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katiskelton on 03/15/2012 at 01:00AM

String Theories: IPR & The String Orchestra of Brooklyn

This Saturday, March 17, St. Ann's Church will host the second installation of String Theories, the joint partnership between ISSUE Project Room and the String Orchestra of Brooklyn that provides artists with an opportunity to premiere new experimental works for orchestra. This year's commission features works composed by Anthony Coleman, C. Spencer Yeh, MV Carbon, and Eric Wubbels, which is awesome, because for most of these artists this is their first opportunity to compose works on such a large scale (check out this interview with Spencer regarding the transition from solo and improvisational work to composing for an orchestra). I'm super excited to see what these guys come up with--what does Burning Star Core sound like with 10 VIOLINS? Will all the musicians be equipped with circuit-bent TV instruments? These and more mysteries will be illuminated on Saturday night. 

Until then, listen to this live recording of Katherine Young's composition from last year's program, titled Inhabitation of Time. Young is a bassoonist and composer who received an emerging artist commission from ISSUE last year, and this piece sounds like what it would be like to try to walk in a straight line on the quantum level--variables constantly shifting and rearranging, time stretching and compressing. What kinds of physical laws will this year's String Theories defy? We don't yet know. Get your tickets here.

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andrewcsmith on 10/07/2010 at 05:05PM

MV Carbon & Philip White: concrete noise

Photo by Lori Baily

There’s this feeling from some noise performances of a constant aural assault. It’s like being attacked, and the first impulse is to flee. This music—a duo set from MV Carbon (who completes her residency at ISSUE on Saturday evening) & Philip White, who opened for Merzbow in September—does the opposite. And by that I don’t mean that it’s all cuddles, but that instead of pushing you away it grips you. From that initial clutch it never lets go; there are a series of plateaus, but no full release.

Their sound is characterized by Carbon’s constant and unstable distorted drone, with the constant repetitive energy from White’s board, and how these noises begin to form themselves into repeated shapes. About halfway through this set (their last of the evening) MV Carbon grabs a tape deck and manually turns it back a few spins, letting it roll, then rewinding it again. This repeated action—just the noise of the rolling tape and some indistinguishable sounds on it—starts to develop a certain rhythm and melody after a few repetitions. It’s through this repeated close examination that Carbon creates music out of noises: repeating the chaotic sounds until they finally lose that amorphous quality we think of as “abstract” and become concrete.

If you haven't done so already, you must check out the video highlighting MV Carbon's residency after the jump.


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andrewcsmith on 09/13/2010 at 12:10PM

MV Carbon + Metalux + Aki Onda this Friday at ISSUE

Photo by Kenzo Niwa

MV Carbon continues her residency at ISSUE Project Room with a free concert this Friday, appearing with J. Graf (as Metalux) followed by a duo with Aki Onda. Metalux grinds with echoes of heavy metal and dystopian industrial apparatuses, and feels both claustrophobic and remote. Analog synth sweeps combine with gritty transistor distortion, and the vocals (when there are vocals) are almost totally obscured.

I've added some Metalux tracks below, as well as an excerpt from Carbon's July 17 performance at ISSUE, the first of her residency. July was Floating Points month at ISSUE, so all performances highlighted our fifteen-channel hanging speaker system. Carbon's was no exception: she projected repeated loops throughout the venue, with the intention of creating a state of paranoia. "It's almost like a closed circuit in their head when they keep believing something and believing it and believing it even if it's not true."

An integral aspect of Carbon's art is her instrument-building. She has makeshift cellos attached to Moog synth pedals, sometimes with guitar fretboards and other times with TVs for bodies. Clips of some of these instruments are in a video after the jump, as well as an excerpt from Tony Conrad's interview of Carbon, filmed and edited for her residency.


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andrewcsmith on 07/12/2010 at 09:00AM

MV Carbon: ISSUE Artist-in-Residence

Photo by Olivia Wyatt

Brooklyn-based artist MV Carbon starts her three-month residency with a free concert at ISSUE on Saturday, featuring a couple of new works using our 15-channel speaker system. The first piece will use pre-recorded cello and synthesizers, with the addition of Carbon's homemade sculptural stringed instrument. The second, in collaboration with Steven Litt of CrudLabs, involves a step sequencer triggering solenoids creating heavy, rhythmic, industrial sounds, along with Carbon's cello, synthesizer, and tapes. These two pieces are part of an ongoing conceptual drive to Carbon's art, dealing in particular with communication, perception, paranoia, identity, and epistemology.

Her last solo performance at ISSUE was a nod to video and communication artist Nam June Paik, using a circuit-bent TV cello as an electromagnetic instrument (video after the jump). These (mis)uses of technology result in unnerving and often volatile musical materials. Yet, for its technological bend and the conceptual impulse, Carbon's work seems intensely personal and visceral. There is the conveyance at these site-specific performances that not just the music but the instrument itself is part of the art.

Check out the four tracks below, all brand new recordings by MV Carbon. I've also added some info and poetry (provided by Carbon) on the main album page. Her performance this Saturday starts at 8 p.m. in Brooklyn.


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mv carbon
andrewcsmith on 07/12/2010 at 09:00AM

MV Carbon: ISSUE Artist-in-Residence

Photo by Olivia Wyatt

Brooklyn-based artist MV Carbon starts her three-month residency with a free concert at ISSUE on Saturday, featuring a couple of new works using our 15-channel speaker system. The first piece will use pre-recorded cello and synthesizers, with the addition of Carbon's homemade sculptural stringed instrument. The second, in collaboration with Steven Litt of CrudLabs, involves a step sequencer triggering solenoids creating heavy, rhythmic, industrial sounds, along with Carbon's cello, synthesizer, and tapes. These two pieces are part of an ongoing conceptual drive to Carbon's art, dealing in particular with communication, perception, paranoia, identity, and epistemology.

Her last solo performance at ISSUE was a nod to video and communication artist Nam June Paik, using a circuit-bent TV cello as an electromagnetic instrument (video after the jump). These (mis)uses of technology result in unnerving and often volatile musical materials. Yet, for its technological bend and the conceptual impulse, Carbon's work seems intensely personal and visceral. There is the conveyance at these site-specific performances that not just the music but the instrument itself is part of the art.

Check out the four tracks below, all brand new recordings by MV Carbon. I've also added some info and poetry (provided by Carbon) on the main album page. Her performance this Saturday starts at 8 p.m. in Brooklyn.


READ MORE
Via ISSUE Project Room » Visit Blog » 1 COMMENTS Share
TAGGED AS:
mv carbon