I wanted to let you know about a festival that we (Aphonia Recordings) will be hosting during the first week of June. As a celebration of 2+ years in business, we have organized this three day festival featuring friends & artists across the region & the country. In classic Aphonia-fashion, the festival will showcase a synthesis of Electroacoustic, Microtonal, Performance Art, Avant-Pop, & New music. As always, we hope to see you there….
Desolation Wilderness is a West Coast band. They left the parking lots and the malls, the high schools and the valleys, and found their home at the summer night overlook. Taking the sounds of the cities below & amplifying them into a pitched resonance, they write slow burners & warped guitar/synthesizer/vibraphone ballads influenced by drone music, the photorealistic art of Robert Bechtle, & musique concrete (with pulse included). Desolation Wilderness has released music with a variety of labels, including Aphonia Recordings (In Love With Anything 2007). They hit the studio again & recorded New Universe for release on K Records in August 2009. Itching to leave the studio again, Desolation Wilderness will be touring extensively in support of New Universe.
(b. 1971, Washington DC , US )
Since arriving in Seattle in the mid-nineties, Bill has established himself as a highly regarded performer, composer and improviser. He has appeared on over 50 releases and has performed hundreds of concert around the world. In addition to his solo endeavors and work with bands Master Musicians of Bukkake, the Paul Rucker Ensemble and Ghidra to name a few, he has collaborated with a wide range of artists including John Zorn, Secret Chiefs 3, Ruins, Bill Frisell, KK Null, Vidushi Sumitra Guha, Kinski, & Aiko Shimada among many others. In practice, Bill’s prepared-guitar tactics will stun.
Mood Organ is the solo project of Seattle-based musician Timm Mason. Timm is best known as the bass player for diverse acts including funk juggernaut Eldridge Gravy & the Court Supreme, psych-rock supergroup Midday Veil, and instrumental hip-hop cover band Hamburger Pimp. Mood Organ is a platform for exploring different modes of listening and intersections between musical (& non-musical) genres. Each Mood Organ performance is unique; recent performances have included a solo performance on electric bass, a duet between saxophone and amplified objects, and a solo composition for harmonium and prepared piano. Work is nearly complete on the first full-length album “Visiting a Burning Museum “. Also in progress is a series of solo performances inspired by the classical elements and their associated platonic solids. For the Thursday show, Mood Organ will be presenting Quietus 3. Quietus is an improvised drone ensemble with fluid membership. I’m nailing down the complete lineup but it will at least include Skip Milford (electric fiddle), Emily Pothast (vox), David Golightly (analog synth), and myself on bass.
GABRIEL WILL + IAN ACKERMAN
Gabriel Tuzzolino Will and Ian Thomas Ackerman are two members of a loose collective of musicians also including Warren Lee and Danny Sasaki. They are bent on exploring the outer limits of tonality as it exists within nature eschewing the harmonic imprecision of equal temperament. Harsh dissonances are revealed as delicate sonorities by the temporal stretch of the music.
L.A. Lungs was formed in the summer on 2005 in a Tacoma studio apartment by Afterthought Lung (nee Nathan Markiewicz) and Leeward Lung (nee Lori Peterson). What began as a “studio” project became a “functioning” live act by the summer of 2006, with L.A. Lungs making their live debut at the, now defunct, No Tomorrow concert series in Seattle . L.A. Lungs continue to perform around the Pacific Northwest and have been fortunate enough to share bills with artists such as Acre , Wesley Borden, Cabinet of Natural Curiosities, Crank Sturgeon, The Dead Air Fresheners, Steve Fisk, Forest Friends, Gowns, Bill Horist, Derek Johnson, Mattress, Myrmyr, POWRFL POWER, Shearing Pinx, Talbot Tagora, Your Drugs My Money, and many others. In their loose arrangements L.A. Lungs use variances in phrasing, the inconsistencies of live electronic sound manipulation, and acoustic/amplification variables to create semi-improvised compositions that can vary drastically in tone, rhythm, and emotive qualities from one performance to the next. Visitors to the Aphonia Fest can look forward to the possibility of hearing work from LA Lungs recent Aphonia Recordings release, Most of the Time We Do Not Realize We are Shedding Our Skins 2008, as well as newer material.
Kristian Garrard’s project, KRGA, aims to combine the sounds of any and all instruments around into thick, swarming clouds of tones using self-built sampling software. He uses emphasis on drones and moving textures to create warm and dense atmospheres. Most pieces are created using only one or two instruments as source material to be processed & resampled in the software environment, Max/MSP. Past works have used utilized the ubiquitous 60 hz ground-hum, a “personal massager”, as well as more traditional instrumentation. In performance, deconstructed sounds swirl around the room, as patiently created beds of tones build into a complex organic storm.
UNICORNS IN THE SNOW
Unicorns in the Snow is the one-woman project of Kansas City-based composer, performance artist, & social worker, Julia Vering. The project’s roots are grounded in earlier attempts to explore empathy in a visual context. Her most recent work, “The Aviator”, is a miniature opera inspired by the narrative of an aging, anti-social pilot, obsessed by the inimitable power of flying planes. In the final act, recorded the day after the aviator’s death, reveals the primal collaboration of the artist and her elderly muse, commencing in a primal scream accompanied by violent arthritic movements of the performers’ neck and hands.
Mangled Bohemians (PDX) are an intensely atmospheric two-piece band featuring massively effected guitar and electronics. Mining heavily from the post-punk tradition of the likes of Glenn Branca, Savage Republic , Heathen Earth era Throbbing Gristle, and Sonic Youth’s SYR releases, Mangled Bohemians create long spacey drones that melt into beautiful washes & pseudo-melodies.
PAINTINGS FOR ANIMALS
Heavy drones, overtone melodies & the sound of the land – Paintings for Animals is the vocal electro-acoustic music of Pearson Wallace-Hoyt. The sound possesses an archaic resonance connecting the human voice with an Earthen narrative of the landscape, flora, fauna & human ritual of both pre & post-history. Started in 2001 & transformed for live presentation in 2007, performances have taken place at art, dance & music galleries, warehouses, bars, cafés, DIY venues & live radio. Paintings music has been used in film, for video, installation & with dance.
DEREK M. JOHNSON
Derek is an Olympia native and can’t seem to ever get away. He frequently performs solo acoustic/electric cello throughout the Northwest with an ever changing, direct animation slide show. He’s been a member of Bloodclot, Dead Air Fresheners, Le Ton Mite, Frequency dB, and the unfortunately named Superfly 2000. Collaborations include: Unwound, Thollem McDonnas, Jeremy Jay, Ben L Robertson, Arrington de Dionyso, Bob Marsh, among others.
The magnetic vortex that is eastern Washington is perhaps best reflected by the banshee like howls and tortured vocal treatments that hover over the fractured rhythms and found-sounds of Ryan Leeds’ project, Daedelum. Leeds is interested in exploring the boundaries of traditional instrumentation & dissecting, reassembling, & colliding the parts with electronic gestures and commentaries. The music is aurally diverse and intentionally oblique. The compositions are informed as much by Leeds ‘ upbringing and education as by his various employment stints, including work as a recording engineer for a books-on-tape factory, a camera operator for a local news affiliate, a graphic designer, and currently as a CAD technician.
Aphonia Recordings founders, Ben L. Robertson & Andrew Senna team-up as The Precambrian. In concept, The Precambrian is a constantly evolving interactive synthesis environment/instrument, engineered by Robertson using the graphical programming language, Max/MSP. In its current incarnation, The Precambrian utilizes a slide zither & various pitch recognition algorithms to coax out microtonal intervals derived from a graphical system of 11-limit, just intonation matrices & traditional Arabic Maqams. Additionally, Senna (armed with a handful of piezoelectric transducers, microphones, field recordings) executes a series of absurd narratives & synthetic onomatopoeia, indicative of both his sound design work for film & theater.