Wednesday, June 23rd
at the 2640 Space
2640 St. Paul St.
The Baltimore experimental music community is extremely happy to be hosting
The Friction Brothers (Fred Lonberg-Holm, Michael Zerang, Michael Colligan) from Chicago. The group features virtuosic, internationally acclaimed musicians who devote this particular group to a highly specific form of disciplined improvisation including harmonic resonances, grinding objects, manipulated dry ice, and heavy friction. Expect extremely disciplined and sensitive playing as well as outrageous sonic departures and iconoclastic techniques via cello, percussion, and invented instruments.
The Friction Brothers will be joined by local improv favorites Trockeneis (Audrey Chen, Andy Hayleck, Dan Breen, Paul Neidhardt, Catherine Pancake.) Trockeneis is an acoustic musical collective devoted to New Frictionalism - the boundary between extreme tempi and sonic continuity ("tone".) Instruments include voice, percussion, bowed metal, tricks, hijinx, jokes, dry ice, bottles caps, broken cymbals, and other discarded or handy objects.
Snacks (Tom Boram and Dan Breen) will be opening the show with a short set of inspired electronic dotage & pointed musical derangement in their usual high quality, dandy style.
The Friction Brothers:
Reedman and dry ice-r Michael Colligan has been a member of The Flying Luttenbachers, Pillow, and Math, in addition to contributions to records by Jim O�Rourke, Smog, and Boxhead Ensemble.
After studying at Julliard, as well as with Anthony Braxton and Morton Feldman, Fred Lonberg-Holm founded the Valentine Trio, a jazz trio that started with the music of Fred Katz and now focuses of Fred�s writing, and the Lightbox Orchestra, a rotating cast of improvisers that work with a lightbox and set of cue cards that provides playing instructions. Ever busy, Fred also performs in Vandermark 5, Peter Brotzmann Chicago Tentet, Territory Ensemble/Band, Guillermo Gregorio Trio, Keefe Jackson�s Fast Citizens, Joe McPhee Survival Unit III, Boxhead Ensemble, among others. He has also contributed cello to albums by Wilco, Smog, Will Oldham, Califone, etc.
Michael Zerang was born in Chicago, Illinois and is a first generation American of Assyrian decent. He has been a musician, composer, and producer since 1976, focusing extensively on improvised music, free jazz, contemporary composition, puppet theater, experimental theater, and international musical forms. He has collaborated extensively with contemporary theater, dance, and other multidisciplinary forms and has received three Joseph Jefferson Awards for Original Music Composition in Theater, in 1996, 1998, and 2000. He has over sixty titles in his discography and has toured nationally and internationally since 1981 with and ever-widening pool of collaborators. He was the artistic director of the Link�s Hall Performance Series from 1985-1989 where he produced over 300 concerts of jazz, traditional ethnic folk music, electronic music, and other forms of forward thinking music. He continued to produce concerts at Cafe Urbus Orbis from 1994-1996, and at his own space, The Candlestick Maker in Chicago�s Albany Park neighborhood, from 2001 � 2005. He has taught as a guest artist at The School of the Art Institute of Chicago in performance technique, sound design, and sound/music as it relates to puppetry; rhythmic analysis for dancers at The Dance Center of Columbia College, Northwestern University, and MoMing Dance and Arts Center; courses in Composer � Choreographer Collaborations at Northwestern University; music to children at The Jane Adams Hull House. He has held workshops in improvisational music and percussion technique and teaches private lessons in rhythmic analysis, music composition, and percussion technique.
From the den of pre-scientific iniquity in which Baltimore sound actors thrive on non-planning, the stately emergence of professional harsh acousticians in five-part harmony, a brash romp through the New Frictionalism, The New Spectralism, and The New Ritualism. Bowing. Rubbing. Scraping. Squealing. Squeaking. Screeching. Moaning. Silence. Anything else. Nothing else. Sound fixations waiting to unfix in the act of observation/measurement. Go ahead, measure them. Then flip to side B and watch your numbers float away in a muddy stream of ink. All sounds were made without electricity. It's portable music. You can easily move from now to the time when there was no emotion, just its precursors of permanently lingering urgency. Paul Neidhardt, Catherine Pancake, Dan Breen, and Andy Hayleck caress their idiophones until they're lost in backporch lullabies of terror. Audrey Chen's voice also gets lost, swallowed by its mechanical half-kin and trapped into the shadow world of forbidden overtones. In the center we find a steaming hunk of dry ice, hosting the sounds of molecular frenzy at the interface of hot and cold. Metal. Wood. H2O. Larynx. Danger. Safety. They say it's built into the limbic system.
Related Link 2: ehserecords.com/ehse004.html
Related Link 3: ehserecords.com/ehse008.html