, with its central character surrounded by books, records, and photographs, says something about letting go of stuff (objects or instruments) to introduce some calm. The video was directed by Shal Ngo.
Fog played Mohawk Place as part of a Soundlab Presents bill on 05/20/03 with Fog and the Murder Group. On 11/01/06 he returned to share a bill with Sleeping Kings of Iona and DJ MJB Corp.

Stream the National's High Violet Today

By Rob Harvilla for the Village Voice's Sound of the City:
It ain't out until May 11, but it leaked, you see, and the band would rather you hear a high-quality version. From their MySpace:

Hi everyone!
As you may have heard, there is a low quality leak of our new album, High Violet, spreading across the Internet as we speak. We wanted to let you know the New York Times will be streaming the real thing starting Friday April 23rd. We hope you'll take the time to hear the album at its intended level of quality.

High Violet will be released by 4AD worldwide on May 10th/11th.

This would seem to be the Times' maiden voyage in terms of a streaming a record pre-release; we suspect they've picked a good record to start with.
The National first played Buffalo at Big Orbit Gallery on 05/30/01 with Mia Doi Todd and Clogs. They return to co-headline Rockin' at the Knox with Rufus Wainright on Friday, June 18, 2010.

Thursday, April 22

Experience Funtime Costumed Goofballism with Terror Pigeon Dance Revolt!, Shock & Awe DJs & The Shakes Tonight at Soundlab

Thursday, April 22, 9pm, $5--LAST MINUTE ***SURPRISE*** SHOW (spread the word): TERROR PIGEON DANCE REVOLT! with SHOCK & AWE DJS & THE SHAKES

Check out pictures from the last TPDR show at Soundlab here.

At first thought, the obtuse band name "Terror Pigeon Dance Revolt!" seems typically hipster absurdist, a funtime linguistic throwaway, but the spectacle it describes is not so much a band as an interactive dance party, although not just any dance party: it's like a nursery school class gone awry, except everyone is in their twenties. The room is filled with random toys, balloons and strung up lights, and the performers are more likely to pass out baked goods, or help you select random costumes or props, than perform carefully rehearsed songs. What you get is 8 performers led by founder Neil Fridd chanting simplistically subversive sing-along ditties against a backdrop of indie-electronic beats, but what really makes it all work is the way that audience and performer dissolve into each another. If your idea of fun involves a grown man in stuffed animal-covered jumpsuit, get your slice of pizza-costumed self down to Soundlab this Thursday.

Attend Video Vs Film Tonight at Sugar City

Thursday, April 22, 7-10--VIDEO VS FILM, Sugar City, 19 Wadsworth St, FREE.
The VIDEO VS FILM extravaganza will feature video installations and a screening comprised of individual and collaborative works by students from the Department of Media Study at the University at Buffalo. This exhibition is made possible through the generous support of the Department of Media Study, UB and Sugar City.

Listen to WMFU's "Failure Through Entertainment" feat Live In-Studio Performances by Tony Conrad & MV Carbon (December, 2007)

Download or stream it here.
Tony Conrad's contributions to Soundlab's growth are essential: in 1998 he provided "Human Organ," a PVC pipe installation, to the first Murder the Word; on 05/12/01 he performed at Big Orbit Gallery as part of Music Works Live 2 featuring real-time video manipulation on dozens of monitors and screens by Koji Tambata; he played the first Soundlab on 10/26/02 with Marina Rosenfeld/DJ Olive the Audio Janitor/and Toshio Kajiwara and on 04/13/03 in duo with Dan Conrad (chromachord light device); and has graced the current space many times, on: 05/09/04 with Town and Country; on 04/30/05 with the Tim Barnes/ Mattin/Tony Conrad Trio; on 09/19/05 with the Tony Conrad/ Paul Flaherty/ Chris Corsano/ Steve Baczkowski quartet; on 09/19/05 with the same group; and on 04/18/09 as part of the B Be In (Baltimore/Buffalo Exchange).

MV Carbon played with Metalux at Soundlab on 04/05/04 (with Peter B, Voltage, Superwow); on 08/13/08 (with Zaimph); and on 07/08/09 (with Bill Nace/Steve Baczkowski Duo).

Wednesday, April 21

Experience William Parker's Trance Quartet Tonight at Hallwalls

Wednesday, April 21, 8pm. Hallwalls, 341 Delaware Ave. $15 general admission, $10 members/seniors--WILLIAM PARKER (contrabass, shenai, flute, douson gouni, sintir); BILL COLE (double reeds, didjeridu); STEVE BACZKOWSKI (tenor/baritone sax, didjeridu, winds); RAVI PADMANABHA (drums, percussion). Hallwalls is proud to present a world-premiere concert performance featuring a new ensemble.

See Free Energy Tonight at Soundlab

Wednesday, April 21, 9pm $8-10--FREE ENERGY

Tuesday, April 20

Attend the International Noise Conference (Rochester)

Tuesday, April 20, 9pm, Dubland Underground, 315 Alexander, Rochester NY. Laundry Room Squelchers Present International Noise Conference USA Tour 2010. 15 minutes or less per act with special guest Clang Quartet (east coast). Rochester show curated by Pengo/Tumul/Nuuj, and features:
Clang Quartet
The Bloody Noes
Aghori Breathmint
Axem Ranger
Cory Card (Stone Baby)
Dead Dog Bites
Colonel Parmesan
* list subject to change

See Fluxxlab at UB This Afternoon

Tuesday, April 20, 5:30pm, UB South Campus, Crosby Hall, Free--FLUXXLAB. By Steel for Buffalo Rising:
The Food and Emerging Media Speaker Series is designed to examine the role of emerging media and new technology on exploration, articulation, and understanding the many aspects of food. Over the last few months, this lecture series has hosted artists, farmers, architects, curators, and historians whose work and research focuses on how media and technology have mediated and influenced our relationship to food. Issues examined include sustainability, social networking, emerging technologies and how each of these subjects impact our often out-of sight-out-of mind attitude toward our food production system.

Fluxxlab is a new company started by Columbia University grads Jennifer Broutin and Carmen Trudell. To date, their work has focused on sustainable energy harvesting, specifically in the form of converting small amounts of human energy into electricity. The partners graduated from Columbia University's Master of Science in Advanced Architectural Design program where they met and began their research and collaboration.

The picture above is Fluxxlab's concept for an energy harvesting revolving door. The idea is to capture the otherwise wasted kinetic energy in the door as it is used by people. Normal revolving doors employ mechanical systems of gears and oil to make the door move at a safe speed (slow and steady) and to stop in a reasonable time period. The waste energy from doing this is dumped off as unusable heat. The electricity generating door concept would use a built in electrical dynamo to control the door speed. The result would be to produce electric current every time the door is used. The electricity would be fed into the power grid. Millions of people would be generating useable energy every day with no additional effort. What a great concept! It should be interesting to hear what this pair of innovators has to say about food, and energy, and sustainability.

This lecture series is sponsored by the University of Buffalo Departments of Media Study, Philosophy, Visual Studies, Architecture and Planning and the UB Canadian-American Studies Committee.

Hear Aloha Tonight at Soundlab

Tuesday, April 20, 9pm--ALOHA, POMEGRANATES, STAY LOWS. By Cory Perla for Artvoice:
On Tuesday (April 20) indie rock veterans Aloha will make their way back to Soundlab in support of their newest album Home Acres (Polyvinyl Records). The album, which was released in early March, is a step in a different direction for the band. Its their fifth and the follow up to their 2007 EP Light Works. Where Light Works was a mostly acoustic endeavor, Home Acres is made up of some faster and more aggressive songs. The tracks have an intensity that the band hasn’t shown since 2004’s Here Comes Everyone. The lyrics and singing of vocalist Tony Cavallarioa still have the same cozy and comfortable small town vibrations. His love for metaphorical contrast between light and darkness is apparent in every aspect of the album, from song titles like “Moonless March,” and “Searchlight,” lyrics like “I fought the tyrannical sun, I try to forget you but your memory won” (“Ruins”), down to the cover art, a pencil drawing of an ominous, rustic and dark cottage in the woods. Their instrumentation and musicianship still stands out. The drumming of percussionist Cale Parks is exceptional and the band utilizes xylophones, vibraphones, and marimbas to create a dreamy and psychedelic, yet down to earth sound. Don’t be surprised if they rise up and rotate instruments mid-set, as all of the members are multi-instrumentalists. Local experimental indie rock band The Stay Lows open the show.

Monday, April 19

Watch New An Horse Video - "Postcards"

By Jessica for Stereogum:
“Postcards” is like the emotional aftermath to Rearrange Beds single “Camp Out” — in that way, it’s almost a minimal cousin to Death Cab For Cutie’s “Photobooth,” a song that finds bitter significance in the remnants of a relationship. The video’s meant to be happier than the song, judging by An Horse’s smiles at the end. The best thing about the anatomical man they create is that they test out his intestinal tract with a little piece of model poop. It must have taken some time to create — you see the band checking medical books and solving Rubik’s Cubes between cutting and painting.
An Horse visited Soundlab on 03/29/10 with Here Come the Comets.

Watch Ed Sanders Perform Charles Olson's "Maximus from Dogtown I"

Uploaded to vimeo by Pierre Joris:
On the occasion of the closing session of the Charles Olson Centennial conference in Worcester, MA on March 27 2010, Ed Sanders gave a reading/concert including this rendering of one of Olson's most powerful poems from the second volume of the MAXIMUS POEMS.

Check Out "Trailer Trash: The Weirdest & Wildest Vintage Film Trailers Ever Made" Tonight at Sugar City

Monday, April 19, 8pm, Sugar City Arts Collaborative, 19 Wadsworth St. FREE. By M Faust for Artvoice:
At least until the last decade or so, the most important job in the movie business was trailer cutting. Sell the sizzle, not the steak: the trailer was what persuaded people to pay for a ticket, and if the actual movie turned out to be a dog, well, there are no refunds. There are hundreds of trailers that are far more entertaining than the atrocious movies from which they are culled, and you can enjoy an evening of them at this program of exploitation cinema previews curated by the staff of Sugar City. Life may be too short to make time to watch all of Robot Monster, Glen Or Glenda, Shogun Assassin, The Texas Chainsaw Massacre, Werewolves On Wheels, or Super Vixens (pictured below), but here’s a change to get all of the cheapest thrills from those and dozens of others in one sitting. If you thought The Hangover was transgressive comedy, you ain’t seen nothing yet!

Sunday, April 18

Read "New Issue Project Room Debuts with Rare Performance of Morton Feldman's String Quartet No. 2" (NYC)

On Sunday, April 11, New York's venerable experimental music venue Issue Project Room opens the doors to its new home (pre-renovation) with a rare performance of Morton Feldman's six hour long contemporary masterpiece "String Quartet No. 2."
"String Quartet No. 2 has been performed in its entirety only a few times, the first being in 1999 by the FLUX Quartet at Greenwich Village’s Cooper Union. The Ne(x)tworks quartet (which includes Cornelius Dufallo and Kenji Bunch, formerly of FLUX) will play the entire piece by candlelight in the cloistered hall while audience members are invited to stay for as long as little as they like. The beauty of candlelight is also a necessity as the space is still raw, in need of renovation and lighting.

Called his “most extreme” composition, Feldman’s String Quartet No. 2 (1983) is a collective paragon encompassing Feldman’s signature free rhythms, muted pitches, quiet and slowly unfolding music, and his experiments with duration.

“The focus at the time [of the premiere in 1999] seemed to be on how we were going to play for six hours without stopping,” Dufallo reflects. “As we immersed ourselves in the music, however, this began to change: we found that duration is by no means the most interesting aspect of this work. The ‘athleticism’ became more of a secondary concern to us. In this work, duration acts as a canvas, on which Feldman paints a stunningly beautiful encomium to the eternal marriage of sound and time. The piece must exist on a large scale in order to portray this relationship.”

ISSUE Project Room’s Inaugural Concert @ 110 Livingston, Brooklyn, NY 11201. Ne(x)tworks Performs Morton Feldman’s String Quartet No. 2. April 11, 2010, FREE. Reception: 11 am. Performance: 11:30 am – 5:30 pm.

Saturday, April 17

Watch the Whacked Out Video for "Mani Malaikat" by Arrington de Dionyso's Malaikat dan Singa, See Him Live at Soundlab May 29

Arrington de Dionyso's most recent album Malaikat Dan Singa is "some imagined musical Pangaea that is reached by way of microtones, polyrhythms, throat singing, echoplex, bass clarinet and reverb in addition to drums, guitar and bass." He tours the project this spring, which brings him to Soundlab on May 29. "This will be the first chance for fans of Old Time Relijun, trance, challenging world music, and DNA enthusiasts to writhe like a snake to this beat," K Records reports.

VIDEO for “Mani Malaikat”. Old Time Relijun played Soundlab on 05/26/06 with The Stay Lows and Dimetrodon.

Read Raymond Federman: "What Makes Language Literary?"

From Raymond Federman’s "Critifiction: Postmodern Essays" (via

Friday, April 16

Download Title Track from New Jeremy Jay - "Splash"

From K Records:
Splash [KLP218], the third album by Jeremy Jay, was recorded over the summer of 2009, while Jeremy was living in London. It mixes a deeply personal, chopped-up narrative with crunchy guitars and sky-high synths. Splash is a sonic postcard that tells the story of a life picked up in a new and unfamiliar environment; that fresh ambition of a new life.

On Splash Jeremy sings with the most conviction and passion he has ever shown. He is still dreaming, but this time he's looking down from the rooftops, rather than up to the sky, and the intense life he evokes is anything but everyday.
Check it out here. On 05/05/09 Jeremy Jay shared a bill at Soundlab with The Lochs.

Hear Antic Antiphonies & Serious Skronkiness with the Nystrom/ Whitman/ Sack Trio at Soundlab Saturday

Saturday, April 17, 9pm--A night of freely improvised music with JOHN NYSTROM, a percussionist from Pennsylvania, and TODD WHITMAN and BILL SACK of Buffalo.

Johan Nystrom is a percussionist working with sound and improvisation. Also food, philosophy, SCREEACH!, mutter, whisper. He was a member of the Histrionic Thought Experiment Cooperative, an experimental orchestra founded by tENTATIVELY, a cONVENIENCE, and frequently colloborates with Jack Wright. He has played Sundanese gamelan and numerous ad hoc performances with such players as id m theft able, Stanley Schumacher, Audrey Chen, Eve Risser, Ron Stabinsky, Damon Smith, Bonnie Jones, Tim Albro, Alban Bailey, and Jesse Kudler.

Todd Whitman is "one of the more obscure--and most formidable--musicians in North America. A player totally devoted to the art of free improvisation for the last twenty years, he only surfaces for very rare public concerts. Whitman's sound (on a huge variety of reed instruments, electronics, and musical saws) has almost nothing to do with conventional music, being at once deeply animal and expressive, but also sonically exotic and even frightening at times. He is known for the strange structural development in his solos, as well as the shocking range of volumes which occur in his music from moment to moment. His music is at once deeply practiced and raw, naive, almost childlike."

Bill Sack is a composer, performer, and gadgetmaker based in Buffalo, NY. His interests include mechanical models of music-making, automated composition, extremes of recorded information, and non-idiomatic free improvisation.

Hear Brötzmann/ Drake Saturday at Hallwalls

Saturday, April 17, 8pm. Hallwalls, 341 Delaware. $15/$10 members students--PETER BROTZMANN (tenor sax, tarogato, clarinet); HAMID DRAKE (drums, percussion).
The thirty-plus years of playing and recording free jazz and improvised music have produced, even on just recorded evidence, a list of associates with Pter Brotzmann that include just about all the major figures in this genre: Derek Bailey (including performances with Company (e.g. Incus 51), Cecil Taylor, Fred Hopkins, Rashied Ali, Evan Parker, Keiji Haino, Misha Mengelberg, Anthony Braxton, Marilyn Crispell, Andrew Cyrille, Phil Minton, Alfred 23 Harth, Tony Oxley. Always characterised as an energy player - and the power-rock setting of Last Exit with Ronald Shannon Jackson, Sonny Sharock and Bill Laswell, or his duo performances with his son, Casper, did little to disperse this conviction - his sound is one of the most distinctive, life-affirming and joyous in all music. But the variety of Brötzmann's playing and projects is less recognised: his range of solo performances; his medium-to-large groups and, in spite of much ad hoc work, a stability brought about from a corpus of like- minded musicians: the group Ruf der Heimat; pianist Borah Bergman; percussionist Hamid Drake; and Die like a dog, his continuing tribute to Albert Ayler, with Drake, William Parker and Toshinori Kondo. Peter Brötzmann continues a heavy touring schedule which, since 1996 has seen annual visits to Japan and semi-annual visits to the thriving Chicago scene where he has played in various combinations from solo through duo (including one, in 1997, with Mats Gustafsson) to large groups such as the Chicago Octet/Tentet, described below. He has also released a number of CDs on the Chicago-based Okka Disk label, including the excellent trio with Hamid Drake and the Moroccan Mahmoud Gania, at times sounding like some distant muezzin calling the faithful to become lost in the rhythm and power of the music...

By the close of the 1990s, Hamid Drake was widely regarded as one of the best percussionists in improvised music. Incorporating Afro-Cuban, Indian, and African percussion instruments and influence, in addition to using the standard trap set, Drake has collaborated extensively with top free jazz improvisers Peter Brotzmann, Fred Anderson, and Ken Vandermark, among others. Drake was born in Monroe, LA, in 1955, and later moved to Chicago with his family. He ended up taking drum lessons with Fred Anderson's son, eventually taking over the son's role as percussionist in Anderson's group. As a result, Fred Anderson also introduced Drake to George Lewis and other AACM members. Drake also has performed world music; by the late '70s, he was a member of Foday Muso Suso's Mandingo Griot Society, and has played reggae. Drake has been a member of the Latin jazz band Night on Earth, the Georg Graewe Quartet, the DKV Trio, Peter Brotzmann's Chicago Octet/Tentet, and Liof Munimula, the oldest free improvising ensemble in Chicago. Drake has also worked with trumpeter Don Cherry, Pharoah Sanders, Fred Anderson, Mahmoud Gania, bassist William Parker (in a large number of lineups), and has performed a solstice celebration with fellow Chicago percussionist Michael Zerang semiannually since 1991. Hamid Drake recorded material is best represented on Chicago's Okkadisk label.

Experience Sound Artist Derek Holzer at Soundlab Tonight

Friday, April 16, 8pm, FREE--DEREK HOLZER [USA 1972] is a sound artist with a background in radio, webstreaming and environmental recording. His work focuses on the often unpredictable details to be found in field recordings and self-built analog electronic sound synthesizers, as well as strategies for collaborations and free and open source software such as Pure Data. He has released tracks under the Nexsound, Mandorla, Sirr, and/OAR and Gruenrekorder labels, and has co-initiated several internet projects for field recording and collaborative soundscapes including

Holzer has performed live, improvised electronic music, created sound installations and given workshops in basic electronics, field recording and Pure Data programming in many venues and festivals in Europe, North America, New Zealand and Brasil.

Derek Holzer is a fellow at the KHM-Kunsthochschule für Medien Köln, Cologne, DE from Sept 2009 to March 2010.

Read "Zs Release New Album May 11"

Tom Breihan reports for Pitchfork:
New York experimental rock trio Zs will release their new album New Slaves on May 11, via the Social Registry. It includes a song called "Black Crown Ceremony I: Diamond Terrifier", which is obviously awesome.
Ahahaha. Zs played Soundlab on 01/29/07 with Cages. They returned 04/22/08 to perform on a bill that also included Ecstatic Sunshine and Cex.

Thursday, April 15

See Phantogram Tonight at Soundlab

PHANTOGRAM is a duo comprised of Sarah D. Barthel and Joshua M. Carter of Saratoga Springs, NY. Their music is a mix of organic and electronic sounds, with swirling guitar, spaced-out synths, and chopped up samples and rhythms.

Read "Dan Deacon Readies 'Sad' New EP"

By Tom Breihan for Pitchfork:
On his Facebook earlier this week, Dan Deacon announced, "New self-released EP of sad songs for console organ and voice will be out in a few weeks on a limited run of vinyl, cassette, and CD-R. More info on that soon. Also, new tour dates have been posted and next week I start recording two new albums with the ensemble, one of ragers and one of meditative ragers. Two thousand zen."

Whew. In an email to Pitchfork, Deacon confirmed a few details about what he has going on. For one thing, the only instruments on the EP will be an electric console organ and Deacon's own untreated voice. It'll include a cover of the Everly Brothers' "All I Have to Do Is Dream".

On the EP, Deacon writes, "I've been wanting to release a record like this for some time and my current breakup has been the perfect catalyst to motivate me to finally do it... Unlike my other releases, this music will be much more low key, sparse, and I find the songs to be sad, although others might disagree."

Deacon says that he may release the EP under a name other than his own, just so he can play live without disappointing or confusing the party-up segments of his audience. No word yet on a title or release date.

As mentioned, Deacon's also working on two new albums with his backing ensemble. In his email, he explains the difference between the two full-lengths: "One album will be four larger-form pieces (around 20 minutes each, trying to keep them that length so they fill the side of a 12"). These are for my ensemble plus a large strings and brass section. The other will be more pop-song-length pieces, but a lot of the songs tend to be nosier and harder than my previous work... I would say I have 75% of these two albums finished, and I plan on writing the other 25% in the studio. I've always treated the studio as an afterthought and am always kind of rushing the process. It'll be really nice to just record at my own pace and finally be able to use the studio as an instrument to compose with/in, rather than as just a tool. I think it'll really help this work stand out from my previous releases."

In other Deacon news, he's scrapped plans to release Bronst, the planned companion piece to his 2009 album Bromst.
On 04/01/05, Dan Deacon played Soundlab with Height w/Bow, Chugga Chugga.

Get Tickets for Rites of Spring, a Benefit for Haiti, feat B Stosuy, Björk, Dirty Projector's Dave Longstreth & Battles's Tyondai Braxton (Brooklyn)

A millenium-era alumnus of the UB Poetics/Media Studies Department (and former member of beloved Buffalo post-rock band Treelined Highway), Brandon Stosuy's casual activities humble the best efforts of most. Currently a Senior Writer at Stereogum (quoted regularly on this site) and Contributing Editor at The Believer, Brandon previously provided music criticism for Pitchfork and the Village Voice. Additionally, he co-edited Up Is Up, But So Is Down: New York's Downtown Literary Scene, 1974-1992 (with Dennis Cooper and Eileen Myles); contributed the introduction to Michelle Tea's The Passionate Mistakes and Intricate Corruption of One Girl in America; and wrote an essay for the book Matthew Barney exploring the groundbreaking multi-media artist's use of sound.

On May 2nd, Brandon, along with Alex Ross of the New Yorker, hosts a Haiti benefit featuring DJ sets by Björk, the Dirty Projector's Dave Longstreth and Battles's Tyondai Braxton in addition to Ross and Stosuy themselves. Ross described the event, which takes place at Brooklyn DIY space Above the Auto Parts Store, this way: "don't be surprised if you hear some combination of Thai soul, doom metal, Justin Bieber, and, of course, nude Stravinsky." Commenting in a post about the event on Stereogum, Brandon added: "That, probably Alim Qasimov, a few things played at 1/4 speed, The Goat Yelling Like A Man (Feat. Usher), the other Rites Of Spring, and hopefully lots of dancing."

Tickets are $15 from Record Grouch/Old Made Vintage, 441 Metropolitan Avenue (@ Meeker) in Brooklyn. Unfortunately, there are no tickets available online, so tell the friend on whose couch you will be crashing to to drop by today. There are only a few tickets left.

All proceeds go to Partners In Health’s Stand With Haiti Fund, an organization that, as they put it, “[partners] with poor communities to combat disease and poverty.”

On 10/18/00, Treelined Highway played Big Orbit Gallery with Noggin and Hylozoa; and contributed to Murder the Word 3 at the Ukranian Home on 11/11/00, and Murder the Word 4 at the Saturn Building on 11/03/01. In between, on 10/05/01, they performed a live original soundtrack to Anticipation of The Night, a film by Stan Brakhage (a Big Orbit presentation at Squeaky Wheel). The group reunited on 06/11/05 to perform at Soundlab during Ron Ehmke's EVERYTHING: An Evening with Ron Ehmke and His or Her Very Special Guests.

Brandon was also a member of free-form experimental/noise group Knox Harrington, which performed at Big Orbit Gallery on 04/13/00 as part of the Noise Riot: an Orchestrated Evening of Unified Sonic Abstraction event; on 06/28/01 at Rust Belt Books as part of our Parenthesis series; on 09/19/01 at Mohawk Place opening for Bill Horist (presented by Big Orbit); and on 11/03/01 at Murder the Word 4 (the Saturn building).

Brandon discussed his own work on 04/26/01 as part of the Parenthesis series at Rust Belt Books.

Additionally, Brandon curated the Prose Acts festival sponsored by UB which held 2 panel discussions at Big Orbit Gallery: on 10/19/01 "Pop the Culture: Punk, Horror, Trash," with Dodie Bellamy, Lawrence Braithwaite, Dennis Cooper, Michelle Tea; and on 10/20/01 "Talking Dirty: Sexual Politics, Pornography, and Desire," with Dodie Bellamy, Kari Edwards, Robert Gluck, Kevin Killian, Eileen Myles, Matthew Stadler.

Tyondai Braxton and Dave Longstreth both visited Soundlab many times but click their links to get the dates from earlier posts, I'm tired.

Read "This Chart Detailing How Many iTunes Downloads, Spotify Streams & So Forth It Takes For A Musician To Make Minimum Wage Is Pretty Dispiriting"

By Rob Harvilla for the Village Voice's Sounds of the City blog:
Well, this is unpleasant. Based largely on data collected here, somebody went and found a very pretty way to illuminate a very ugly reality: how many CDs, or downloads, or streams (via Rhapsody and Spotify -- this chart also includes, but they've since axed that part of their service) to make minimum wage. ($13,920 a year.) Highlights: 143 self-pressed CDs. 1,161 retail CDs with a label deal. 12,399 track downloads on iTunes or Amazon. 849,817 Rhapsody track streams. 4,549,020 Spotify streams. (Spotify is a little wacky, based on the "Lady Gaga made $167 for one million "Poker Face" streams story, which Spotify has contested before.) In any event, look at those dots for awhile, and, if you have not yet made the decision to be a professional musician... don't do that.

Wednesday, April 14

Listen to WMFU's "Failure is Happening!" feat. Live in Studio Performances by Tony Conrad, Genesis Breyer P. Orridge and Eddie O'Dowd (April, 2010)

Check it out here.
Tony Conrad's contributions to Soundlab are essential: in 1998 he provided "Human Organ," a PVC pipe installation, to the first Murder the Word; on 05/12/01 he performed at Big Orbit Gallery as part of Music Works Live 2 featuring real-time video manipulation on dozens of monitors and screens by Koji Tambata; he played the first Soundlab on 10/26/02 with Marina Rosenfeld/DJ Olive the Audio Janitor/and Toshio Kajiwara and on 04/13/03 in duo with Dan Conrad (chromachord light device); and has graced the current space many times, on: 05/09/04 with Town and Country; on 04/30/05 with the Tim Barnes/ Mattin/Tony Conrad Trio; on 09/19/05 with the Tony Conrad/ Paul Flaherty/ Chris Corsano/ Steve Baczkowski quartet; on 09/19/05 with the same group; and on 04/18/09 as part of the B Be In (Baltimore/Buffalo Exchange).

Tuesday, April 13

See Surfer Blood Tonight at Soundlab

Tuesday, April 13, 9pm--SURFER BLOOD, TURBO FRUITS. By Cory Perla for Artvoice:
Springtime in Buffalo might not cause many residents to jump on their surf boards and try to catch a wave on the Niagara River, but sunny alternative rock band, Surfer Blood might encourage some to take the plunge. The band will make their way up the east coast for a stop at Soundlab on Tuesday (April 13). Although they hail from West Palm Beach, Florida, the band doesn’t actually surf... but that doesn’t stop them from making their fuzzy and shimmering surf-rock inspired songs about love and heartbreak. Their debut album, Astro Coast (Kanine Records) was released in January and has garnered them lots of attention and some critical acclaim. Their first single, “Swim,” made it pretty high up on Pitchfork’s Top 100 Tracks of 2009. Astro Coast may be an indie guitar-rock album but the band seems to pull inspiration from some diverse sources. The bongos and vocal harmonies on their track “Take It Easy” recall the Beach Boys and they borrowed the title of their song “Twin Peaks, from the David Lynch TV series. And although their album might sound something like Weezer circa 1994, it comes off as a little more serious (the band was formerly known as Jabroni Sandwich, but they seem to have grown up with their sound). Land locked surf rockers Turbo Fruits from Nashville, Tennessee open the show. Forget the Niagara River and West Palm Beach, just crowd surf.

Monday, April 12

Watch Dirty Projectors Play New Song - "Scrappy Nephew"

By Ryan Dombal for Pitchfork:
Dirty Projectors hit Dennis, Massachusetts' Cape Cinema for a couple shows over the weekend and played a brand new track called "Scrappy Nephew", according to a setlist grabbed by reader Cole Kinsler. (A spokesperson from the band confirmed that the track is new, too.)

Kinsler also filmed the song-- which has a stomping, Grand Funk Railroad-type chorus-- and put it on YouTube for your viewing pleasure. It's a bit shaky, but you get the idea. Watch it here.
Dirty Projectors performed at Soundlab 3 times: on 06/29/05 with Wind Up Bird and Nat Baldwin; on 04/18/06 with Why? (and "The Getty Address," an animated film by James Sumner); and on 08/27/07 with Yacht and Vampire Weekend.

Listen to Deerhoof Cover LiLiPUT for Young Adult Book Soundtrack

By Ryan Dombal for Pitchfork:
Deerhoof fans (and hipster parents) should be psyched for Rules to Rock By, a new book by Josh Farrar about a 12-year-old girl who's inspired by Deerhoof to form her own band. (For the record, when I was 12, I was listening to All-4-One's "I Swear". A lot.) Even better, the book comes with its own soundtrack, which features a cover of Swiss post-punk band LiLiPUT's "Hitch Hike" by Deerhoof. The book is out June 22 courtesy of Walker Books for Young Readers.

The soundtrack also includes covers of songs by bands including the Breeders by teen girl band Blame the Patient along with one-time Guided by Voices and Shudder to Think member Kevin March. There's also a tune called "Hey Satomi" written in tribute to Deerhoof's Satomi Matsuzaki.
On 05/10/05, Deerhoof played Soundlab with Needel and Ho-ag.

Catch NOMO Tonight at Soundlab

Ghost Rock is the new album from the Michigan-based collective NOMO. The album, produced by Warn Defever, sheds light on the way forward for a band that has been forging its own vital sound. This is not the Afrobeat of Fela, nor the revivalist funk of a forgotten decade. This record owes as much to Can, Eno, and MIA as it does Kuti, Francis Bebey, and Funkadelic. On Ghost Rock, NOMO arrives in a new place. There's no loss of steam as they incorporate new influences, instead NOMO breaks through with a matured and developed sound that is fully its own.

"World music, jazz, electronica, Afrobeat...I hope that we don't get marginalized by any of these terms. We are an American band, and in our hearts I think we're more of a rock band than anything else, but we do love so many different types of music," says band leader Elliot Bergman. "We have a set of musicians, and we are trying to organize our sounds in a way that represents ourselves. We're not trying to make a record that sounds like it was recorded in the 70's and we're not trying to make anybody think that this was recorded in Nigeria. We're not trying to fool anybody, and especially not ourselves! This is our music. It is full of life, full of emotion. It's funky, danceable, weird, heavy, exuberant, angry, joyous and raucous," he adds.

Friday, April 9

See Konk Pack at Hallwalls Sunday

Sunday, April 11, 8pm, Hallwalls, 341 Delaware Ave, $15 general admission, $10 members/students--KONK PACK: Tim Hodgkinson (lap steel guitar, electronics, winds); Thomas Lehn (analogue synthesizer); Roger Turner (drums, percussion).
The British/German trio Konk Pack handles a gritty, writhing mass of electroacoustic sound/noise with the rare finesse and skill that one would expect from veterans of the European improv scene. Puckish and virtuosic, Konk Pack has created a music that is as detailed as it is massive. Thomas Lehn manipulates his analogue synthesizer with an electrifying, kinetic physicality. Lehn's background is as a pianist in both New Music and Jazz. His able pianism, obvious in live concert, is fused through the patchbay of his vintage synthesizer, warping and mutating into a something startling and alluring. A founding member of the legendary and radical art rock band Henry Cow, Tim Hodgkinson's musical output is marked by versatility, creativity, and an intense work ethic. Hodgkinson's work has encompassed improvisation, composition, activism, writing, lectures, and ethnomusicology. To Konk Pack, he brings a sense of musical precision and instability, elements that have roots in his political and cultural view of music-making. Both intense and nuanced in his approach, veteran drummer Roger Turner exemplifies the extremes of percussion in contemporary jazz and improvisation. A powerful presence behind the kit, Turner demands attention as he brings a roar to a whisper. He draws the listener in with intricate detail, and then drives them into a foot stomping beat or an irresistible swing groove. Turner was musically active in England's pioneering rock and jazz scenes of the 1960's and 70's. In addition, he has extensive background in African music, film music, and theater. In the 1970's, he made his mark in the important London free improvisation scene. The physicality of Turner's performances is not easily forgotten. The strength of his personality projects a natural humor that is well-balanced by his focused intensity.

Monday, April 5

Read "New Album From the Books Due in July"

By Tom Breihan for Pitchfork:
Lost and Safe, the last album from the pastoral sound collage duo the Books, came out almost exactly five years ago. Kids who were born on the same day Lost and Safe came out are now gearing up for kindergarten. Dogs who were born on the same day Lost and Safe came out are now entering middle age. It's time for another Books album.

Well, the wait won't last much longer. The duo have signed with Temporary Residence, and they plan to release an as-yet-untitled new album this July. They'll play the Communikey Festival in Boulder, Colorado on April 16, ATP New York in September, and pretty soon they'll announce a round of more tour dates. Click here to watch a video of them playing a new song live.
On 05/01/06 The Books played Soundlab with Todd Reynolds and The Sleeping Kings of Iona.

Listen to New Thermals - "Separate"

By Ryan Dumbal for Pitchfork:
Portland pop-punk trio the Thermals are celebrating this year's Record Store Day (April 17) with a new split 7" with the Cribs. And, what do you know, the Thermals' track, called "Separate", is now streaming at the band's MySpace.

As previously reported, the band is making their next LP with Death Cab for Cutie's Chris Walla in Portland. It's tentatively titled Personal Life and is due September 7 via Kill Rock Stars.
The Thermals visited Soundlab on 05/02/09 with Shaky Hands and Point Juncture, WA.

Watch New Phantogram Video - "Mouthful of Diamonds," See Them Live at Soundlab April 15

By Jessica for Stereogum:
In Phantogram’s “Mouthful Of Diamonds” video, the (upstate) New York duo hover inside an isolated house, looking out of the windows at darkness too thick to see through. The pair barely make eye contact, except for a moment toward the end when member Josh Carter steps outside to dig a hole in the frozen ground. Such cold ambiguity makes sense for Phantogram; Eyelid Movies, as well as its opening track “Mouthful Of Diamonds,” were made for solitary 3 a.m. listenings. Sarah Barthel’s vocals seem as if they’re being whispered to you, somewhere between the song’s drum machine and guitar. The video was directed by Drew Norton, who’s also done videos for Say Hi and Micachu & The Shapes.

See "Freek-Jazz, Anarcho-Folk and Chamber-Din" at Soundlab Tonight

Tonight, April 5, 9pm, FREE FREE FREE!!! Brooklyn smacks Buffalo in face with hands of LITTLE WOMEN. Buffalo retorts with gesture from KG Price and Gut Flora. See you there!
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