musical sculpture by Ken Butler & Ed Potokar
"Not the old, not the new, but the necessary". – Tatlin 1920
Sept.10th – Oct. 9th, 2016
Opening Sat. Sept. 10th 7-10pm
Concert series Sept.16/17, 23/24, 30/1, Oct. 7/8 at 7:30
Sideshow Gallery 319 Bedford Ave. Brooklyn, NY, 11222
Sideshow Gallery presents SONARE, an exhibition of eccentric, ingenious musical sculptures and other artworks by artist-musicians Ken Butler and Ed Potokar. These innovative works bridge visual art, design, sound art and music, as function and form collide in an environment of sound, light, and motion.
A concert series featuring outstanding instrument inventors will accompany the exhibition. It showcases a selection of artists performing on their sonic creations and collaborating together.
Although their intentions are rather similar, the two artists in SONARE are differentiated by the finished product. Butler exclusively uses up-cycled and transformed objects without much concern for a polished look. Potokar, on the other hand, uses mostly raw materials and fine wood with an interest in finish and craftsmanship. Both artists are motivated by things “at hand” rather than by pre-existing plans, and are essentially improvisers. The resulting music and sound-scapes are a by-product of these creations.
The multi-media artworks in SONARE challenge previous notions of form and function as seemingly random juxtapositions of found objects, raw materials, electronics, and implied sounds force you to reconsider musical instruments as fine art. Butler and Potokar believe a new definition is required as unprecedented access to new technologies has hybridized previous notions of what it means to be a musician, a composer, an artist, an instrument designer, a performer, or a gallery. The integration of all our senses, and the fusion of disciplines within an exhibition space are contemporary notions. While we see only what is in our field of vision, sound and light are pervasive, intrusive, and emanate in all directions, vibrating the walls and engulfing the surroundings unlike any static object.
SONARE presents a unique confluence of art, instruments, sound, and performance.
To quote curator Germano Celant from the ART OR SOUND exhibition at the Prada Foundation, Venice, 2014: “The intention is to offer a reinterpretation of the musical instrument that turns into a sculptural-visual entity, and of artworks that produce sound, in a continual encroachment and inversion of fields.”
Not only provocative to the eyes, many of these inter-active sculptural works embody multiple dimensions of sonic capabilities and transcendence when played in performance, creating a new exhibition paradigm. When all these forces combine and are presented with a thorough expression and virtuosity, we are engaged in an immersive environment of limitless possibility and expression.
When amplified and shaped with modern processing, virtually any object can produce musical sounds. As modern artists and instrument builders explore ergonomic and technological innovations, the resulting multi-disciplinary hybrid object raises these questions: What are the relations between sound art, sculpture, music, performance and emotion? What constitutes musical expression? How do we create meaningful correlations between performance gestures and their musical consequences? How important is the visual character of a sound-making device? What is a musical instrument?
Considering that the first instruments precede art-making and date from more than 40,000 years ago, and that recording and amplification are barely more than 100 years old, we perhaps don’t fully understand these recent innovations. Reflect that we are also only that far from Luigi Russolo’s groundbreaking “Art of Noise” Futurist Manifesto, the cubist guitar/instrument inventions of Picasso and Braque, the birth of Dada at The Cabaret Voltaire, and Marcel Duchamp‘s transformative visions of art and life, forever shifting the path of contemporary thought.
poster by Alice Malloy (who will be performing with The Audio Artists Sept. 30th)
Instrument Makers Concert Series
Fri. & Sat. nights 7:30 Sept.16th - Oct. 8th, 2016
A concert series featuring outstanding instrument inventors showcases a selection of artists performing on their sonic creations and collaborating together.
Merche Blasco Fri. Oct. 7th
Merche Blasco is an interdisciplinary artist and composer based in New York.
Her practice revolves around building new instruments for electronic music performance, orchestrating participatory sound performances in public spaces, and electro-acoustic improvisation.
She has presented her performances and installations at NIME conferences, Sonar Festival (Barcelona), Make Music NY, SONIC Festival (NYC), Mapping Festival (Geneva), Queens Museum of Art (NYC), Harvestworks (NYC) and the Museum of Contemporary Art in Santiago, Chile, among others. Her work has been featured in The New York Times, The Wall Street Journal, and Wire magazine.
Ken Butler Fri. Sept. 16th
Ken Butler is an artist and musician whose Hybrid musical instruments, performances and other works explore the interaction and transformation of common and uncommon objects, altered images, and sounds as function and form collide in the intersection of art and music. He is internationally recognized as an innovator of experimental musical instrument sculptures created from diverse materials including tools, sports equipment, and household objects. Bricolage, essentially using what is “at hand”, is at the center of his art, encompassing a wide range of practice that combines assemblage, live music, instrument design, sculpture, installation, photography, film & video, graphic design, drawing, and collage.
Created primarily from consumer detritus with a patina of use, the hybrid instruments express a poetic spirit of re-invention and hyper-utility as new associations momentarily create a striking and re-animated cultural identity for forsaken objects. String instruments become body, tool, weapon, toy, machine, phallus, creature, fetish, sculpture, icon, symbol, and voice. Pianos become cybernetic and symbolic architecture. Anxious objects speak in tongues.
Ken Butler studied viola as a child and maintained an interest in music while studying visual arts in France, at Colorado College, and Portland State University where he completed his MFA in painting. He resides in Brooklyn, New York.
He has been featured in exhibitions and performances worldwide including The Stedelijk Museum in Amsterdam, The Prada Foundation in Venice (as part of the “ART OR SOUND” exhibition at the Biennale), The State Hermitage Museum in St. Petersburg, Mass Moca, and The Kitchen, The Brooklyn Museum, Lincoln Center and The Metropolitan Museum in New York City as well as in Canada, South America, Thailand, and Japan.
His works have been reviewed in The New York Times, Village Voice, Artforum, Smithsonian, and Sculpture Magazine and have been featured on PBS, CNN, MTV, and NBC, including The Tonight Show. Awards include fellowships from the Oregon Arts Commission, the New York Foundation for the Arts, the National Endowment for the Arts, and the Pollack/Krasner Foundation. He won first prize in the international Guthman Instrument Competition at Georgia Tech in 2016.
He has performed with John Zorn, Laurie Anderson, David Van Tieghem, Butch Morris, The Soldier String Quartet, Matt Darriau's Paradox Trio, The Tonight Show Band, and The Master Gnawa musicians of Morocco. His CD, Voices of Anxious Objects is on Tzadik records.
Works by Ken Butler are represented in public and private collections in Portland, Seattle, Vail, Los Angeles, Toronto, Montreal, Washington, Paris, Tel Aviv, and New York City including the permanent collection of The Metropolitan Museum of Art.
Cooper-Moore Sat. Sept.17th
As a composer, performer, instrument builder/designer, storyteller, teacher, mentor, and organizer, Cooper-Moore has been a major, if somewhat behind-the-scenes, catalyst in the world of creative music for over 30 years. As a child prodigy he played piano in churches near his birthplace in the Piedmont region of the Blue Ridge Mountains of Virginia.
His performance roots in the realm of avant jazz music date to the NYC Loft Jazz era in the early/mid-70s. His first fully committed jazz group was formed in 1970 - the collective trio Apogee with David S. Ware and drummer Marc Edwards. Sonny Rollins asked them to open for him at the Village Vanguard in 1973, and they did so with aplomb. A studio recording of this group was made in 1977, and issued as Birth of a Being on hatHut under Ware’s name in 1979 (re-mixed and re-issued in expanded form on AUM Fidelity in 2015!). Following an evidently rather trying European tour with Ware, Beaver Harris, and Brian Smith in 1981, Cooper-Moore returned home and completely destroyed his piano, with sledgehammer and fire, in his backyard.
He didn’t play piano again until some years after, instead focusing his energies from 1981-1985 on developing and implementing curriculum to teach children through music via the Head Start program. Returning to New York in 1985, he spent a great part of his creative time working and performing with theatre and dance productions, largely utilizing his hand-crafted instruments. It was not until the early 90s, when William Parker asked him to join his group In Order To Survive, that Cooper-Moore’s pianistic gifts were again regularly featured in the jazz context. In the early 'aughts the group Triptych Myth was his own first regular working jazz group in decades and together they blazed some trails (may again!) and released two albums; one rich formative, and one exquisite. Cooper-Moore's creative life continues well-strong and unabated into the present day
Terry Dame Fri. Sept. 23rd
Terry Dame is a composer, multi-instrumentalist, instrument builder, hacker and educator. She began playing trumpet and piano at age 8 and continued playing into high school. Upon entering college she put music aside to pursue engineering and environmental studies, graduating with a BS in Environmental Planning from the University of Massachusetts. After graduating she couldn’t resist her creative impulses, bought a synthesizer and started composing music and designing sound for theater. In 1985 Ms. Dame moved to New York City, got involved with the WOW Cafe Theater, produced four multi-media concerts and took up saxophone. She has been performing and composing for film, video, theater, dance and installations ever since.
Instrument building came about in graduate school while studying composition with the late Art Jarvinen at Cal Arts where she also studied with Wadada Leo Smith, Vinny Golia, Rajeev Taranath and Balinese Gamelan master Nyoman Wenten. These influences continue to shape her creative work today. In 1998 she returned to NYC to form the invented instrument ensemble Electric Junkyard Gamelan composing, designing and building the instruments for the four piece ensemble.
Currently, Dame performs in solo or duo configurations with her original interactive sensor-driven instruments under the monikers ElectronGong and The Science Music Road Show. She hosts and curates a monthly music series at held at Barbes in Brooklyn called Terry Dame's Weird Wednesdays (now in its second year) dedicated to instrument inventors and players of objects and other musical oddities. Dame also leads the seven-piece modal jazz group Monkey on a Rail. She collaborates with controllerist/dj Julie Covello and bassist/percussionist Dawn Drake in the EDM group Daughter Of Darrr and is a member of international dance music band Paprika. As a side person Ms. Dame performs on multiple instruments in a variety of groups including Kenny Wollesen's Himalayas and Wollesonic Laboratories and Jessica Lurie's Plate Tiptonics. She was composer-in-residence and saxophonist with Jennifer Miller's NYC based Circus Amok from 1994-2004.
Notable film score collaborators include Maria Maggenti (The Incredibly True Adventure of Two Girls in Love, Puccini for Beginners), Judith Helfand (Blue Vinyl), Erin Greenwell (My Best Day), experimental film maker Diane Bonder (Closer to Heaven), and documentarists Harriet Hirshorn and Mary Patireno (Disappearance of Tisouer, Sodom by the Sea). She is an alumni of the prestigious Sundance Institute Composer Lab (2006).
Ms. Dame has received grants and commissioning funds from HarvestWorks Digital Media Art Center, Fractured Atlas, Mary Flagler Cary Charitable Trust, The Rockefeller Foundation, New York State Council for the Arts, Meet the Composer Fund and the Franklin Furnace Archive. She was an artist in residence at HERE Art Center in New York City during 2003 & 2004. She is currently on faculty in the MFA Computer Art and BFA Film Departments at the School of Visual Arts and the Creative Media Department at Marymount Manhattan College in NYC. She tours nationally performing and teaching workshops on instrument building with recycled objects and interactive technologies to all ages. Dame holds a MFA in Performance and Composition from the California Institute of the Arts.
Nick Demopoulos Sat. Sept.17th
As a performer, composer, producer and sound designer Nick Demopoulos has had considerable experience working in many varied musical situations. These situations include music for feature films, documentaries, television, video games, theatre, modern dance, commercials, internet ads, instrument design, performances in concert halls, festivals and small clubs. Some of the mediums Nick has composed in include jazz combo, chamber groups, solo guitar, electronic music and electro-acoustic music. Working as a teaching artist, Nick has given music workshops to young children, high school students, those with no musical training, non-english speakers and guitar classes to senior citizens.
Nick worked and performed with renowned percussionist and NEA Jazz Master Chico Hamilton in his group "Euphoria" and has appeared as the guitar player on Chico's last releases, "Revelation" "Euporic" and "The Inquiring Mind". Other artists he has worked with include Solsonics, God is my Copilot, Complexions Contemporary Ballet, Choreographer Camille Brown, The National Theatre of the United States of America, Walter Thompson, Steve Gaucci, Angela DiCarlo, Exegesis, and Angel Eyedealism.
In 2008 Nick Demopoulos was selected to participate in the American Music Abroad Program, sponsored by Jazz at Lincoln Center and the U.S. Department of State and as a result toured the Gulf States region of the Middle East and held performances and educational workshops in Bahrain, Oman, Yemen, United Arab Emirates and Kuwait. Photos and details about this trip can be found at the following link: www.nickdemopoulos.com/mideastblog.html
He has appeared at numerous national and international venues, including the SXSW, 2011 In/Out Fest at the Knitting Factory in Brooklyn, 2003 Montreaux Jazz Festival, the Los Angeles County Museum of Art, The Whitney Museum, The Brooklyn Museum, The Phoenix Festival, the Hamburg Jazz Festival, Dizzy’s Club in New York, and the National Geographic Museum in Washington D.C. In 2012 he performed a solo guitar piece entitled, "Memories," on stage with Complexions Contemporary Ballet during their season at the Joyce Theatre that was created by choreographer Camille Brown.
Jeff Miers of the The Buffalo News called Nick "one of the most strikingly virtuosic, well-versed jazz guitarists this side of Pat Metheny," and Eburban.com referred to The Harmony of the Anomaly, Nick's most recent release, as "about as well composed, performed, and produced as experimental jazz can be." Of the 1997 release Harmonic Convergence, Marc Gallo of JazzReview.com wrote "visual music. Music that begs the eye to close and the mind to be still. It is a musical journey that is exciting, well-paced and, pardon the cliche, simply brilliant."
In June of 2012 Nick was the musical director for the production of The Golden Veil by the National Theatre of The United States of America (NTUSA) at the Kitchen in New York. Other theatre projects include composing music for two musicals, Rhymes with Adventure and I, Medusa. Rhymes with Adventure was chosen as one of the best theatre pieces of the '99-00 season by the Village Voice and was performed at the Soho Repertory Theatre. The following year, I, Medusa appeared at the Ontological Theatre in New York. Demopoulos did the sound design for the play Lola is Sick, (2004) by Lisette Merenciana which appeared at Here Theater in New York. This sound design included two hours of field recordings made in Brooklyn of bustling city noise. It has since been made commercially available and has been used in countless art installations, plays and films. It can be purchased here.
In 2010 Nick started his most important work to date, designing, building and composing music for an instrument he created called "Smomid." This instrument can be most simply described as a touch sensitive guitar that controls highly sophisticated software. This software allows for variation of beats, bass lines and patterns within a musical performance in realtime. It also allows for a dynamically, variation rich and ever evolving live performance of electronic music. The music Nick performs on the Smomid is closer to Jazz, World or modern Classical than Electronic Music
Brian Dewan Sat. Oct.1st
Brian Dewan is an artist who works in many media, including art, music, audio-visual performances, decorative painting, furniture design, poetry and musical instrument design. Dewan writes, narrates and illustrates I-CAN-SEE Filmstrips, and collaborates with his cousin Leon Dewan in the electronic music duo Dewanatron. He has produced four albums of songs and concertized extensively as a solo artist, as well as having performed in various collaborations and as a sideman. His musical releases include: Tells The Story, The Operating Theater, Words Of Wisdom, and Ringing At The Speed Of Prayer. Dewan lives in Catskill, New York.
Neil Feather Sat. Oct.1st
Sound Mechanic Neil Feather has been creating radical and unusual musical instruments since 1970 and is increasingly known as one of the most original musical thinkers of his day. His instruments each embody uniquely clever acoustic and engineering principles, and are visually arresting. The music he plays on the instruments is equally original, embodying new principles and resulting in a nearly alien idiom of music.
Neil Feather has been involved in Baltimore’s fertile and eccentric culture since moving there in 1985. He was a founding member of the Red Room Collective and the High Zero Foundation, a group committed to the presentation of experimental and improvised music. He has a long history of collaborative projects and solo concerts.
Some of his major music projects are The Official Project, Thus, Aerotrain, Elephantitans and Mugwump. These groups all centered on Feather’s instruments and compositions.
Feather’s work has always been fully rooted in art and music together in concept, execution and performance. His deep involvement with Baltimore’s experimental music community compliments his wide international acclaim. He won the 2014 Sondheim Art Prize and the 2014 Trawick Art Prize. He was included in a major exhibition “Art or Sound” in the 2014 Venice Biennale, and was recipient of a 2016 Guggenheim Fellowship for his pioneering work.
Thessia Machado Fri. Sept. 23rd
Thessia Machado’s work investigates the physicality of sound and its effect on our perception of space. In sculptures and interactive installations that have a real-time, live component, the expressive potential is still active and changeable.
As an extension of this practice, and under the moniker link, she also performs electronic and electro-acoustic experimental music with hand-made and modified instruments.
Thessia’s installations and video pieces have been exhibited in New York, London, Philadelphia, Paris, Amsterdam, Dublin, Berlin and Athens. She has been awarded residencies at Homesession, Barcelona, the NARS Foundation, NY, I-Park, MacDowell Colony, Yaddo, the Atlantic Center for the Arts, the Irish Museum of Modern Art and the Vermont Studio Center and is a recipient of fellowships from the New York Foundation for the Arts, The Experimental Television Center and The Bronx Museum.
Ben Neill Fri. Oct. 7th
Ben Neill is a composer, performer, producer, and inventor of the mutantrumpet, a hybrid electro-acoustic instrument. He has been called “a creative composer and genius performer” (Time Out NY),”the mad scientist of dancefloor jazz” (CMJ), and “a musical powerhouse, a serious and individual talent” (Time Out London). Neill’s music blends influences from electronica, jazz and contemporary classical music, blurring the lines between DJ culture and acoustic instrument performance.
The Demo, Neill’s electronic opera created in collaboration with composer/performer Mikel Rouse, was premiered at Stanford University’s Bing Concert Hall in April 2015. The Demo re-imagines computer pioneer Douglas Engelbart’s prophetic 1968 demonstration of emerging computer technologies such as the mouse, electronic messaging, video conferencing and word processing as a technologically infused performance. The piece employs a live network of interactive systems and instruments to reflect on the origin of those technologies. The Demo received a Rockefeller Foundation MAP Fund grant in 2015, and was developed at the University of Illinois and the National Center for Supercomputing Applications. The premiere received international press attention from major news outlets including the New York Times, Wired, and the Daily Mail in London.
Neill has recorded nine CDs of his music on the Universal/Verve, Thirsty Ear, Astralwerks, Six Degrees, Ramseur, New Tone and Ear-Rational labels. His next LP, Horizonal, will be released in Fall 2015 on Audiokult Records, based in Vienna, Austria. In 2010 his music theater work Persephone was presented at the BAM Next Wave Festival. Songs for Persephone, a CD of music from the theatrical production, was released in 2011 on Ramseur Records to critical acclaim. Neill has performed extensively in a wide variety of international settings including Lincoln Center, Cite de la Musique Paris, Moogfest, Spoleto Festival, Umbria Jazz, Bang On A Can Festival, ICA London, Istanbul Jazz Festival, Vienna Jazz Festival, and the Edinburgh Festival, to name a few. He has worked closely with many musical innovators including John Cage, LaMonte Young, John Cale, Pauline Oliveros, Mikel Rouse, Rhys Chatham, DJ Spooky, David Berhman, Mimi Goese, Page Hamilton, Nicolas Collins, and David Rothenberg.
Neill began developing the mutantrumpet in the early 1980s. Initially an acoustic instrument (a combination of 3 trumpets and a trombone combined into one), he integrated the instrument with electronics when collaborating with the synthesizer inventor Robert Moog. In 1992, while in residency at the STEIM (Studio for Electro-Instrumental Music) research and development lab for new instruments in Amsterdam, Neill made the mutantrumpet fully computer interactive. In 2008 he created a new version of his instrument at STEIM, and returned there in 2014 to design yet another version which will be completed in 2015.
He is also active as a sound and installation artist. His works have been exhibited in museums and galleries including Sandra Gering Gallery New York, Exit Art New York, Wellcome Gallery London, the American Museum of Natural History, and Paula Cooper Gallery. ITSOFOMO, his major collaborative piece with the late artist David Wojnarowicz, has been presented widely in venues such as The Tate Modern London, The Armand Hammer Museum in Los Angeles, The New Museum New York and PPOW Gallery New York, and was featured in the PBS documentary Imagining America.
Other aspects of Neill’s musical career include scoring for films and numerous national television commercials for leading brands such as Cadillac and Volkwagen.
A native of North Carolina, Neill is a graduate of Manhattan School of Music. He studied composition with minimalist composer La Monte Young and has led many performances of Young’s work in the 1980s and 90s, and in 2015 will lead concerts in New York, Warsaw, Paris, and Huddersfield. In May 2015 he was a Visiting Artist at the American Academy in Rome. Since 2008 he has been a music professor at Ramapo College of New Jersey.
Ed Potokar Fri. Sept. 30th
Ed Potokar is an artist, musician, and designer who melds sound sculpture, audio architecture and handcrafted musical instruments into a virtuosic display of craftsmanship and visionary artistry.
The son of a jazz drummer with a diverse array of influences ranging from Miro to Mancini, Duchamp to Moog, and Eames to Bowie, Potokar utilizes his expertise to design and play unusual, intriguing sculptural instruments that create adventurous sonic and visual landscapes. He has invented a world where primitive and modern sounds perform a delicate dance in the context of the provocative shapes that trigger them. This curiosity in sonic objects led him to The Cleveland Institute of Art (CIA), where he graduated with a BFA in industrial design and sculpture.
“I find that music and sculpture are parallel interests for me and I have been doing both for as long as I can remember,” comments Potokar. “In this time of complex technology, there are still simple ideas that can be explored, and I enjoy making something from nothing. I actually find sculpture and music to be quite similar and my instruments, performances, and architectural elements are the result of a quest for something different that bridges the worlds of design, audio, and art.”
His work and performances have been showcased in shows in Soho, Brooklyn, Atlanta, and Hartford, and at the Prada Foundation in Venice, Italy, as part of the Venice Biennale. He has been featured in The Wall Street Journal, New York Magazine, Modern Painter, Elle Décor, DesignBoom, Guitar Aficionado, Fast Company, Co.Create, as well as on NewYork1 News, VH1, WNYC’s “Soundcheck”, the BBC and NBC’s Today Show. He is currently featured in Music Of the Future, a European documentary.
Potokar was recently invited back to perform and exhibit commissioned artworks at LongHouse Reserve’s annual benefit in East Hampton, NY, celebrating Cindy Sherman, Agnes Gund and Kiki Smith. He has been invited 3 times to the Guthman Musical Instrument Competition at Georgia Tech, where he won awards for the most unusual instrument and a special judges’ award.
Bradford Reed Fri. Sept. 16th
Bradford Reed is a Brooklyn based composer, performer, percussionist and producer who fights and tames the idiosyncrasies of the pencilina, an original instrument of his own design and construction. The pencilina could be described as an electric 10 stringed collision of the hammer dulcimer, koto and slide guitar. In addition to extensive solo performances he played with King Missile III (and produced 5 of their records) and also played in the Blue Man Group's original band for 10 years. Bradford is currently playing with Zach Layton in Minerals, a drum and guitar duet. In 2015 he started using an analog modular synthesizer to process percussion and using this technique as a foundation formed Ohmslice with Jane Lecroy. This project has drawn together musicians from different genres and video artists to create groundbreaking new works.
Bradford produced records for artists including Phil Kline, Krakatoa, the Deedle Deedle Dees and Carol Lipnik. At the moment, he's working with the Vital Record, an NYC based indigenous music label, producing an audiophile record of flamenco music from the Bay of Cadiz.
Creating music for film and television has always been at the center of Bradford's career. He was awarded a fellowship to the Sundance Institute's Film Composers' Lab and a residency at the Ucross Foundation. He composed the music for Comedy Central's mockumentary Golden Age and 3 seasons of its animated series Ugly Americans, as well as music for the first season of Superjail! on Adult Swim. Transfatty Lives, a recent scoring project, won the audience awards for Best Documentary at the 2015 Tribeca, American and Milan film festivals. He's also half the duet of Reel Orchestrate who've been doing live music for silent film around New York for the last 5 years based primarily around Williamsburg's Nitehawk Cinema.
He's always used a lot of technology in his work and became adept at MAX/MSP programming. He's worked extensively with Moey Inc., a top NYC interactive design, creating multimedia exhibits and over the last 7 years has been programming and developing his own software for creating self generative randomly evolving soundscapes to be used in public spaces. Prototypes are to be deployed this Summer at the new offices of Miles Redd Llc. (a leading interior design firm) and a top secret and really cool location.
Adrian Romero Fri. Sept. 16th,
(playing Butler's BicycleWheel)
Adrian Romero has led a dual life. Classical musician and composer. Electric musician, songwriter, and electronic cut-up artist (the latter under the Radiomen Roar moniker.) Adrian's soundtrack music has been heard on the Sundance Channel and IFC. Born in Santa Fe, New Mexico, he is a devotee of his hometown's nylon string traditions of classical, mariachi, and flamenco guitar. He is equally regarded for his electric guitar and bass playing, and for yelling into a mic.
Adrian has always had an interest in musical instrument inventors, and unusual instruments. He is one of the premier players of Leon Gruenbaum's instrument, the Samchillian Tip Tip Tip Cheeepeeeee, samchillian for short. This interest also led him to seek out visual artist, instrument designer, and musician Ken Butler. Adrian's subsequent musical collaborations and friendship with Ken have resulted in his writing and recording 3 albums of music exploring all aspects of Ken's BicycleWheel, an instrument known to followers of Ken's work from the Gravikords, Whirlies, and Pyrophones book & CD. These records will begin to be released in 2017. Expect to also see the release of a live recording of Ken, Adrian, Matt Kilmer, and Clinton Van Gemert. Tonight's performance will consist of material exclusive to this event.
The Audio Artists Fri. Sept. 30th
The Audio Artists are a collective of individuals drawn together by their common interest in creating music with esoteric instruments. They are Paul Badger, Frank Coelho, Alice Malloy, Edward Potokar, Mark Schaaf, Lawrence Swan, George Tegzes, and Scott Williams.
More of a “science project than a band”, the Audio Artists deliver a full spectrum of musical expression ranging from “danceable techno tango to electronica disharmonica” The Audio Artists break with any categorizable type of conventional pop music. Most of their sounds are generated by instruments that are designed and created by the musicians themselves. Members range in background from those who are totally resistant to normal musical conventions to those with advanced musical degrees and mad audio engineering skills. Other unusual instruments are used in both their original and modified forms. A Bob Moog Etherwave Theremin, for instance, is played alongside a custom-made Theremaniac Brassiere. An Audio Artist live show is often an experience in the tradition of Cab Calloway, P.T. Barnum, General Augusto Pinochet and the Romans. Live Mattel pixel feeds, 1920’s erotica from the King of Spain's private collection and other sundry visuals mix with ease, usually ensuring an evening of perplexing stimulus. The infamous Don Hill, owner of Don Hill's, a legendary nightclub in downtown NYC, commented, “I've been in music for a long time and I've never seen or heard anything like this.”
The Weird Wednesdays Sat. Sept. 24th
The Weird Wednesdays are an all-star group of instrument inventor/musicians performing conducted improvisational music on their own invented musical contraptions. Emerging from the on-going monthly invented-instrument series "Terry Dame's Weird Wednesdays", curated by Dame and now in it's fourth season, the group features artists Terry Dame, Ken Butler, Ed Potokar, Daniel Jodocy and Ranjit Bhatnagar. This stellar line-up of inventors with perform on a collection of original musical oddities - acoustic, electric and electronic, such as the Horn of Plenty Sounds, the CoinBox, Parisian Hammer Keys, Tape Drums and Broom guitar, Double Hockey Cello, the Nukatron and the Air Cleaner.
Prepare to be wowed, prepare for the unexpected.
Bricolage: A construction made of whatever materials are “at hand”..... images ©Ken Butler 2016