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tag: live-performance

Hour-Long William Basinski Video

Recorded live at MoMA PS1 in March 2016

Last week I posted a tremendous hour-long set of Grouper, aka Liz Harris, performing live. That performance was part of a double bill at MoMA PS1 in New York City on March 20, 2016. The other name on the marquee was William Basinski, famed for his use of tape loops toward otherworldly, time-altering effect. That Basinksi video, just under an hour in length, is also on YouTube. Hidden in shadows, aside from dark blue silhouettes and sparkly projections, a wool-capped Basinksi works through shuddering ambient textures in super slow motion, waves upon waves of protracted glisten.

Video originally posted on the Boiler Room YouTube channel. More from Basinski at mmlxii.com.

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Jen Kutler’s Stationary Guitar

A fantasia of droning metallic forms

This living room concert features nearly a quarter hour of Jen Kutler eking a fantasia of droning metallic forms out of a stationary guitar. There are many alternative guitar practices, from playing with your teeth to preparing it, à la a Cageian piano, with paper clips and other small objects. In many ways, an electric guitar can be said to always be prepared, in that it is almost always having its signal routed through various effects pedals. In contrast with a piano, an electric guitar is almost never heard unaltered. For all the perceived rawness and realness of, say, a rock’n’roll guitar solo, that sound is heavily technologically mediated. Kutler’s performance has all the force of a great rock statement, all the roil and ecstasy, but it pursues it without the familiar, orienting substrata of rhythm or melody.

There’s something illustrative about how Kutler situates her guitar. It’s on a guitar stand, at rest. A lot of noise guitarists take a lap-steel approach, holding it sideways. Others telegraph the meditative quality of meter-less sound by placing it flat on the floor, a six-string savasana. Others lay it on a desk amid various cables and effects, akin to a synthesizer or a keyboard. Those horizontal approaches can be read as contrasts to the normal positions: over one’s knee or suspended by a strap. The horizontal positioning matches the ambient/noise approach to sound, that we’re not hearing a song, but instead a song inside out, the material of a song, the sounds not the tune. We’re listening to music from a perpendicular angle. In Kutler’s hands those sounds are akin to a Harry Bertoia sculpture, of thick metal rods swaying amid the very noise they are emanating.

Kutler works with her own homebrew music technology, such as these MIDI-enabled umbrella and sewing machine:

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Video originally posted at the YouTube channel of unARTigNYC. More from Kutler at jenkutler.com and soundcloud.com/jenkutler. More from unARTigNYC at unartignyc.com.

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An Hour-Long Grouper Set

Hosted by Boiler Room

The prolific Boiler Room electronic-music content generation feed machine is often full of fish-eye views of sweaty DJs, but it veers at times down less beat-intensive corridors. This here is a nearly hour-long set of Grouper, aka Liz Harris, performing against a backdrop of footage by filmmaker Paul Clipson. It’s breathy stuff, her voice layered with keyboards, mere snippets of atmosphere given minutes to loop on end, the whole thing like veils giving hints of veils giving hints of veils. It’s all intonation and gauze, but the seeming softness belies a deeper tension. Much ambient music sounds — and is — peaceful, but there’s a tensile quality to Grouper’s music, like just past the threadbare scrim is something tough as nails, an unknowable intensity. The video gives glimpses of her at the mixing board, her fingers lightly adjusting signals, keeping certainty just out of reach.

Video originally posted on the Boiler Room YouTube channel. More from Grouper at this sites.google.com address.

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When a Guitar Isn’t a Guitar

The modular synthesis of R Beny

The above video is a recent piece by R Beny, whose new album, Full Blossom of the Evening, I wrote about late last month (“This Is Glisten”). That record has a prominent string presence, as does this track. In the discussion that — politely and enthusiastically, unlike many public discussion spaces — accompanies the video, Beny mentions that the source of the sound isn’t a guitar but, in fact, one of the synthesizer modules. “It’s the second module you see: ‘Rings,” he explains in response to a viewer’s question, “that is able to produce those guitars and other string type instruments.” He’s referring to the second module in from the left. That tone is heard here as a fairly realistic element, a largely single-line melody that traverses, deep in a lightly warbly echo, an increasingly static-lined zone. The harshness of that latter, low-fidelity noise provides a contrasting atmosphere to the gentle tones of the guitar-like material. Beny is a master of deceptively simple music whose quietude is matched by its attention to detail and its emotional richness, and this live performance is a fine example of what he’s capable of. If this piece strikes your fancy, another live performance featuring the guitar-like module is his “Spring in Blue”:

Video originally posted at R Beny’s YouTube channel.. It’s the latest piece I’ve added to my ongoing YouTube playlist of fine “Ambient Performances.” More from R Beny, aka Austin Cairns of the San Francisco Bay Area, at rbeny.bandcamp.com and soundcloud.com/rbeny.

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Live Cinchel Mediated Guitar Performance

A house show in Chicago

This may not be the same Cinchel performance, a “house show,” I caught glimpse of on Periscope a few months back. That piece was softer, more practice-like, more as if we were peering over his shoulder as he worked through new and old techniques. This piece, nearly 13-minutes live, is commanding, as he pushes his electric guitar through (largely) off-screen pedals and software, milking chords for their densely layered, drone-cum-shoegaze intensity. An occasional glimpse of a shoulder and hair suggests this was, indeed, a performance with an audience. It’s authoritative stuff, and a great example of the way ambient/noise guitar — the piece regularly edges past the zen comfort zone of purely blissful music — is as much about the live processing as it is about handling the six-string.

It’s the latest piece I’ve added to my ongoing YouTube playlist of fine “Ambient Performances.” Video originally posted at the youtube.com channel of Seijin Lee. More from Cinchel, aka Jason Shanley of Chicago, Illinois, at twitter.com/cinchel, cinchel.bandcamp.com, and cinchel.com.

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