2018.0609 BLACK OUT

Dimension Gallery

9 June 2018 12-6

Free

Alex Keller will present a multichannel installation version of his 2015 piece, Black out. With a thematic tie to the Resonant Lung, Black out uses slowly developing sounds to manipulate the acoustic and mechanical properties of a room, in an exploration of the natural rhythm of breath, and the stasis that emerges from its absence.

The artist talk starts at 12pm, with the sound presentation following from 1 to 6pm.

The piece evolved from a series of experiments with electronic sound generators. The resulting recordings, multiple layers of low frequency sounds, were then played back and re-recorded at Salvage Vanguard Theater in Austin.

In the compact disc version of Black out, the theater’s lights and other fixtures rustle, vibrate, and wheeze in sympathy with the oscillating sounds, transforming the entire room into an idiosyncratic breathing organism.

In addition to the installation, Alex will explain the process of exploiting architectural acoustics, work with attendees to attempt to tune Dimension Gallery, and explore the acoustic idiosyncrasies and opportunities within the Resonant Lung.

Attendees should bring questions and earplugs.

2018.0519 FREE FIELD RECORDING WORKSHOP

Phonography Austin will present a free workshop on the technical theory and practice behind creative field recording. No previous experience is required. Participants should bring something to write with, headphones and a sound recording device of any kind. Use something you already have or can easily borrow.

Participants will spend some time discussing the science involved in making recordings, and break for a field recording scavenger hunt. After that we will meet to review the recordings and discuss any specific insights or technical issues that may have arisen.

The workshop will happen in Room 621 of the Austin Central Library at 710 W. Cesar Chavez St, from 10 AM to 2 PM on Saturday, May 19, 2018, and will be led by sound artist Alex Keller.

2018.0419-2018-0421 GRACKLE CALL

GRACKLE CALL is a performative audiovisual tour that directs audiences to the roosting locations of the Great-tailed Grackle. Mimicking a birding experience, participants will be provided with binoculars, mp3 players, and a printed program guide that will direct them to experimental performances, installations, radio stories, and soundscapes examining local grackle lore, appropriation, human impact on species behavior, migration, land use, and the many failed human attempts to control the species. Featuring a roster of local birders, journalists, poets, musicians, artists, and performers.
This project is augmented by a series of free community workshops that explore birding, listening, and writing & a free iOS app that responds to the user’s GPS coordinates to play original audio content directing them to locations throughout Austin.
From Fusebox
The Grackle is perhaps the most controversial and beloved bird of Austin. By morning, they greedily eye our breakfast tacos; they hold court on telephone wires at midday, and they flock to the trees of the local H-E-B at sunset to commence their cacophony. Grackles are an idiosyncratic part of daily life in the city. The Grackle species, whose history dates back to the Aztec empire, is a kind of clock, telling the rhythms of our city, but also evoking a rich past that predates Austin. This strange and beautiful bird is the subject of Steve Parker’s new project Grackle Call, an immersive sound walk and ode to the bird. Audience members will be guided on a walking adventure, where they’ll discover the natural life of the city through dance, installation, poetry, and sound, and find themselves on Grackle time.
** NOTES FOR ATTENDING GRACKLE CALL **
•We ask that you bring your own headphones and smartphone to access the audio tracks for the piece. If you do not have access to a smartphone, a limited number of MP3 players will be available to borrow.
•We will have binoculars available to borrow for most audience members, but you are welcome to bring your own binoculars, which will help us provide binoculars to more attendees.
Creative Team
  • Steve Parker
  • Yuliya Lanina
  • Austin Soundwaves
  • Martin Rodriguez
  • Allison Orr
  • Mose Buchele
  • Alex Keller
  • Heloise Gold
  • Verena Gaudy
  • James Brush
  • Martin Byhower
  • Luke Quinton

2018.0303 THAT LOOK UPON YOUR FACE

Antumbrae Intermedia Installations presents SynesthESpace#1ˌ: That Look Upon Your Face by Alex Keller and Sean O’Neill.

SynesthESpace is a 4 part series dedicated to site-specific, multichannel, immersive audiovisual environments created by local multimedia artists. This season we will start with “That Look Upon Your Face” by Alex Keller and Sean O’Neill on March 3rd at First Street Studio. Upcoming in our series:
LIMITED HANGOUT w/Kyle Evans+ Lucas Dimick
Lauren Gurgiolo + Wendy Mitchell
Katrina Fairlee

All artists will introduce their work in addition to presenting a live performance component to stimulate the environment during the evening. The concept for this project is originally based upon LaMonte Young and Marian Zazeela’s ongoing light and sound installation called the “Dreamhouse” in NYC.

For optimum satisfaction, audience members are encouraged to spend time and explore subjective physical and phenomenological experiences, activated by the sound and visual output of each unique environment. Please bring cushions, mats, pillows and blankets for relaxation and enjoyment during each event.

“That look upon your face” by Alex Keller and Sean O’Neill, March, 2018

Keller/O’Neill will use sound, light and video to delineate constantly shifting boundaries within an open space. High-contrast imagery sourced from microscopic video and crude video synthesis will mirror and juxtapose with the sounds created from field recordings and homemade or industrial-grade sound synthesis.

Stroboscopic light and sound that can include a hypnagogic effect may occur.

The artists will periodically interact with the sound space created.

Alex Keller and Sean O’Neill have collaborated in performance and installation pieces since 2015. Using field recordings, vintage telephone test equipment, magnetic oscillators, light and space, their work has addressed the agents and artifacts of change in the urban and acoustic realms.

In 2017, they released an LP called Kruos on the Elevator Bath label, and a CD called LCLX on the Mimeomeme label.

Alex Keller is an audio artist, sound designer, curator and teacher based in Austin, Texas. His engagement with performance, installation, and recording is an outgrowth of his interest in architecture, language, abstraction and music.

Sean O’Neill is a multi-media artist, who explores both the visible light spectrum and the audible frequency range to determine how they influence our lived environments, and vice versa; he has a stated interest in how perception shapes the dynamics of spatiality.

“…a complex, nuanced work of sound art, conjured up from some rather rudimentary sources, largely just field recordings and a telephone test synthesizer. It is a bit of a difficult, unsettling experience at times, but a strong one nonetheless.”

– Creaig Dunton, Brainwashed

Tickets $7 on door.

With support from Austin’s Cultural Arts Division.

2018_0205 ALEX KELLER AND SEAN O’NEILL AT ME MER MO MONDAY

ME MER MO MONDAY – February 5, 2018
Happy Birthday Rick Reed!!

The Volstead Lounge 1500 E. 6th Street
Happy Hour 5-9pm:
$6 select craft cocktails, $3 Wells and Lonestar. No cover.

Sponsored by Self Sabotage Records.
6:30PM – 12:30AM

DJRLD
DJ Malligator

Visuals by Rick Reed and Vision System

Performances by:

7:00 Carl Smith + Tarik Aossey + Sara Ann Phillips

8:00 Brent Fariss/Andrew Stoltz
http://willow.st/scenesandlines/

9:00 Alex Keller/Sean O’Neill
http://www.elevatorbath.com/eeaoa046.html

10:00 The Corrupting Sea (Ft. Worth)
https://thecorruptingsea1.bandcamp.com/

11:00 Home Baker
https://homebaker.bandcamp.com/releases

Flyer image by Whitney Brooks Lumpkin

***Experiment with two-for-one burgers at the Volstead/Vegas food truck – now open Mondays.

2018.0127 FIELD RECORDING WORKSHOP WITH ALEX KELLER

 

 

The East Austin College Prep At Mlk

5800 E Martin Luther King Jr, Austin, Texas 78721
Saturday, January 27 2018 9 AM-11 AM

GRACKLE CALL WORKSHOP 1: ALEX KELLER

Alex Keller will lead a free workshop on the practical theory and aesthetic practice of field recording. Participants should bring a sound recording device and headphones; anything from a cassette recorder to a smartphone app will work. Use something you already have or can easily borrow.

Alex Keller is an audio artist, sound designer, curator and teacher based in Austin, Texas. His engagement with performance, installation, and recording is an outgrowth of his interest in architecture, language, abstraction and music. One of his distinctive features as a creator is his ability to show the act of research as having an aesthetic value in and of itself.

This is one of several public workshops that will augment GRACKLE CALL: a 90 minute performative audiovisual tour that immerses audiences in the roosting locations of the Great-tailed Grackle. Mimicking a birding experience, participants will be provided with binoculars, iPods, and a printed program guide that will direct them to experimental performances, installations, radio stories, and soundscapes examining local grackle lore, appropriation, human impact on species behavior, migration, land use, and the many failed human attempts to control the species. GRACKLE CALL will premiere at the Fusebox Festival on April 19, 20, and 21 at 7PM

collidearts.org/grackle

This project is generously supported by the Cultural Arts Division of the City of Austin Economic Development Department, the Texas Commission on the Arts, and the Mid America Arts Alliance.

2018.0128 SOUNDSPACE: FEEDBACK

Kick off 2018 as the award-winning SoundSpace series returns with FEEDBACK, a program that creates a feedback loop between music and art, with works that examine the politics of listening, propaganda, surveillance, power, and broadcasting,

Using Mussorgsky’s Pictures at an Exhibition as a point of departure,SoundSpace’s roster of performing artists will buzz, distort, rove, and radiate throughout the Blanton, responding to the museum’s collection, building structure, and staff.

Museumgoers will be able to experience a variety of performances throughout the museum, including:

– SECURITY CHORUS. Winner of the SoundSpace residency Sarah Mendelsohn has created a performance with members of the Blanton Museum’s security staff, exploring the dynamics of listening closely. For the duration of the SoundSpace event, Gallery Assistants participate as performers, roving throughout the museum’s spaces, narrating what they see and hear. What does working in museum security do to your voice, or to the ways you observe your environment?

– CONCRETE JUNGLE. Austin-based Grammy Award winning musician, composer and producer Adrian Quesada will present a new work commissioned by the Blanton to respond to the museum’s Contemporary Latin American collection. Featuring Adrian Quesada, guitar, Greg Gonzalez, bass Peter Stopschinski, keyboard and Jeremy Bruch, drums.

– AKIRASH will respond to the work of El-Anatsu and Cildo Meireles, focusing on the state of world economy and immigration. The economy plays a daily role in sustaining the livelihood of every home, community, state, country, and continent throughout the world. Each local economy is uniquely shaped by the culture and tradition of a place, creating diversity in how people make money, what they decide to sell, and how they market their products. Migration is our international dilemma. Nationalism and xenophobia are our symptoms; economic and political dislocation is our disease. Globalism and environmental disruption are our circumstances.

Saakred, a transdisciplinary artist with a focus in sound and live performance will be curating their original work in relation to their experience as both museum patron and employee. Using the concept of a museum as a microcosm for class, race and power inequities in the unchanging American landscape, Saakred discusses issues of security, visibility, access, facades of freedom, aristocracy and the role of art . Saakred will present four new works wedged between the all white work of minimalists Louis Nevelson and Mary Corse. All compositions are written, recorded, produced and performed by Saakred with a focus in MIDI production via Ableton 9 and Reason with additional live instrumentation for this one time performance.

– Gene Coleman Philadelphia-based composer, director, and Guggenheim winner Gene Coleman presents his innovative music and video works featuring cellist Marina Peterson and Coleman on bass clarinet . The program will include material from his media opera “Dreamlives of Debris”, featuring the voices of Nicholas Isherwood, Sansuzu Tsuruzawa and members of the new music vocal ensemble The Crossing.

– Jazz trumpeter and composer Jeff Lofton will perform improvisations using the Blanton’s collection as a graphic score. Jeff is a Grammy member and two time SXSW Austin Music Awards winner. Jeff has performed at One World Theater, Stateside at the Paramount, and the Long Center for the Performing Arts since his arrival on the Austin music scene in 2007.

ALEX KELLER AND SEAN O’NEILL – In the Glickman Gallery, the artists will perform an unique visual score based on their interpretation of Kelly’s writing, interviews and works. Alex Keller is an audio artist, sound designer, curator and teacher based in Austin, Texas. His engagement with performance, installation, and recording is an outgrowth of his interest in architecture, language, abstraction and music. Sean O’Neill is a multi-media artist, who explores both the visible light spectrum and the audible frequency range to determine how they influence our lived environments, and vice versa; he has a stated interest in how perception shapes the dynamics of spatiality.

– Lisa Cameron (aka Venison Whirled) is from Austin, Tx. For this performance, she will use amplified percussion and strings to locate resonant frequencies in space to create oscillating overtones to respond to specific acoustic properties in the museum.

– STRAIN TO SHINE. Adel Faizullina drew inspiration from Saint Catherine of Alexandria (c.287-c.305 in Alexandria, Egypt) to write this piece for voice, trombone and percussion. Catherine was both a princess and a noted scholar, who became a Christian around the age of 14. She converted hundreds of people to Christianity, when persecutions began under the Roman Emperor Maxentius. Catherine was taken as a prisoner and finally was killed. After death she became one of the angels of God. Closed and open sounds in the voice and trombone symbolize Catherine’s voice trying to be heard. In the middle section, her voice becomes stronger and more powerful, but death eventually silences her. A spiritual light illuminates the ending of the piece.

– GAMELAN LIPI AWAN (Gamelan Rising Star). This orchestra comprises students and faculty from Texas State University, along with some members from the local community performing on traditional Balinese percussion instruments. They will play new works composed by Laura Brackney and Gordon Jones that reference the Atrium installation, “Stacked Waters” byTeresita Fernández, along with traditional Balinese works.

– NEWSNOISE. Composer and curator of the SoundSpace series, Steve Parker will share a participatory ritual work for newspapers, voice, electronics, and poprocks. To exorcise the 2017 demons of radio propaganda, cable television news, and printed journalism.

SoundSpace is generously underwritten by Michael Chesser.

Included with museum admission; Free for members and UT students, faculty, and staff.

The Blanton is located at the intersection of Congress Avenue and Martin Luther King Jr. Boulevard.

Paid parking is available in the Brazos Garage on Brazos Street and Martin Luther King Jr. Boulevard. Parking is $4; bring your ticket with you to the museum.

2018_0120 EXPERIMENTAL MEDITATIONS IN TAYLOR, TEXAS

January 20th 2018
Experimental Meditations in Taylor Texas
406 Talbot St. Taylor, Texas
2-8pm no admission cost

Lisa Cameron and Skullcaster

Lisa Cameron (aka Venison Whirled) is from Austin, TX. Using amplified percussion and strings; she locates resonant frequencies in space to create oscillating overtones, which are then employed as sound sources for live improvisation. Lisa has improvised live with Jandek, Mani Neumier, Eugene Chadbourne, Ingebrigt Haker-Flaten, Faust, Ernesto Diaz-Infante, Tom Carter, Nathan Bowles, Sharkiface, Dromez, Sandy Ewen, Leslie Keffer, Jonathan Horne, Steve McKay, Rat Bastard, Hora Flora, and others. Lisa has also played with an impressive array of experimental and traditional bands including Sky City (Important Records), ST 37, Roky Erickson And Evil Hook Wildlife, Brave Combo, Timbuk 3, Glass Eye, Daniel Johnston, and projects with SST record’s engineer Spot (Glen Lockett).

https://soundcloud.com/venisonwhirled

Skullcaster (aka Chris Cones) got his start in the San Francisco Bay Area noise scene in the mid 2000’s. He began in the brutal soundfx, improvised, electroacoustic ensemble known as Earwicker. He has appeared on dozens of recording projects including 3 Leafs, Power in the Blood, Le Flange Du Mal, a ST37 album, and many recordings in the Austin based project How I Quit Crack, where he contributes with guitar and electronics. His work has appeared on the Cruel Nature and Holodeck record label. Skullcaster strives for a sort of “live soundtrack/tone poetry to present a dystopian big-datascape and lampoon modern neuroscience as late-phase phrenology “. His music comprises of textural static electronics that are minimal in nature. Abrasive and controlled.

https://holodeckrecords.bandcamp.com/album/revaluation-hd024

Alex Keller and Sean O’Neill

Alex Keller and Sean O’Neill have collaborated in performance and installation pieces since 2015. Using field recordings, vintage telephone test equipment, magnetic oscillators, light and space, their work has addressed the agents and artifacts of change in the urban and acoustic realms. In 2017, they released an LP called Kruos on the Elevator Bath label, and a CD called LCLX on the Mimeomeme label.
Alex Keller is an audio artist, sound designer, curator and teacher based in Austin, Texas. His engagement with performance, installation, and recording is an outgrowth of his interest in architecture, language, abstraction and music.

https://soundcloud.com/alexkeller

Sean O’Neill is a multi-media artist, who explores both the visible light spectrum and the audible frequency range to determine how they influence our lived environments, and vice versa; he has a stated interest in how perception shapes the dynamics of spatiality.

“From the interior to the exterior, inside then out, Alex Keller and Sean O’Neill wrap passages of field recordings with synthetic accompaniment, manipulating, oscillating, obfuscating. The two sound artists aim to freeze time with these passages, and even though time actually does pass while listening, from minute one to minute thirty-five, the result is a moment and a place (or places) that exist in that moment, specifically trapped on grooved vinyl for repeat experience. For study, for meditation, for nostalgic rediscovery, Kruos entertains the idea that it functions more as an image than as a sonic enquiry, a photograph of sound framed by Keller and O’Neill’s accompaniment. They display a deft hand in allowing the field recordings to drive the experience, but their obvious fingerprints on the record guide the mood.” Ryan Masteller, Critical Masses Media

https://elevatorbath.bandcamp.com/album/kruos

H.R. Mullin

H.R. Mullin serves as an experimental platform for Austin based musician James Lambrecht. Having previously performed in the Texas duo Chippr Jones, James continues to explore instrumental themes of repetition, ambient drone, and aggressive techniques sourced by use of the electric guitar. Focusing on improvisational looping, H.R. aims to approach composition more akin to sketching; starting with light strokes that gradually take form (or dismantle) as it spirals outward.

https://soundcloud.com/toyot

Thomas Bey William Bailey | Rick Reed | Nayantara (Tara) Bhattacharya Reed | Brent Fariss (quartet)

Electronic Quartet

Rick Reed is a sound and visual artist born in Corpus Christi, Texas in 1957. He has always had a deep abiding interest in electronic sound starting in the mid 60s when he would play around with his parents short wave radio and an old reel to reel recorder making what he thought sounded like background scores for imaginary science fiction movies.
After moving to Austin in late 1978, Reed was finally able to purchase his first synthesizer and thus began creating his own brand of hellish electronic soundscapes. Over the years, Reed has released several albums, and has played in many different cities on both the east and west coast and has also appeared in various festivals in Scotland and England (including multiple shows with AMM guitarist Keith Rowe as The Voltage Spooks). Beginning in 2004, Reed began collaborating with New York filmmaker Ken Jacobs, creating soundtracks to 4 of his digital films, Mountaineer Spinning, Spiral Nebula, Capitalism: Child Labor, and Another Occupation. Capitalism: Child Labor won the grand prize at Curtas Vila de Conde Film Festival in Portugal in 2006.
These days Reed mainly focuses his live work using a Buchla Music Easel, with projected film/video work usually of his own design (but is known to collaborate with other visual artists such as Kjell Bjorgeengen), conjuring a sound and visual environment designed to lull the listener into otherworldly places both unsettling and strange, yet comfortably familiar.
His work can be heard on records issued by labels such as Elevator Bath, Obsolete Future, Somatic, Mikroton, Beta Lactam Ring and many others.

https://www.facebook.com/synthclouds/

Nayantara (Tara) Bhattacharya is film programmer at Experimental Response Cinema in Austin, TX and director of Antumbrae Intermedia Events + Installations, a sound and multimedia organization in Austin, TX and an audiovisual artist. Her alma mater is Hunter College, City University of New York where she graduated with a degree in Art History and Asian American Studies. Her musical oeuvre encompasses a wide variety of different genres including improvisation, electronic composition, chamber music, Indian classical music and Bengali Tagorean songs. Past performances include a sound composition/ performance art work at Soundspace: Musical Outsiders and Soundspace: A Portrait of Alice Coltrane both at The Blanton Museum of Art in Austin, TX. Her work with Texas based video-artist Liz Rodda for Hyperreal Cinema Club and COTFG presents: NMASS 2016 and her performances with Rick Reed at the Kingdoms of Elgaland-Vargaland 25th Anniversary at the Dada Centennial celebrations at Cabaret Voltaire in Zurich, Switzerland and performing a live score to avant-garde 60’s filmmaker Aldo Tambellini’s Black Cycle films curated by Experimental Response Cinema at Austin Film Society.

Get to know Tara here:
http://www.fieldsmagazine.com/interview-tara-bhattacharya-reed/

Thomas Bey William Bailey is an author, sound artist and educator. He has spent his creative life exploring the extremes of information as well as the anomalies of human consciousness and perception. His published works to date include a survey of unothodox electronic music (Micro-Bionic, 2009 & 2013) and Unofficial Release (2012.) His forthcoming work, To Hear The World With New Eyes will deal with the cultural history of synesthesia and will be offered via SONM in Spain.
A restlessly ‘transitional’ and uncategorizable artist, TBWB has performed, recorded, and taught in several different countries, sharing with others the joys of chaos and of the valuation of creative process over end product. With a minimum of outside assistance and with little more than a shoestring budget, he is gradually forging a path as an iconoclastic (yet insightful) creator and thinker in an otherwise conformist era.
+ www.tbwb.net | tbwbworks.typepad.com

Brent Fariss is a composer / performer living in Austin, Texas. He has collaborated in several modern music settings including the Gates Ensemble, Waco Girls, and The April Fools. In the past decade, he has worked alongside Phill Niblock, Ellen Fullman, Michael Pisaro, Jandek, Radu Malfatti, Pauline Oliveros, JG Thirwell, and Arnold Dreyblatt. Fariss holds a Master’s degree in Composition from Texas State University, where he also studied the contrabass. He has become increasingly interested in the ideas of a conceptualism; using minimalist techniques to unite texture, form, room/instrument resonance, and abstracted programmatic ideas to create a musical environment. He is the recipient of two Meet the Composer grants for the compositions, “Dim Gleam” (for choir, 2 basses, 2 percussionists and choir chimes) and “The Water Bowl” (for 4 performers, horn, trombone and percussion). His goal in music is exploring the nature of sound (timbre), elevating it to the same level as melody, harmony, rhythm, and form.

https://soundcloud.com/brentfariss

Colin Andrew Sheffield | James Eck Rippie

Performing together for the past 17 years, Colin Andrew Sheffield (samples, processing) & James Eck Rippie (turntables, samples, processing) are an improvising duo who sculpt primarily with commercial recordings to create works interested in turning aspects of plunderphonics and conceptual sound art into subconscious composition. Their work together has always been about their dialogue within a given meditation, bringing concrete sounds in and out of focus with hints of musicality underlying. Their debut LP, “Variations” (Elevator Bath), originally released in 2001 (with a 2016 reissue), was recorded “live” with no additional production. Each of the album’s pieces utilizes sounds from a single acoustic instrument as its sole source material. These sources are manipulated and shattered in multiple ways inside the performance. Since the release of their album, Sheffield & Rippie have continued to perform and to record, expanding the concepts utilized in “Variations” with the “Essential Anatomies” cycle. Volume One and Two of “Essential Anatomies” focuses more on the chaos and control within longer narrative work, and the duo’s very personal investigation into their juxtaposition, and the turmoil and otherworldly unity it creates. Or as said in Richard Allen’s A Closer Listen review ” Sheffield and Rippie use samplers and turntables to sculpt the past into new forms that defy instant categorization.. Touches of modern classicism grace the recording, lending it an air of sublimated dignity.”

James Eck Rippie is a visual/sound artist currently residing in Austin, Texas. His recorded work has been primarily as a turntablist. But has also worked extensively with other instruments and mediums. His focus with turntables has been creating abstract sound and concrete assemblages from various records while utilizing altered needles, turntable feedback, effect pedals, damaged records, resampling, etc. While decomposing the original sound source, Rippie’s intentions are to understand the transcending possibilities of sound as well as testing the capabilities of the turntable as an instrument. He releases his work for the Cronica Electronica (Portugal) and Elevator Bath (US) labels. And has collaborations with sound artist’s Simon Whetham (UK), Paulo Raposo (PT) and erikM (FR).

http://www.jameseckrippie.com/

Colin Andrew Sheffield is a sound artist focusing on the strict re-contextualization of other commercially available recordings. His aim is to distill the essential qualities of these works and to then utilize that essence for new recordings. Usually only very brief sections of the original works are selected. These raw components are then contracted, expanded, layered, and/or otherwise processed until something new is forged. The resultant music is an atmospheric soundscape, gradually shifting and unfolding. In 1998, Sheffield founded the Elevator Bath recording label which has continually issued experimental works from a variety of artists from the United States and abroad (including Rick Reed, Tony Conrad, Merzbow, Francisco López, and many more). Sheffield has released a number of solo recordings, including 2005’s “First Thus,” his debut long-player, as well as 2009’s “Signatures” (via the Invisible Birds label), 2010’s “Slowly” (on the Mystery Sea label of Belgium), and 2012’s “Time Will Tell” (on the Quiet World label of the UK).

http://elevatorbath.com/cas_jer.html

Aux Aux

A key figure to the new music scene of Austin, Henna Chou is a sound creatore, composer, music curator, and managing director of COTFG (http://friendlyghost.org/). Chou’s work deals in both classical composition and modern electronics, utilizing both in many other genre bending forms. Chou has appeared on recordings with Ingebrigt Håker Flaten, My Education, Ellen Fullman, Cory Allen, and performs regularly in the art rock trio Moist Flesh.

Henna will be presenting with her project Aux Aux.

https://soundcloud.com/leisuretourniquet
https://www.facebook.com/auxauxatx/

2017.12.11 ALEX KELLER AND SEAN O’NEILL AT ME MER MO MONDAY

ME MER MO MONDAY – December 11, 2017
Sponsored by Self Sabotage Records.
6:30PM – 12:30AM

The Volstead Lounge 1500 E. 6th Street
Happy Hour 5-9pm:
$6 select craft cocktails, $3 Wells and Lonestar. No cover.

6:30 – 9:00 DJ Panda Vaughn

9:00 – 12:00 DJ Jacob Green

Performances by:

7:30 T PUTNAM HILL
https://tputnamhill.bandcamp.com/

8:30 ELECTRIC SLEEP
https://vimeo.com/user56575941
https://electricsleep1.bandcamp.com

9:30 ALEX KELLER + SEAN O’NEILL
http://alexkeller.net/
http://wohnklo.co
https://www.youtube.com/watch?v=gqQH_uE0hlg&feature=youtu.be

10:30 BLANCHE GURU
https://www.facebook.com/BlancheGURU/

LCLX, MIM013

About LCLX

Meant to both reflect and create a moment in time and place, the piece LCLX was made with remastered and resequenced versions of the same recordings Keller and O’Neill made for their first performance together, at the 2015 NMASS Festival. The source recordings were made with acoustic and electromagnetic microphone techniques at Charles Alan Wright Intramural Field in Austin, Texas. The many ambient hums of the giant lights known to blind the neighborhood, as well as interactions with neighbors and the space, are very evident in the final piece.

About Ununbium/et al

Created from urban, pastoral and electromagnetic field recordings, this piece or pieces refer to states of stasis and change in a rapidly changing urban environment. In such places it’s often difficult to ascertain for the observer what part of the process they are engaged.

LCLX is a limited edition of 150, with cloth and heavy paper inserts, both hand-stamped and assembled by the artists. It is available for $10 from mimeomeme.com.

About Mimeomeme

Mimeomeme disseminates unusual sound art made by an eclectic collective of artists involved with phonography, no- and low- fidelity recordings, raw digital data, plunderphonics, primitive analog synthesis, noise, infrasound, and tape cut-ups as well as other oblique, not-yet-classified sonic epiphenomena.

Check it out here.