From Bang On a Can via Red Bull Music Festival: “Tristan Perich: Drift Multiply, Lesley Flanigan”

Bang On a Can is the original DIY New Music Organization

Red Bull Music Festival New York 2018
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Thursday 3 May- Friday 25 May, 2018

Various Venues, New York

May 09, 2018

The Cathedral of St. John the Divine
1047 Amsterdam Ave
New York, NY 10025
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Tristan Perich
Lesley Flanigan

As part of Red Bull Music Festival New York, renowned modern classical composer and sound artist Tristan Perich will premiere his most ambitious project yet: A piece for 50 violins and 50 self-built 1-bit speakers. Perich investigates the spaces where the physical world meets the abstract world of computational electronics, writing intricate arrangements that blend lo-fi 1-bit sound – the lowest possible digital representation of audio – with cascading melodies performed by classically trained musicians. Also performing will be Lesley Flanigan, the experimental electronic musician known for her work with handmade speaker feedback instruments and voice. Flanigan takes a sculptural approach to sound design, and will present a new project for subwoofers and solo voice.

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Tristan Perich 1 Bit Symphony 2010 Credit D Yee.

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An ambitious, experimental piece for 50 violins and 50 speakers.

Tristan Perich (born 1982)is a contemporary composer and sound artist from New York City who focuses on electronic one bit sound.

Perich composed a series of compositions as well as sound art installations with 1 bit electronics, which Perich describes as being music that never has more than one bit of information being played at any given time. In Denmark he was an artist in residence, where he built a series of sculptures called Interval Studies consisting of large amounts of small speakers all sending out their own frequency. The blending of all of these independent frequencies caused a white noise, or other forms of colored noise. Other works by him include Machine Drawings and 1-bit Video.

Together with Kunal Gupta and Katie Shima he forms the group Loud Objects. This group performs electronic music by soldering.

Perich has performed on Blip Festival and SxSW. Works by Perich have been commissioned for Bang on a Can festival held at Lincoln Center in New York City.

In February 2010 he won, with his Loud Objects collective, third prize in the Guthman Instrument Competition at Georgia Tech with a circuit bent electronic system. Works of Perich have been performed by the Bang on a Can-ensemble, Calder Quartet and Meehan/Perkins. His work has been reviewed by The Wire. He received the Prix Ars Electronica in 2009 and was a featured artist at Sónar 2010 in Barcelona.

Perich was the Edward E. Elson Artist-in-Residence of the Addison Gallery of American Art at Phillips Academy in Andover, Massachusetts, serving as a composer, musician and visual artist.

In 2013, Perich was artist-in-residence at MIT’s Center for Art, Science & Technology (CAST), presenting public performances and lectures.

Lesley Flannigan

Lesley Flanigan, an experimental electronic musician, is performing her new piece Hedera at the venue National Sawdust in Williamsburg, Brooklyn, NY. First, there is a repetitive scratching, like an analog camera advancing at 110 beats per minute. Within this beat are hints of other sounds: the simultaneous striking of many drums, slowed down machine gun fire, children’s noisemakers. Flanigan sits on the floor behind MIDI controllers and sings into a mic, turning her loops on and off.

“Hedera” transforms slowly over its 20-minute duration, but its beat never fully lets up, even when Flanigan’s layers of vocals nearly wash it away. This beat is the scaffolding of the piece: a distorted clicking noise which Flanigan held onto for months, adjusting the frequencies and precisely placing the wordless vocals that weave around it. Its pace feels like a panic attack, a racing heartbeat.

This work is the result of a big new presence in Flanigan’s life – her first child. After years of making work centered around speaker feedback created with her homemade instruments, Flanigan says that, after the birth of her daughter, those reliable noises just didn’t sound right. “My ears just didn’t want to listen to those sounds,” she says, sitting in the studio in Williamsburg where she works with her husband. “But I was singing a lot to my daughter. I was thinking a lot about voice.”

Voice, to Flanigan, can mean many things. Growing up in Tampa, Florida, she sang in a church choir before attending art school for sculpture. Though she was untrained, she’d always been interested in creating music, whether with her high school band or the group she started after moving to Denver to escape her hometown. That brief stint in Colorado ended as soon as Flanigan saved enough money to make it to New York City, in 2002.

After spending four years working as a video editor, Flanigan decided she needed to get back to working with her hands. “On some level I always pictured myself on a ladder in my future,” she says. “I never really enjoyed sitting behind a computer.” Still, unsure of what she was interested in, Flanigan applied to the Interactive Telecommunications Program (ITP) at New York University, a two year program that allows students to explore new creative applications for technology. There, she discovered physical computing and spent her time building simple circuits. ITP also gave her access to their wood shop, renewing a love of carpentry from when she was in school for sculpture. When she realized that she could build a simple speaker that amplified a sound circuit, something clicked. Or rather, screeched.

Flanigan still has that first speaker. She brings it over to where we’re sitting and flips the switch. The attached contact mic elicits a small explosion of noises, squeals, drones and thrums. “I heard a sound like that,” she says, “and I was like, ‘Holy shit, that’s beautiful!’”

See the full article here.

Bang On A Can David Lang- Michael Gordon- Julia Wolfe © Peter Serling

Bang On A Can All-Stars Members Ashley Bathgate, cello
Robert Black, bass
Vicky Chow, piano
David Cossin, percussion
Mark Stewart, guitars
Ken Thomson, clarinet

Formed in 1992, the Bang on a Can All-Stars are recognized worldwide for their ultra-dynamic live performances and recordings of today’s most innovative music. Freely crossing the boundaries between classical, jazz, rock, world and experimental music, this six-member amplified ensemble has consistently forged a distinct category-defying identity, taking music into uncharted territories. Performing each year throughout the U.S. and internationally, the All-Stars have shattered the definition of what concert music is today.

Together, the All-Stars have worked in unprecedented close collaboration with some of the most important and inspiring musicians of our time, including Steve Reich, Ornette Coleman, Burmese circle drum master Kyaw Kyaw Naing, Tan Dun, DJ Spooky, and many more. The group’s celebrated projects include their landmark recordings of Brian Eno’s ambient classic Music for Airports and Terry Riley’s In C, as well as live performances with Philip Glass, Meredith Monk, Don Byron, Iva Bittova, Thurston Moore, Owen Pallett and others. The All-Stars were awarded Musical America’s Ensemble of the Year and have been heralded as “the country’s most important vehicle for contemporary music” by the San Francisco Chronicle.

Current and recent project highlights include the touring performances and recording of Julia Wolfe’s Pulitzer Prize winning Anthracite Fields for the All-Stars and guest choir, the record release of Wolfe’s acclaimed Steel Hammer, featuring Trio Mediaeval, plus a moving theatrically staged collaboration with SITI Company and director Anne Bogart; Field Recordings, a major multi-media project and CD/DVD now featuring 30 commissioned works by Tyondai Braxton, Mira Calix, Anna Clyne, Bryce Dessner, Florent Ghys, Michael Gordon, Jóhann Jóhannsson, David Lang, Christian Marclay, Steve Reich, Todd Reynolds, Julia Wolfe, and more; the Lincoln Center Festival 2017 world premiere of Cloud River Mountain, a new collaboration featuring Chinese superstar singer Gong Linna; the world premiere performance and recording of Steve Reich’s 2×5 including a sold-out performance at Carnegie Hall, and much more. With a massive repertoire of works written specifically for the group’s distinctive instrumentation and style of performance, the All-Stars have become a genre in their own right. The All-Stars record on Cantaloupe Music and have released past recordings on Sony, Universal and Nonesuch.

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