Here's the deal:
6:00pm at the ARTS CENTER OF THE CAPITAL REGION (256 RIVER ST. Troy), there will be a FREE sampling of (relatively) local noise/experimental music from the likes of...
Fossils From the Sun
Shape Shifting Shepherds
Then, immediately following that extravaganza, walk down to 51 3rd St. for a night of experimental ambient noise and sound scape.
51 3rd Street in Troy NY
Friday 6/29/12 8:30 pm (!)
Come early with something yummy to throw on the grill!
INSECT FACTORY (Washington, DC) http://soundcloud.com/
PUBLIC SPEAKING (Brooklyn) http://
NONHORSE (Troy!) http://nonhorse.com/
Insect Factory is music from Silver Spring, MD musician Jeff Barsky. Insect Factory focuses on texture and mood, building layers of dense sounds that slowly evolve into hypnotic andatmospheric drones. Since the 90′s, Barsky has continuously played in bands and improvisational collectives, and has performed frequently on the east coast of the U.S., in Canada, throughout Europe, and Japan. Barsky’s various projects have shared the stage with acts as diverse as Richard Pinhas, Nels Cline, Acid Mothers Temple, and Carla Bozulich, and he has performed at Suoni Il Per Popolo festival in Montreal, Terrastock 7 in Louisville, KY, and D.C.’s Sonic Circuits, Queering Sound, and Fringe Festivals. Insect Factory’s first release, “Air Traffic Control Sleep”, was released in the late summer of 2007, to acclaim from the likes of Washington Post, the Wire, and Terrascope. Following a recent split 7″ with RST (New Zealand), Melodies from a Dead Radio is Insect Factory’s second full-length and vinyl debut.
Public Speaking is the music of Brooklyn solo artist Jason Anthony Harris. Utilizing found objects, radio, tape recorder, and vocoder, he pores over pedals to loop, warp and augment these sources. His performances are highly improvisational, with an emphasis on immediacy and site-specific actions.
The electronic capturing and mangling of acoustic sounds is an obsession for Public Speaking. Pieces of metal, wood, plastic, and video cassettes are stricken to the pulses of polyrhythmic, textural compositions. A microphone is pummeled against the floor in place of a bass drum and slashed across speakers to create reprocessed digital sweeps. One performance found him beating and scraping a wooden chair across the stage to create a bed of dissonant clatter to croon over.
G. Lucas Crane is a sound artist, performer, and musician whose work focuses on information anxiety, media confusion, and recycled technology. Using a combination field recordings culled from the underbelly of the contemporary sonic media landscape and homemade electronic instruments, oscillators and broken machines, he creates compositions and performances as a reaction to, and illustration of, our information detritus choked times. Past work has dealt with musicality of a location or route, horror and phantasm in the information age, technology as abomination, the mystical presence of obsolete recording technology, recording as ritual, and the religious, poetic, and magical connotations of feedback and improvisation. Many of the soundscapes and collage work are built around quickly moving tape manipulations, the common cassette being a perfect example of old technology as iconic personal Gnostic totem. Years of environment recording and sample hunting have resulted in a broken library of material that is collaged together live, an information life that is constantly folding back on itself fractal-like, which he believes illustrates modern experience. Tape manipulation harkens back to the early days of experimental music, and in the context of the digital era it creates a sonic counterpoint on the continuum between hi and low fi, folk outsider and academic composition. Crane's work exists in a meditation on the blurred boundary between new and old tech and the emotional and social toll created by the rapid advancement of the technological sonic/environment.
Collaborations include sound design for the Performance Thanatology Research Society’s production of ‘History of Heat’ and 'The 50 Greatest Ladies and Gentlemen" at the Ontological Hysteric Theater in New York ; a batshit crazy full US tour with Woods; a European tour with drone collective Vanishing Voice; a production of ‘Oh What War’ at Here Theater in NYC with the Juggernaught Theater company; a ghost story album with Baltimore experimental vocalist Ric Royer; Machine design with New York electronic Instrument company CasperElectronics; Studio and performance work with musical entities Woods, Castanets, Grizzly Bear, and Wooden Wand; and solo performances as Nonhorse in the US and Europe. He also co-runs Silent Barn, an experimental art and performance space in Queens, New York City.