Filed under: FILM/VIDEO, MUSIC | Tags: 2012, 22, album, brooklyn, Canada, crypto, dweller, lid, magazine, new, release, squid, the, Video, york, zoo
Filed under: ART, MUSIC, The 22, VOLUME FOUR, WRITING | Tags: 22, 30th, brooklyn, collage, four, January, magazine, new, the, volume, york
Well folks, it’s nearly that time. How do we know? Our inboxes are full, our eyes are strained, and our tentacles are a quiver with pure excitement for what is shaping up to be one of the most amazing volumes yet. As for you, oh dearly talented creative procrastinator, we still cannot wait to see what wonders you shall send us but please keep in mind there are merely ten days left to submit your work! As always submission is 100% free and we are thrilled to meet new amazing people who will always be considered for both the print volume and the blog. Thank you to the wizards of scissors, the mind melting soundscapers, and the scribes of clipped reason who have already sent work and thank you for keeping this project chugging along with your amazing talent. Now go submit!!
Filed under: MUSIC, VIDEO WEEKEND | Tags: 22, and, brooklyn, hooch, kc, live, magazine, moon, music, musicians, new, revolution, roberts, the, york
Filed under: ART, INTERVIEWS, MUSIC, WHERE (we) LIVE | Tags: 19, 22, 22nd, brooklyn, Dec, greg, interview, live, magazine, mcmurray, new, Percussion, preview, so, the, we, where, with, york
On Dec 19-22nd So Percussion will combine the wonderfully unique voices of Ain Gordon, Greg Mcmurray, Martin Schmidt, and Emily Johnson with an alternating artistic “performer” each night to creatively explore the idea of a home onstage in Where (we) Live at Brooklyn Academy of Music. Artists will include, Paula Greif (ceramics), Marsha Trattner (blacksmith), Ricardo Vecchio (painter), Victoria Valencia (woodworker.) These performances are part of BAM’s 30th Next Wave Festival.
PREVIEW INTERVIEW FROM SO PERCUSSION
By Nell Whittaker
The 22: You have already experimented with industrial sounds in your music and now this project is very much to do with the connection between art/creation and music. What is it about the two which makes them agree with each other so well?
Jason Treuting: I think we think of process very much when we think of this piece. The long process we went through to put it together and the fact that every time it is on stage it looks a bit different because some of the process of creation is real time and different each time are both really important to the core of the piece. It is about making things with people and that interaction is what makes up a community, a home, etc. A different artist will be on stage each night making something new with us or by us or around us and our collaborator Emily Johnson sits on stage each evening and draws different things out of the piece each night by giving us notes to follow. It is a wild experience where much of the creative process is given up to collaborators and guests in the moment. I guess I actually feel like this piece is more about something poetic and less married to the exploration of sound or maybe the exploration of sound is meant to serve a more poetic purpose. In the past, explorations of sound, industrial or otherwise, have been what the whole process was about.
22: How does the city affect your creative process generally?
JT: I definitely have a love hate relationship with this city. t brings energy. It makes me want to work and explore my art. It keeps me moving forward creatively. But…it brings a crazy energy. It makes me work crazy hard and it keeps me moving forward very quickly. Two sides of the same coin, but it is a serious balancing act. In the end, I can’t imagine making art anywhere else right now and I think So owes a lot of its creative energy to the community we are directly and indirectly connected to and this project has been about expanding that community, both to different artists/mediums but also to different geographic communities as well.
22:What selection process did you use to work with the artists involved with the show? What were you looking for?
JT: The process was really organic. We have spent longer creating this project than any of the other evening length projects that we’ve created, like Music for Trains or Imaginary City. The beginning seed was expanding the types of artists we were bringing in to the creative process in hopes that we would be pushed to new places. This meant very informally asking some friends or artists we respected to send video or ideas to contribute.
With Grey Mcmurray, we had played with him lots before. He recorded on Amid the Noise and had sat in on many projects and some of the more improvised forms we started with were easy to bring him in to. But we developed a new relationship with him as a songwriter and that came really slowly. By the end, there are four songs on the record that were co-written in ways that were new for all of us.
With Martin Schmidt, we had collaborated with his duo, Matmos, over a long period of time and are using his video work from that context. He started by sending us videos of him performing in different rooms of his house. These videos were great to write music to and slowly made there way out of the project in favor of shorter art video clips from material gathered in each of our homes. In the end, we found a way to work them in and much of the music transformed through that process as well.
With Emily Johnson, she sent two videos early on that we wrote music to. One was dance in a slightly more traditional sense with two female dancers in a space. The second was from a series she has been working on of face dances—close-ups that deal with facial expressions and instructions to the performers on why/how to make an expression. The idea of the instructions became key and her role evolved into an on stage director of sorts that can give us instructions to inform movement or space or something psychological/emotional.
All of these three collaborators are folks whose work we had respected and loved, but hadn’t worked with them in that way before. And we relied on a new collaborator, Ain Gordon, to kinda pull it all together as a director of this incredibly abstract script.
22: How have you approached this project in comparison to how you’ve approached those in the past which have been solely about the music? What have you had to do differently?
JT: I feel like we have been thinking of things in a larger way for a while now. We always try to think of ways to make the experience about more than just sound, whether that means adding video to moments, getting the audience involved in the performance or just presenting the music on stage in a way that is interesting in a visual way as well. That said, this does feel like the biggest step we have taken to explore all of these elements. Text/words have made their way into the show as a core element along with video and movement and the idea of putting the creative process on display in some way. I think what we did differently was give ourselves time to explore and the freedom to fail—which we did often—and then pushed ourselves through the dead ends to new places. We are proud of what we arrived at. It feels like a collective work that is about all of us and that feels real good.
Filed under: INTERVIEWS, MUSIC | Tags: 22, an, and, Eberhardt, from, interview, Isabelle, Le, magazine, Mazzoli, Missy, poisson, rouge, royce, song, the, Uproar, vavrek, with
Abigail Fischer and Now Ensemble and Aaron Roche performed SFTU at Le Poisson Rouge, Dec 2012
Song from the Uproar originally premiered at The Kitchen in Feb 2012 and was reprised at Le Poisson Rouge this past December with the NOW Ensemble and Abigail Fischer. Aaron Roche also preformed and video was shown from Stephen Taylor. The narrative of SFTU revolves around Isabelle Eberhardt, a gender defying Swiss explorer and journalist who kept extensive diaries of her extraordinary lifestyle in the 1800s. In the early 1900s she moved to Algeria where she wore the garb of men and called herself, Si Mahmoud Essadi. She married an Algerian solider, and was eventually killed by a flood in 1904, after an early assassination attempt. Creator Missy Mazzoli and librettist Royce Vavrek were interviewed about the project below.
The 22: What in Isabelle’s character do you identify with? What originally made her unique to you?
Missy/Royce: I identified with her inner conflicts, with this feeling that she was caught between eastern and western culture, between her desire to be with her husband and her need to travel endlessly. At a time when most of what we do is shared and recorded through Facebook, Twitter, etc, I was attracted to the fact that we really don’t know that much about Isabelle. We are left to imagine how she felt while these very extreme things happened to her.
22: Do you know much about how Isabelle’s conversion to Sufism effected her during that era? Is this what lead to her attempted assassination?
M/R: I know that the Sufi sect she was a part of did not typically include women – she was only invited into the group because she chose to live as a man. It was in fact the event that led to her attempted assassination; because she was a European woman she was a very visible member of the sect, and became a target for rival Sufis.
22: In the film you repeat images of a little girl and her father (who appears and disappears) and of a girl swimming and/or drowning. Tell me what those symbolic elements represent to you.
M/R: The films were made by Stephen Taylor – the little girl and her father represent Isabelle and her father, and the water imagery represents the flood that will eventually take her life. To me, the water also represents her life, this force that swept her along down an untrodden path.
22: Tell me a little about your costume choices (which have evolved throughout the shows), particularly Isabelle.
M/R: The costumes were made by our designer Alixandra Englund in consultation with the director Gia Forakis. We wanted to show a mix of genders and also a mix of North African and European influences. The pants reflect what was worn by African men at the turn of the century. The entire opera is actually Isabelle’s memory of what happened, rather than what actually happened – it’s a subtle but important distinction. By placing the work in the sphere of memories and dreams, we opened up the story to ideas and styles that don’t necessarily reflect reality in an accurate way. Isabelle’s costume is a perfect example of that – it’s a sort of dreamy, mis-remembered version of something she would have actually worn.
22: Isabelle seems to have a real kinship with death in the piece, “death moves his hands through me again,” “death is my joy, my happiness,” tell me what you or Isabelle meant by these lines?
M/R: Isabelle’s relationship with death is complicated and fascinating. She wrote about death obsessively in her journals and contemplated suicide at one point, but claims to not fear death because of her Islamic faith. In reality I think she did fear death (she was found drown in a flash flood with her arms raised over her head, as if fighting with the water) but more than that I think she feared being alone. When her family dies early in the opera she repeatedly sings “death moves his hands through me again”, and it is this pain that, in my interpretation, forces her to make the extreme choice of moving to North Africa to find a new life.
22: Through part of the opera, Isabelle is (quite enthusiastically) drinking from a bottle. Was she a big drinker?
M/R: Isabelle did enjoy her liquor and was a known smoker of kif, her liberal consumption of substances is widely discussed.
22: It’s particularly interesting that Isabelle was in a sense a political voice against french colonial rule, a dynamic that is relative today. It seemed her representation of both sides allowed her acceptance into the culture, but also created a great distrust of her. Can you talk a little about this?
M/R: I feel that Isabelle was actually on whatever side would help her most at any given moment. Yes, she was for the most part anti-colonial, but also worked for the French as a census-taker at one point. The impression I got was that she found more acceptance in North African culture than she did as a cross-dressing Arabic-speaking anarchist living in Geneva.
22: What appeals to you about turmoil, the “uproar” or Isabelle’s life? You seem to find both joy and sorrow in it, can you speak of both those elements?
M/R: Isabelle’s journals vacillate between supreme joy and a near-rock-bottom depression. We were really excited to create world that reflected these shifts in Isabelle’s outlook on life, which meant looking at things from both angles: how can so many elements of life cause great happiness and also suffocate you?
22: This piece, in my humble opinion, seems to be asking for interlocking narratives of other woman who broke through gender boundaries throughout centuries. If you were to do opera’s on female role models who might they be?
M/R: This is the first opera in a planned trilogy which will feature strong female protagonists of the 20th and 21st centuries. I will have more news as to the subjects of the 2nd and 3rd operas soon, but they are very much in the initial planning stages!
22: Tell me a little about your work with NOW ensemble and why you felt they were right for this piece?
M/R: I’ve been working with NOW Ensemble for the past five years, and have come to know those performers very well. I felt that the small size of their group, their diverse instrumentation, and their commitment to contemporary music made them a perfect match for this project. I also loved the fact that their ensemble had a piano and an electric guitar, instruments that I felt could anchor the music throughout the work, and could create a rich harmonic tapestry that I felt was necessary for the storyline. I wrote all of the music – the collaborative aspects pertained only to the interpretation of the work. I also worked extensively with the guitarist Mark Dancigers to work on the guitar effects (distortion, looping) for the work.
22: Tell me a little about working with Beth Morrison and how her choreography played a role in the piece?
M/R: Beth Morrison was actually the producer of the piece, the movement was developed by director Gia Forakis in collaboration with the singers through a methodology called “One Thought One Action” in which the text is broken down into micro-beats and gestures are created that become married to the linguistic units. Everything developed very organically, staging wise!
22: Tell me a little Abigail Fischer (Isabelle Eberhardt) and why you felt she was right for this piece?
M/R: I saw Abby perform in Nico Muhly’s piece “Elements of Style” and I was hooked. I could sense, even before talking to her, that she was a complete musician; she’s someone who is committed to understanding her roles in a profound way. She’s a cellist as well as a singer, and is a brilliant, inquisitive person outside of music. I knew I needed someone who could understand Isabelle’s dark side – someone who would be willing to read the journals, and someone who was willing to sound gritty and at times ugly, because that’s what the role demanded.
22: Why did you chose video to create a sense of atmosphere in a story that is meant to take place in the 1800s? Why did you chose to use pictures of more 1920-40s based families, what did they come to represent?
M/R: Here I’m speaking for Stephen Taylor, our filmmaker, but I’ll do my best! We wanted the films to reflect Isabelle’s memories and dreams, and didn’t want them to serve as simple background images within the set. Because we’re dealing with the language of mis-remembered events and surreal dreams, we did not feel bound to use footage from Isabelle’s lifetime. We instead chose to use film footage that gives the impression (to a 21st century audience) of “the past”, and settled on footage from the 30′s and 40′s. This choice also gave us a lot more variety when it comes to selecting footage, since there was very little film shot in the first few years of the 20th century.
22: In the end Isabelle is represented by a picture of a swimmer. Tell me a little about this interplay between the film footage and the character. What moment does it signify for Isabelle?
M/R:The opera ends with Isabelle’s transformation (on film) from a drowning woman into a high-diver. The footage is turned upside-down so it looks as if she is diving into the sky. This image has many potential interpretations – at the most basic level it represents Isabelle’s death and her ascent into that unknown world. To me, it represents her willingness to rise above the uproar and release herself from her tumultuous life. This is a piece that constantly walks the line between ecstatic joy and a dark, unfathomable sorrow. The image of Isabelle as a diver represents this fine line more than any other image in the piece.
Filed under: MUSIC, THE PLAYLIST | Tags: 2012, 22, 5, 5th, and, animals, Consciousness, december, Excerpt, from, Plant, plants, PLAYLIST, the
The 22 Playlist #5 Plants and Animals
(Dec 6th, 2012)
Devoted to cruciferous cohorts and bestial bellowers in sonic communication, “Plants and Animals” is an homage to the unearthly noises emitted by our plant and animal brethren. Combining the podcast, “Plant Consciousness & Communication” by Carlo Patrão (Zeplim Radio), with sounds from Timothy Shepard (UK), Squid Lid (Canada), Dokuro (Poland), Jef Brown/Aaron Moore (Brooklyn), Lushlife (Brooklyn), Polypus Acephalous (Russia), and TriReeval (Washington).
Listen below or on SOUNDCLOUD.
Check out the comments section for track credits.
And as you may have noticed we have a new format for the playlist this week. We think it’s pretty cool, if you like, or if there is something you simply loathe about the new setup please hit us up with comments/suggestions at the 22magazine (at) gmail (dot) com. Otherwise, enjoy!
Filed under: MUSIC, THE PLAYLIST | Tags: 22, and, Belle, brooklyn, brown, christopher, garchik, humor, jacob, jef, june, magzine, new, Paul, PLAYLIST, pony, RUSTY, sky, stelling, the, wane, wax, york
Image courtesy of San Diego Air and Space Museum Archive
It’s that time of year for the annual sky parade of seasons. That old October moon, the waltz of the crisping breeze, the knits come out, the land shells over. There is a quiet, a spark of rebellion, and finally the familiar settling in. This playlist, we focus on the subduing of the season, the last breath of fall and both the goodness and the bad that the cold weather brings. We take to the skies with Sky-Pony and Gram Rabbit, ride the rails with Rusty Belle, Jef Brown, and Christopher Paul Stelling. We bundle up with June Humor, take in the golden hour with Matt Alber, dance with Inez Lightfoot, lay it down with the Dive Bar Dukes, and ponder the heavens with Jacob Garchik.
Listen below or on SOUNDCLOUD.
Filed under: ART, MANUAL (SWOON/BONTA), MUSIC, PERFORMANCE ART, POETRY, WRITING | Tags: absurdism, bonta, dave, How, mourn, surreal, Swoon, to
Filed under: ART, MANUAL (SWOON/BONTA), MUSIC, PERFORMANCE ART, POETRY, WRITING | Tags: absurdism, bilidos, bonta, dave, How, performance, surreal, Swoon, to, walk
Filed under: ART, FILM/VIDEO, MANUAL (SWOON/BONTA), MUSIC, POETRY, WRITING | Tags: absurdism, bacon, bonta, dave, film, How, Swoon, to, Video, wait
Filed under: ART, FILM/VIDEO, MANUAL (SWOON/BONTA), MUSIC, POETRY, WRITING | Tags: absurdism, bonta, dave, How, LISTEN, manual, Marc, nyes, Swoon, to
Filed under: FILM/VIDEO, MUSIC | Tags: 2012, am, hampstead, heat, heath, hot, i, magicvan, mccallan, MOORE, music, summer, Sun, taren, the, Video
From the forthcoming album, ‘Hampstead Heath’, due for release in 2012.
Filed under: FREE FRIDAY!, INTERVIEWS, MUSIC | Tags: 22, body, brooklyn, edward, FREE, friday, grimes, karate, Kentucky, louisville, magazine, new, noir, parole, records, red, rock, seluah, the, york
Filed under: MUSIC | Tags: 22, a, art, artist, artists, arts, brooklyn, Diamond, ghost, glass, like, magazine, new, ny, nyc, performance, york
Filed under: ART, MUSIC, POETRY, WRITING | Tags: 22, art, artist, brooklyn, Lee, magazine, new, ny, nyc, ophelia's, Owen, surreal, the, w, york
Filed under: FILM/VIDEO, MUSIC | Tags: 22, art, artist, artists, arts, brooklyn, cage, Elizabet, flower, for, h Rodgers, Hurlbut, john, library, magazine, mary, new, ny, nyc, O'HAIRE, performance, performing, pictures, robert, straw2gold, the, york
Filed under: ART, FREE FRIDAY!, MUSIC | Tags: 22, Alan, alien, art, artist, artists, arts, magazine, michael, new, ny, nyc, surreal, the
Our Free Friday this week is a new musical work from Michael Alan. Falling somewhere between “this is your brain on drugs” and lo-fi experimental the most charming elements have to be when he samples his mom for several of the tracks. Known for his Living Installation and Painting work, Alan’s CD certainly isn’t for the faint of heart but definitely worth an early listen. Hear some of the tracks below.
Buy the album here.
Filed under: Clamor in the Street, MUSIC | Tags: 14th, 22, 6th, and, are, art, artist, artists, arts, at, clamor, in, lonesome, magazine, new, ny, nyc, singer, stop, street, surreal, the, tonight, tunnel, unknown, york, you
Filed under: MUSIC, REVIEWS | Tags: 22, 5, ali, amat, art, artist, artists, arts, Bernd, brooklyn, carlo, coda, costa, david, degress, FAHEY, frantx, Graefe, grollman, Gustin, horse, jeremy, Kigawa, Klug, Kuehne, Laurie, Loriot, lucio, magazine, menegon, Morta, Natura, new, ny, nyc, of, park, performance, prehistoric, review, sean, super, surreal, Taka, the, Valerie, Vaudeville, william, york
Vocalist and performer Laurie Amat of San Francisco performed at The Super Coda at Vaudeville Park on April 5, 2012. The show was constructed so that Ms. Amat, along with a standard solo set, improvised with 5 different performers whom she had no previous knowledge of until directly before show.
The performance is described below in degrees.
Degree 1 “The Spark” : Laurie performs Bernd Klug with Prehistoric Horse
This is a quartet. Cello (Valerie Kuehne), guitar (Lucio Menegon), snare drum (David Grollman), and Laurie on vocals. She is jolly. Dressed in black, petite, with close-cropped hair she organizes the stage to her liking. Drums here, no, there, and performers enclosing here. It is the quintessential fire build. The sticks laid, not to many attendees yet but that will change as the fire grows. The show begins with a vocal pieces, somewhat randomly dedicated to the next performer Bernd Klug (an ideal name no doubt for Laurie’s often nonsensical phrasing) and is quickly developed into the in-depth story of THE BERND KLUG. After a few minutes of soft, warming experimentation’s on guitar, drum, and cello, Grollman strikes the match of BERND KLUG. First Bernd is a superhero with a beautiful cape-the flame jumps-now he is a demon, now a battleship steaming against the ecstatic fusion of guitar and cello. Laurie in the center vocally counterpoints Grollman’s tale. Most of her vocals sound like operatic exercises. Her words, though often simply gibberish, are gripping and always slightly on the edge of breaking from beauty to destruction. Now the fire is caught. Bernd Klug is coming, he’s going, he’s hurling fireballs, he’s sinking us all. BERND KLUG is HERE.
Filed under: Clamor in the Street, MUSIC, The 22 | Tags: 22, art, artist, artists, arts, Bernstein, brooklyn, clamor, holy, hot, in, magazine, mess, new, ny, nyc, performance, sarah, street, surreal, the, york
On March 22nd, 2012 we recorded The Hot Holy Mess and Sarah Bernstein, underneath the Manhattan Bridge at the intersection of Adams and Water Street in Dumbo, Bklyn. Hear the results below. Thank you to The Hot Holy Mess and Sarah Bernstein for getting up bright and early to make some beautiful music, and a very special thanks to sound wizard Robert O’Haire who makes musicians playing underneath train tracks sound absolutely lovely.
Hot Holy Mess: http://thehotholymess.tumblr.com/
Sarah Bernstein: http://sarahbernstein.com/
Recording and Sound Production, Robert O’Haire (Straw2Gold Pictures): http://straw2goldpictures.com/
The 22 Magazine: http://www.the22magazine.com/
Filed under: ART, EVENTS, FILM/VIDEO, MUSIC | Tags: calder, dan, deacon. jen, ecstatic, ensemble, festival, hall. upcoming, kaufman, minimal, music, now, quartet, show, stark
Filed under: EVENTS, MUSIC, THE WEEK/THE WEEKEND | Tags: 22, art, artist, artists, arts, brooklyn, gallery, magazine, new, ny, nyc, painting, performance, surreal, the, york
On March 25, 2012, Friends and colleagues of Jonathan “JP” Nocera will gather at Cameo Gallery in Williamsburg, Brooklyn from 7PM to Midnight to celebrate his life and legacy. Featured performers include The London Souls, Erica Lindsay, Sticklips, Captain for Dark Mornings, and Squiggle, with artwork by Charles Sainty.