New York City-based composer collective ICEBERG New Music was in residence at Crosstown Arts here in Memphis for two weeks of concerts, workshops, and lectures back in June of 2017.
We spoke with composers from the second of the two concerts in the Crosstown Arts series, and attended their workshops and lectures that ranged from a “Sound Scavenger Hunt” to a lecture on “Popular and Classical Music in 1960s America.” Memphis-based contemporary chamber group Blueshift Ensemble collaborated with ICEBERG and performed the collective’s original compositions for the concert series.
I hope you enjoy our talk about Iceberg’s mission, the future of new music, collaboration, blending genre’s and more!
Special thanks to Iceberg New Music, Jenny Davis and the Blueshift Ensemble, and Justin Thompson and the whole Crosstown Arts Community.
Alex Burtzos – OMAHA (all the things you could be you are you were) for string quartet
Drake Andersen – Photons for flute and clarinet
Yu-Chun Chien – Co-Composition for a cellist
Jonathan Russ – Eat Your Vegetables for solo clarinet
Harry Stafylakis – Unrelent for flute, clarinet, violin, cello, piano, and percussion
Cage let chance override musical composition the way it plays upon nature. He focused on the subtleties between sound and silence, the same way they intertwine in existence. Embracing noise as others did before him, including Russolo, Satie, and Varese, Cage was able to transcend the bounds of traditional music composition that would baffle the avant-garde world for decades. In this episode we talk with Laura Kuhn, James Pritchett, and Brian Brandt of Mode Records.
This month Sonosphere talks with Martyn Heyne, composer, producer and engineer. Martyn has a new album out on November 17th called Electric Intervals on !K7 Records’ new imprint 7K!
We discuss the making of this album, which is his first full length solo work. Martyn has worked in a producer and engineering role with the likes of Nils Frahm, The National, Efterklang, Peter Broderick, and others.
We also chat about the creating the video of the single “Carry” with FELD, the Berlin based design studio behind the album’s imagery, and the nuisances involved in listening and recording music.
Tracks in this episode:
The National – Don’t Swallow the Cap
Martyn Heyne – Curium
Martyn Heyne – Carry
Funkstörung – Test
This month Sonosphere teams up with the Rock ‘n’ Soul Museum and the Memphis Musicology podcast to bring you 60 years of Royal Studios. We visit with co-owner and music producer Boo Mitchell on a tour of Royal Studios in South Memphis.
Royal turns 60 this year and in this episode we’ll reminisce with singer/songwriter Don Bryant on writing hit songs and singing with Willie Mitchell’s band; legendary recording artist Ann Peebles and the magical night behind her hit “I Can’t Stand the Rain;” Memphis musician Scott Bomar on Willie Mitchell’s legacy as teacher, producer and engineer of so many classic hits; and Amber Hamilton with the Memphis Music Initiative and the partnership they have with Royal to pass on its legacy to the future talent.
Come celebrate with Boo and the Mitchell family at the Levitt Shell on October 14th featuring local, regional and national artists and November 18th for the grand finale event at the Orpheum. For more information visit royalstudios.com
Special thanks to Ezra Wheeler from the Rock ‘n’ Soul Museum and host of the Memphis Musicology podcast for co-producing this episode with Sonosphere.
Crosstown Arts played host to Continuum Music Festival August 3-5, 2017. Continuum Music Festival was the idea Jenny Davis and Jonathan Kirkscey of Blueshift Ensemble . Continuum was “a festival of collaborations among musicians and artists working in diverse genres from Memphis and beyond, bringing to life unique performance experiences in the historic Crosstown neighborhood.” The festival featured performances from River City Flute Quartet, Nief-Norf, Chatterbird, Don Lifted, Luna Nova, Rob Jungklas, and Blueshift Ensemble. We were able to catch up with Jonathan Russ, performers, and members of the various music collectives. We present to you our latest episode which recaps Continuum and gives insight to what is going on not only in Memphis but all across Tennessee. Thanks to Jenny Davis, Jonathan Kirkscey, Lawrence Matthews, Patricia Gray, Robert G. Patterson, Celine Thackston, Maya Stone, Jesse Strauss, Ashley Walters, Jay Sorce, Jonathan Russ, Rob Jungklas and all of Crosstown Arts. Enjoy!
On June 24th and 25th of 2017 an interesting experimental electronic music fest descended upon the MidSouth with artists primarily from Memphis, Mississippi, and the southeast.
“I wanted to take electronic music back to its roots,” said creator Robert Traxler. His inception for the fest came from the experimental spirit of the original electronic music artists like Delia Derbyshire, Karlheinz Stockhausen, John Cage, Pauline Oliveros, Suzanne Ciani, Pierre Schaeffer, and many, many more from the 1940s, 50s and 60s. But musique concrete is not all we found at this festival. Harsh noise, techno, ambient analog improv sets, and a live score of Forbidden Planet were a few of the performances found at Memphis Concrete.
Take a tour through the fest with Robert and some of the talented artists that participated in the Memphis Concrete Festival in the latest episode of Sonosphere.
Dominic Van Horn (Aster, manualcontrol)
Kim Rueger (Belly Full of Stars)
Connor Brown (Cheap Spirits)
Kane Blanchard (Tatras)
Kole Oakes (Pas Moi)
The live Memphis Concrete sets heard here by Belly Full of Stars, Aster, Cheap Spirits, Pas Moi, Ben Bauermeister, Tatras, manualcontrol, and Robert Traxler were captured and edited by Robert Traxler.
Two other tracks used by participants in the fest are “#2” by NEPTR and “Viginti Quintuplet” by Ben Ricketts. Thanks to all the artists for sharing their time and work.
In this special, bonus episode of Sonosphere we present An Evening with Wu Fei in collaboration with Crosstown Arts. This is Fei’s live performance at the Crosstown Arts gallery on Cleveland Street in Memphis, TN on June 30, 2017. The intimate space lent itself to an interactive performance between the audience and Wu Fei as she showcases what the guzheng can do through its thousand-year history.
Wu Fei is a composer and guzheng player. She is a native of Beijing and a current Nashville resident. She is a master of the guzheng, the ancient 21-string Chinese zither. At this performance Fei told stories of her upbringing in Beijing, her relentless practice with the guzheng and how she found improv at Mills College as well as through her time in New York’s improv scene. She mixes her Western and Chinese traditional sensibilities with a contemporary, experimental dialect that only Fei can convey in her “down-to-earth,” personable way. We thank her and Crosstown Arts for an amazing show!
Knoxville, a city of just under 200,000 residents, was vibrant during this year’s Big Ears Festival. It is impossible to experience this festival without experiencing Knoxville itself. Wonderfully woven into Old City, downtown, and World’s Fair Park, Big Ears makes Knoxville feel like a quaint European city.
Big Ears is a festival focused on connecting pop, classical, and experimental music. The inaugural Big Ears took place in 2009 and featured composers such as Phillip Glass and Pauline Oliveros. This year’s festival honored Oliveros, who passed last November, by opening the festival with Nief-Norf performing the composer’s Single Stroke Meditation. Oliveros taught us to listen; she composed for “ear-minded people.” It was fitting to begin a festival with her practice of approaching the world with open ears. The Mill & Mine, a concert and event venue in the historic Old City, was filled with people of all ages trying to center themselves before four days of beautiful and confounding music, art, and film.
Big Ears offered an endless supply of entertainment, all in close proximity, letting you freely flow from one exhibition to the next. With international acts such as Colleen, Gavin Bryars, Anna Meredith, DakhaBrakha, Frode Haltli, Nils Økland, and Wu Fei, among many others, attendees would have been extremely hard pressed not to experience something completely new. Acts such as Wilco, Blonde Redhead, Tortoise, and Deerhoof brought more familiarity. Members of Wilco spread their influence to every corner of the city, performing solo and with collaborators.
We spoke with artists Cecile Schott (Colleen), Jamie Stewart (Xiu Xiu), Anna Meredith, Andrew Bliss and Kerry O’Brien of Nief-Norf, Wu Fei, Frode Haltli, and Melinda Lio. They provided insight to a plethora of differing music styles and approaches, and they remarked on Knoxville’s inspiring environment. One specific message remained the same to them: music is a free-flowing art form that can be composed from any background and in many styles.
Nief-Norf performed Michael Gordon’s “Timber” [an hour-long composition for six percussionists playing wooden simantras (2x4s)] in front of hundreds that packed in around their circle at the Mill & Mine. This was a wonderfully meditative piece that was also a measure of endurance for the performers.
There were so many fun and challenging performances during the festival it is hard to recount all of them. We will recap a few that really resonated with us. Wu Fei played her guzheng,an ancient Chinese instrument, in a packed in the gothic revival-style St. John’s Cathedral. The Chinese folk songs echoing around the room were foreign to a Tennessee Catholic church, but it did provide a religious-like experience that was also bright and thought-provoking. Plucking the guzheng, Fei’s demeanor was very intense. Each song was followed by a loud sigh that would signal the end. She was insightful and playful between songs, pausing between songs to make jokes or give the audience some education about the instrument. She revealed that this performance marked the first time she played two guzheng at once. One could never have guessed.
Anna Meredith, British composer, producer and performer, weaved electronic and acoustic sounds through up tempo dance songs that got the audience moving on the first night of the festival. As the last leg on her first U.S. tour, Anna Meredith brought energy and her fierce personality to the stage at Big Ears. Her band included a tuba, drums/percussion, guitar, and cellist – with Anna Meredith at the helm. If she wasn’t banging on a drum, whipping out her clarinet, or bringing the digital sounds, she was dancing – and so were we.
Being a fan of Twin Peaks and Xiu Xiu, this performance at Tennessee Theatre was on our list of must see events. Xiu Xiu’s performance was everything we had hoped for. It was eerie and dramatic, bringing you into their vision of Lynch’s cult television show. The performance ended with Shanya reading an entry from Laura Palmer’s diary wherein she curses Bob for everything and wishes for death. Right as she finished reading, Jamie stopped drumming and embodied Leland Palmer by singing Mairzy Doats while dancing mad and sporadically.
At the Square Room, Philip Jeck spun records and created a sometimes harsh but mostly calm listening experience. As we watched him meticulously shift the sounds we were fascinated while also being lulled into a trance.
Colleen performed both on Friday at the Mill & Mine and at The Standard on Sunday. The Standard offered a more intimate environment. She invited everyone to sit down and enjoy the performance. She picked her viola de gamba and carried us to another place with her voice, which was also looping in time. Her cover of “Pearl’s Dream” by Walter Schumann from James Agee’s Night of the Hunter was mesmerizing and thoughtful considering Agee is from Knoxville.
Kaitlyn Aurelia Smith performing Saturday at the Mill & Mine hypnotized the audience with the intriguing, analogue sounds of her Buchla synthesizer. A dark and roomy Mill & Mine buzzed with curiosity as the audience, enchanted by original, digital artwork swarming in vibrant colors behind her, danced and swayed to upbeat, yet thoughtful music. Her music entrenched in natural sounds, made you feel like you were outside in the woods dancing around a fire.
Michael Hurley performed both in the Tennessee Theatre and at the Standard. We saw Hurley at the Tennessee Theatre, which was decked out for Wilco’s performance later that evening. Hurley offered what only he can, stories of lonely but often whimsy folk that is familiar because his influence runs deep in early and modern folk and rock music. The large theatre environment left us longing to see him in a more intimate environment that The Standard might have offered, but the Pilot Light – a small dive close by – may have been an even more ideal space for Hurley to share his playful storytelling in song.
Numerous panels focusing on a variety of issues and topics that let curious audience members further entrench themselves. We attended one such panel discussing Pauline Oliveros’ life and works; presented by The Wire (UK) with Alvin Curran and Emily Manzo as speakers. Curran painted a vivid picture of Oliveros life, influence and inclusivity in her music-making. Curran highlighted her discontent with the status quo, a discontent that allowed her compositional “experiments” to open the ears and minds of her students and peers. Her ideas resonate so perfectly with what Big Ears accomplishes. Curran, thoughtfully reminiscing on Oliveros’ love of finding music in various sounds around us, asked the audience to “burst into spontaneous music-making.” Curran conducted a 30-second humming orchestra of attendees’ voices that was both beautiful and surprising to the audience. Concluding the panel we were allowed to participate with many others in a group meditation as well as Rock Piece by Pauline. With our fellow attendees, we made sound with the natural, local environment – with Tennessee rocks. Each rock contributed its unique note to the group’s music. The most resounding experience of the festival, this piece, composed by one of the utmost accomplished, and inspiring composers of our time, brought strangers together growing not only our ears but opening our minds to Oliveros’ world of sound-making.
The lineup was one of the most eclectic and interesting ones you’d find at any U.S. music festival, and like the rocks, each performer provided a unique experience that built upon the history, evolution and connectivity of modern music, new music, noise music, and pop music. Among the festival attendees, volunteers, guests, and artists, everyone was open to new sounds and ideas. After the final performance of the festival (Xiu Xiu at the Mill & Mine), Cecile (Colleen) wandered up toward the stage and asked how Shanya was producing those sounds. It is this curiosity and intrigue that makes Big Ears Festival such a unique experience.