4.21.15 ARTTU PARTINEN+ JEFFREY ALEXANDER + ANTTI TOLVI + HASE PFEFFER NASE

Doors at 9PM; $5, all ages. 

An expansive experimental tour of psychedelic trance to jump cut tape music. A RARE chance to see two of Finland’s most acclaimed sonic adventurers – neither have ever performed in California before!

ARTTU PARTINEN
member of Avarus, Amon Dude, Heteroskeleton. 
“If heaven exists, Andy Kaufman and Hunter S. are cheering on Arttu Partinen.” — Cleveland Scene

JEFFREY ALEXANDER
Member of Jackie O Motherfucker, Dire Wolves, Black Forest/Black Sea.
“A gorgeous snapshot of the free psych underground, one of the purest spaces of otherworldly terrain in the current musical landscape.” – Pitchfork
http://tinyurl.com/pjloypj

ANTTI TOLVI
member of Lau Nau, Lauhkeat Lampaat, Kemialliset Ystävät
“It’s as if Tolvi set out to mimic a flock of birds and ended up with a sped up, home-cooked version of pipe music from the Solomon Islands cut with a personalized, disorienting minimalism…Sound emerge from all angles and criss-cross in a kind of low-boil ecstasy.” (The Wire)
https://soundcloud.com/anttitolvi/urkupilvi-b

Angst Hase Pfeffer Nase - > Chris Cooper's( Caroliner/ Bill Nace Chris Cooper Duo) idiosyncratic guitar and writhing tape manifestations of untamed pitch and speed exchange.https://www.youtube.com/watch?v=LhcfAes_qp0

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4.20.15 FLESHTONE AURA + CLEAV'D CLEAVER + FAUSTINE CRUZ + COCKEREL

Doors at 9PM; $5

FLESHTONE AURA with live projections by WINSTON HACKING
“Fleshtone Aura serves his spicy dinner with a tangle of source cassettes and electronics that deploy the deeply arousing aromas of both a series of poignant and extraordinairily well timed belches and farts (or the equivalent thereof) AND the grandest gestures of the sternest-most-serious-never-leaving-the-lab shut in tape music connoiseurs of days of yore…but, ah, those toots never act merely as a humorous apology, never slapping a stick just for slapstick, nor are those high brows ever talking down to us, they’re just gifts, we’re supposed to use them as catapults into the ??!!??!!…..a series of dynamics and moments (karate chop, massage, flower sniffing, paper airplane glides, broken table leg, spoiled milk, et c) that sometimes explode atop or beside each other in matter of seconds, or sometimes linger on a sweet spot for us to suckle sugary nectars……. these juxtapositions described cease being juxtapositions when heard, all moments contribute to a fabulous, pink-pulsing-writhing whole, the superflousness is left in the waste basket, even the meanderers meander with great purpose, leaving nothing but a strobing (perhaps beaked) body builder (who never bathes or waxes: why lie?) flexing themselves into a vast meadow of previously unseen flowers in some public park somewhere.”- Id M Theft Able

+ a screening of their 35mm painted/collaged film PUBLIC SLAW (16 minutes) 

performance preview: http://vimeo.com/116794143
trailer for the movie: http://vimeo.com/105030158

CLEAV’D CLEAVER
Cleav'd Cleaver is Chicago-based Jason Soliday (J.Soliday/Coeurl/Gunshop/Enemy) on modular synth and Jake Rodriguez (bran(…)pos) of SF/Bay Area weirdness fame on mouth/vox. Savory electronics collide with face-twisting vocal exhortations in an acutely well controlled yet freely improvised (noisy) forms. This will be Cleav’d Cleaver’s first tour after premiering the duo on Glossolalia on KXLU 88.9FM Los Angeles in 2013.

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4.19.15 Keijaun Thomas: Partitions of Separation and Trespassing

Keijaun Thomas, 'The Poetics of Trespassing', SPILL Festival of Performance 2014, photo by Guido Mencari.

Join HRLA as we welcome Chicago-based artist Keijaun Thomas. This is Thomas's first performance in Los Angeles. Sunday evening, April 19. 6PM-8PM. 10-15$ suggested donation.

Partitions of Separation and Trespassing

Section 1. Selective Seeing

Part 2. Looking While Seeing Through

Section 2. Painted Images, Colored Symbols

Part 3. Sweet like Honey, Black like Syrup

In 4 zones, where one is sometimes 3rd, 3rd is four and sometimes two is 1st.

Thomas is constantly thinking about placement, our placement, lack of place, here.

The structure cannot be pure(ly) viewed as linear, horizontal nor vertical.

Moving through space, spreading materials— poring sugar and coffee like a stream of piss.

You can taste it, bitter and sweet. If I am looking at you from a pile of green A3 land

stacked high like a hill; I see you from a distance. Distance is Not Separation.

In four zones, through a panel of glass covered in textual lube, thick, not separate.

I see your yellow boots, your black hair, synthetic texture sticking like a cracker on honeyed flesh.

Can you feel it? 

I am in Florida riding through a thick haze of red and black smoke. A controlled, wild forest fire.

If you see the smoke rising on an idle Sunday in Los Angeles, know that I see it, too.

If only from a distance. The Poetics of Trespassing. Stomach pressed to the floor, sneaky. Whatchu looking at? Us.

Painted like syrup on a black box chest, filtered with vaseline, sticky.

Athletes on plantation grounds, clean it up. Denim trousers, hands and knees, watch your step. Go!

Broom-heads leaving flour tracks. You can hear it. Competition, who can collect the most.

I'm not picking for them, I'm picking for us. Us is expansive, expensive. Yaki premium. Now.

Distance speaks towards motion, motion moves towards proximity, proximity asks why, here?

Separation ask for proximity, proximity moves towards motion, motion is a gesture of movement that speaks a language presented over a distance. You're not suppose to be here. Queering images that we see or choose to see and how they function from place to place, over distances, through barriers.

I'm not picking for them, I'm picking for us. Clothes line, hanging. Watch them dry, watch them die.

Black tissue paper covering building blocks. Cardboard on the front line. When you hear the fireworks cracking beneath your feet on an bustling Sunday in LA, Get ready.

4.18.15 I SPEAK MACHINE with DJ CARLOS ROSSI (Death Waltz Records) and AFTERHOURS

Doors at 9PM; $7, all ages welcome. 

I SPEAK MACHINE - music/ film duo from Los Angeles that create sci-fi/ horror short films that are screened with the score performed live. Tara Busch will be playing the live scores to THE SILENCE and GAGGLEBOX plus a few extras! The soundtrack to their first film, THE SILENCE is out now on LEX RECORDS.

LISTEN: https://open.spotify.com/album/5CATmzWxltkRQibgmS77gC
BUY VINYL: http://lexprojects.com/the-silence/

DJ CARLOS ROSSI - Death Waltz Records/ Rendezvous LA

AFTERHOURS

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4.17.15 MIKE TAMBURO + DJ E-SPINFINITI + KEVIN GREENSPON + BROWN BREAD

Doors at 9PM; $5. 

Mike Tamburo (Pittsburgh, PA) - https://miketamburo.bandcamp.com/
East coast hammered dulcimer, gong and meditation master comes to float your boat

Brown bread (Beacon, NY) - https://brownbread.bandcamp.com/
Drifting nebula of a cappella vocal harmonies and keyboard swirl 

Dj E-Spinfiniti - https://soundcloud.com/djesp-infiniti-1
Interdimensional DJ and meditative sounds for the upliftment of all creation

Kevin Greenspon - http://www.kevingreenspon.info/
Ambient techno meets immersive visual projection overload

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*above artwork by Justin McInteer not made for this event

4.14.15 E.S.P. TV Live Taping

Directed by Scott Kiernan and Victoria Keddie, this expansive project utilizes a mobile television studio to explore the artist dialogue with broadcast transmission, analog and digital media, and televisual liveness.

E.S.P. TV’s live TV studio hybridizes technologies old and new to realize synthetic environments for performance that also expose the process of production. Each live taping event is the realization of an artists' collaboration with us.  These events are taped live with a crew of cameramen, sound engineer, and video mixing team in front of an audience. The recorded events air on Manhattan Neighborhood Network public television weekly, as well as online, and have been exhibited internationally.

E.S.P. TV Live Taping:

DVA DAMAS

Jennifer Juniper Stratford

Zumi Rosow and Cole Alexander

Elena Bajo

Suzy Poling

Experimental Half-Hour

Jack Name's Furniture Girls

Video Program by UNDERVOLT AND CO. with works by :

Andrew Benson

Cristopher Cichocki

Extreme Animals

Adam Ferris

Yoshi Sodeoka

Spectral Net

Johnny Woods

Giselle Zatonyl

Eve Parmagariti

E.S.P. TV has held over 50 live taping events internationally and has aired over 70 episodes to date. E.S.P. TV has worked with various venues including: The Whitney Museum of American Art, New Museum, Museum of Arts and Design, Printed Matter, Millennium Film Workshop, New School, Rawson Projects, Recess (NYC); Interstate Projects, Spectacle Theater, Issue Project Room, Roulette (Brooklyn); Franklin Street Works (Stamford, CT), Liminal Space (Oakland, CA), Yerba Buena Center for the Arts (San Francisco, CA), Ballroom Marfa (Marfa, TX), General Public (Berlin),  STORE (Dresden), Studio XX (Montreal), Kling and Bang Gallery (Reykjavik) and Pallas Projects (Dublin).

E.S.P. TV broadcasts every Tuesday night at 10PM on Manhattan Neighborhood Network (MNN). Channel 67 in Manhattan, as well as online at www.mnn.org.  All episodes are then posted online on our website and Vimeo platforms.  E.S.P. TV now also airs on Wednesdays with Comcast Cable 66/966 or Verizon Fios 29/30 in Philadelphia at 11:30PM.

04.12.15 ALTO! + CINDER CONE + NARC

Doors at 8:30PM, music starts at 9:30, $5.

ooooffff... heavy doses in triplicate
three drummers and four guitars players
thats it... 

3 + 3 + 4 = 10 = 1 + 0 = 1

unity

ABOUT THE ARTISTS

ALTO!

Cinder Cone, a two-piece minimalist rock outfit from Los Angeles, emit a thunderous sound. Anyone can attest to this if they have attended a Cinder Cone show, listened to the band’s releases, or even heard a rumbling somewhere near a downtown practice space on the banks of the great LA River. Only two members comprise the band: David plays a drum set and Anthony plays a guitar while vocalizing into a microphone. They do not use keyboards, laptops, or any other technical wizardry to create their sound. If you hear it on the record, they can do it live.  Their full sound of octopus drumming and innovative fretwork weave together to place the listener on a propulsive freeway one minute only to drop them off in a placid field the next, capping off the journey with an earthquake of drum rolls and precisely controlled feedback.

NARC

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4.10.15 - 4.11.15 Bulk Trouble

The text tho OMG IS EVERYONE WORKING RIGHT NOW?
Maybe one of you guys can work on the images w/descriptions
we could make  it a PDF?? is this allowed? a pdf? I can mess with it rn
They don't want a PDF they want individual jpg files but anyways I work on it

but it might be good to start with something a little more "poetic" - an introductory paragraph that provides the "hook". like NJ's falsetto in the new American classic "Jealous". "If you can provide a reality with virtual tools, and if you can share this reality with another person, you no longer need to describe the world, because you can simply create this contingence, this coincidence; you don't need to describe an action, you can create it.”¹

Working as a group is allowing us to make work on an intuitive level—where we collectively integrate our perceptions, etc. We (free-associate) react, interweave each other's. a final iteration of the installation that is released of any singular subjectivity. Moreover, the work will challenge the polarized definitions of success and failure, instead placing them as parallel entities on separate scales that can be used to jusge one gesture simultaneously, etc.

Honeslty though last night megan got me pretty psyched on.....ambiguity? I could say ambiguity yeah

I mean if wedo it we can jsut, we'll do it



Bulk Trouble

Friday April 10, 2015 7—10 pm
Saturday April 11, 2015 12—8 pm


Alan Danielson
George Egerton-Warburton
Andrea Longacre-White
Megan Plunkett
Charlie Smith
Odwalla 88

¹Franco Berardi “After the Future”

04.08.15 AN EVENING OF SOLO PERFORMANCE: JESSICA PAVONE, OWEN STEWART-ROBERTSON AND TED BYRNES

Doors at 8PM, $10 all ages. 

An evening of 3 solo performances from Jessica Pavone (viola), Owen Stewart-Robertson (guitar), Ted Byrnes (percussion). Possibly, a trio at the very end.

ABOUT THE ARTISTS 
Jessica Pavone (composer, viola, violin, el.bass) has performed in countless improvisation, avant jazz, experimental, folk, soul, and chamber ensembles since moving to NYC in 2000. She currently plays with Normal Love, in a duo with guitarist Mary Halvorson, with Anthony Braxton's ensembles and as a solo violist. As a composer, The Wire magazine praised her “ability to transform a naked tonal gesture into something special,” and The New York Times described her music as "distinct and beguiling...its core is steely, and its execution clear."

Pavone’s recent works for solo viola and voice stem from years of concentrated long tone practice and an interest in repetition, song form, and sympathetic vibration. She combines her long tone rituals with delay, understated melodies and sparse lyrical content while continuously experimenting with new forms. She is interested in the physicality of performing her somewhat larger-than-comfortable instrument and believes that cultivating physical bodies as a strong container for her thoughts is part of the creative process.

Pavone has toured extensively throughout the U.S., Canada and Europe, performing in venues ranging from international music festivals, universities, and art galleries, to community centers and basements. Her music has premiered in venues in New York City such as, Roulette, Issue Project Room, and The Kitchen, and at the Klangbad Festival in Sheer, Germany. In 2011 she was featured in NPR’s “The Mix: 100 Composers Under 40.” She has received grants and commissions from the Aaron Copland Recording Fund, the American Music Center, The Kitchen, MATA, The Jerome Foundation, Experiments in Opera, and the chamber music collective, Till By Turning.

Pavone’s music is available from Taiga Records, Tzadik, Thirsty Ear, Porter, Skirl, and Peacock Recordings. 

Owen Stewart-Robertson is, among other things, a native of Saint John, New Brunswick, Canada, a guitarist, composer, educator, performer, a formerly active member of music scenes in, chronologically, the Maritimes, Montreal, Cincinnati, and New York City, a mild claustrophobic, a participant in ensembles including VaVatican, Old Salt, This Sporting Life, Evelyn, Teenage Burnout, Make A Circus, Jason Ajemian's HighLife and Folklords, Katherine Young's Pretty Monsters, a founder and director of experimental music label Prom Night Records, a brother of 3, a former student of a wonderful guy named Mick Goodrick, and an enthusiast of enthusiasm. 

Ted Byrnes is a drummer/percussionist living in Los Angeles. An alumnus of the Berklee College of Music in Boston, MA, he comes from a jazz background and has since made his home in the worlds of free improvisation, new music, electro-acoustic music, and noise.

Ted primarily works in ad hoc improvisational settings, but has standing improvisational groups including: a group with Ulrich Krieger, a duo with Jeff Parker, a duo with Chris Cooper (AQH), a duo with Nicholas Deyoe, a duo with John Wiese, a duo with Scott Cazan, a trio with Jacob Wick and Owen Stewart-Robertson, among others. Additionally, Ted has played in duo/trio/or ensemble settings with: Mazen Kerbaj, David Watson, Ingebrigt Haker Flaten, Charlemagne Palestine, Alfred 23 Harth, Tim Perkis, Jaap Blonk, Torsten Muller, Kim Myhr, Jim Denley, Lloyd Honeybrook, Chris Schlarb, Mike Watt, Paul Masvidal, the LAFMS (including Smegma, Airway, Ace Farren Ford’s Artificial Art Ensemble, Rick and Joe Potts, Fredrik Nilsen, Tom Recchion, Vetza, etc), Sissy Spacek (the band), Maher Shalal Hash Baz, and more.

Ted has also collaborated with / worked for a variety of visual artists: he has accompanied a Doug Aitken “happening”, collaborated with Olivia Booth to play her glass artworks, collaborated with Dani Tull on a sound performance, performed with John Knuth and Bret Nicely at an installation in an empty pool, and has performed for FLUXUS artist Jeff Perkins on multiple occasions for his projector/light installations.

Currently, Ted is delving further into the possibilities and realities of solo drumset performance in addition to continuing to work with his existing projects.

4.5.15 FATHER MURPHY (IT) + XIU XIU NOISE + XIA + very special DJs

Doors at 8PM, $7 everyone welcome

out of this world psych and noise blowout on Easter Sunday.. .come blessed in yr sunday dress

FATHER MURPHY (IT) visiting darkness 
XIU XIU NOISE - hometeam supergroup featuring Elaine Carey & Juliette Amoroso (Telecaves), Tamaki Ueda (Banetoriko), Shayna Dunkelman, Angela Seo & Jamie Stewart (Xiu Xiu).
XIA - hometeam darkness
plus a special opener and closer dj set from the folks who brought you the 1/8th FEST

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4.4.2015 ARRINGTON DE DIONYSIO + PARK DETAIL'S BAND + TELECAVES + LEE NOBLE + EZRA BUCHLA

Doors at 8PM, $7. 

Join us at HR for experimental, noise sets with Lee Noble, Park Detail's Band, Ezra Buchla, Arrington de Dionysio, and Telecaves. Facebook event page

4.2.15 KREation - Sonic Meditations

A night of improvised sonic meditations led by the Kevin Robinson Ensemble (KREation) working in collaboration with live visual art by Kenyatta A C Hinkle and live writing by Niela Orr. KREation consists of: Sarah Belle Reid - Trumpet; Christin Hablewitz - Woodwinds; Kevin Robinson - Woodwinds; Rachel O'Connor - Horn; Evan Jiroudek - Drums; Tony Giuseppe Gennaro - Vibes; Lee Hodel - Bass. This performance will take place amidst Emily Joyce's exhibition, Famous Potatoes and Other Related Works.

8PM, Donation at the Door.

3.31.15 WELTE / MIDI

8PM

In 1904, the firm of M. Welte & Sons devised a revolutionary player-piano technology, which was able to record composers like Mahler, Richard Strauss, and Grieg performing their works in a way that preserved all nuance, expression and dynamics of the performance. When one of these “piano rolls” is played through a Welte-Mignon Reproducing Piano, the ghostly imprint of the composer’s hand is evident as the keys move precisely as they did on the day of the recording. It is not just a document of a musical performance, but an eternal record of presence and movement of the body in art-making.

The closely-guarded secret of the Welte-Mignon system was lost along with the factory in the 1944 Allied bombing of Freiburg, Germany. On this night, however, participants will use contemporary technology to make a bodiless digital impression of their own, which will be forever available and accessible. Participants will also be offered a glass of fine scotch, and an opportunity to view the beautiful work of Emily Joyce.

Adam Samuel Goldman uses songwriting and performance as a starting point for inquiries into translation, process, presence, and authorship. His work employs replacing, remaking, and erasing as the means to explore the spaces between composer and work, and work and listener. Goldman is founder of the music collective Fol Chen, which has presented projects at LACMA, the Walker Art Center, Machine Project, the Annenberg Space for Photography, and has released three albums on Sufjan Stevens’ Asthmatic Kitty Records label. Goldman received an MFA from CalArts in Valencia, CA.

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3.21.15-4.5.15 Emily Joyce: Famous Potatoes and other related work

Opening Reception: Saturday March 21 7–10 pm

Human Resources is pleased to announce Emily Joyce: Famous Potatoes and other related works.  Joyce’s first solo exhibition in Los Angeles, Famous Potatoes and other related works features an on-and-off-the-wall installation of kinetic, optical, and symbolic abstract paintings. The exhibition is comprised of new works from three ongoing projects, including: free-standing mixed media paintings from the Famous Potatoes series; 13 optically charged large-scale screen prints from the Sun Burn series, and geometric acrylic on canvas paintings from the Captcha series. 

The Famous Potatoes paintings feature painting rags from the artist’s studio displayed within the squares of a rigid black grid. Upon closer examination, the viewer sees that each rag is in fact impossibly identical. This haphazard and gestural element of the painting process has been transformed into a digital replica. At random intervals a fan starts and blows the rags up momentarily revealing a hieroglyphic-like ideogram beneath. 

The Sun Burn series is based on the optical phenomenon of after-image and chromatic vibration. These large-scale works on paper are hung from the ceiling as a sort of theatrical curtain that the viewer can traverse and experience from all sides. In this way the physical objectness of what initially was experienced as a visual phenomenon is exposed, like getting to peek back-stage

The Captcha paintings (inspired by Magritte’s floating orbs) take their titles from the internet visual security feature"Completely Automated Public Turing test to tell Computers and Humans Apart (CAPTCHA)” These paintings are made up of three distinct layers of space: a foreground and background of floating orbs and a hand-painted mesh-like plane of parallel black lines which conceals the background orbs. For the installation, the paintings are embedded in a wall relief of hundreds of bricks that have been wrapped in white paper and stacked into a huge triangle that covers the wall. 

Emily Joyce (born 1976 in Arlington Heights, Illinois) lives and works in Los Angeles, California. Joyce studied at the Glasgow School of Art and received her BFA from the Rhode Island School of Design, Providence, in 1998. From 1999-2001 she was a Core Artist-in-residence at the Glassell School of Art, Museum of Fine Arts Houston, Texas. In 2002 she was an artist in residence at Le Pavillon at the Palais de Tokyo in Paris, France. Joyce has exhibited her prints, paintings, and collages internationally for the last 15 years including recent solo exhibitions at Inman Gallery, Houston, Texas (2013); Elephant, Los Angeles, California (2013); Compact Gallery, San Luis Obispo, California (2012); and Sara Meltzer Gallery, New York, New York (2004). Her recent group exhibitions include Snack Time, Campbell Hall Art Gallery, North Hollywood, California (2015); Machine Project Field Guide to the Gamble House, The Gamble House, Pasadena, California (2014); Los Angeles Chez Vous, Mains d’Oeuvres, Paris, France (2013); Garden Party, FOCA, Los Angeles, California (2013); XYZ: The Geometric Impulse in Abstract Art, The Torrance Art Museum, California (2012), which she curated with Jessica Halonen; This & That, Ricard Foundation, Paris, France (2012); and Wall Power, Brand Library and Art Galleries, Glendale, California (2011). Joyce's works are in the public collections of the Museum of Fine Arts, Houston, Texas; The Walker Art Center, Minneapolis, Minnesota; and the Hammer Museum, Los Angeles, California, among others. 

The artist would like to make a special thanks to Inman Gallery in Houston, Texas. Thanks also to Devin McNulty, Gary Murphy, Mark Allen, Ian Byers-Gamber, and Lucas Wrench. This project was brought to Human Resources by Devin McNulty and David Fenster.

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3.16.15 Charles Atlas: Turning

7:30PM

"Turning”, 2012 (76 min)

"You Are My Sister”, 2006 (3 min)

Atlas' practice is firmly rooted in the moving image, and he is most famous for works that blur the line between experimental dance documentation and performance for the camera. In his 40-year career, he has produced dance films, experimental videos and documentary features. Atlas has collaborated extensively with other artists, dancers and choreographers, including Marina Abramovic, Antony and the Johnsons, Leigh Bowery, Michael Clark, Merce Cunningham, and Yvonne Rainer. Atlas has exhibited internationally at Tate Modern, Centre Pompidou, De Hallen, South London Gallery, SALT Istanbul, Walker Art Center, and he has been included in four Whitney Biennials including 2012, but his work has rarely screened in Los Angeles. ATLAS IN LA, is an opportunity to expose the city of Los Angeles to many more of Atlas' films and videos.

Charles Atlas was born in St. Louis, MO in 1949; he has lived and worked in New York City since the early 1970s. His work has been exhibited and is in the permanent collections of such institutions as Tate Modern, London; the Museum of Modern Art, New York; the Centre Pompidou, Paris; the Institute of Contemporary Art/Boston; Hamburger Bahnhof – Museum für Gegenwart, Berlin; the Whitney Museum of American Art, New York; and the New Museum, New York, among many others. 

ATLAS IN LA is organized by Paul Pescador. Images and content courtesy of the artist, Electronic Arts Intermix and Luhring Augustine.

Media partner: ForYourArt. For full festival details and more information about Charles Atlas, please visit: atlasinla.tumblr.com.  

3.15.15 Max Eilbacher and Luminous All Kudler and guests

HRLA presents Max Eilbacher's The VanderBleakin Tour Comes To The West Coast with:

Max Eilbacher

We have Eilbacher ripping sets of electro-acoustic shard flappery with drone-rockers Teeth Mountain, rocking a guitar and violent acts of peace with aktionist noise-rock unit Needle Gun (of which he helped found), bobbing his own head along a top a swarm of electronics with technocrats Matmos, keeping just intoned enough with comp-rockers Horse Lords (of which he is also a founding member) as well as improvising at events like High Zero, making video art, and eating a nasty mountain of hot peppers just to impress two brothers with different last names; the psychedelic noise-triXXXster Twig Harper and the reel-to-reel builder and stoic impresario of deadened ambush, Caleb Johnston. At this point, the context returns to its’ steady placement as useless. If one places a musician within every-damn-musical-area one can fall into, then can’t one as easily put them into no-damn-musical-area? After all who ever heard of a technocrat drone-rocker noise aktionist eating hot peppers with two psychedelic brothers all while playing junked out electronics mixed with developing and progressive, but still rather nostalgia tinged, digital sounds, except there are no beats, drones, or noise-blasts but rather interlocking layers of clang-y misshapen patterns that are replaced by rising and descending tones smattered together to be torn apart to create a carousel affect of the cogent and the confused? There seems to be just nothing to say about Max Eilbacher other than that he is a Baltimore based musician working with a wide variety of electronics, both sampled and synthetic. Eilbacher has a solo record out on the Spectrum Spools label, a sub-label of Editions Mego

Luminous All Kudler

Luminous All Kudler is one of many interchangeable performing aliases of currently Baltimore based electronic musician and sound artist Ben Kudler. In response to the recent move to integrate computers into every facet of daily life, including the body, Kudler’s sounds create physiological snaps and bumps in addition to psychoacoustic errors and confusions on the part of the listener. The immediately identifiable synthetic sounds used are strapped into shaky, if not plain stupid, structures stacked on top of one another rendering a centrifugally hung spinning force of a composition that can only have sense derived from by each individual listener, the end user. Luminous All Kudler’s debut full length record will be released on Spectrum Spools, a sub-label of Editions Mego this year.

Salamander Wool
http://www.ehserecords.com/salamanderwool/

Matthew Sullivan
http://matthewsullivanearn.bandcamp.com/

VRS
www.vrs-music.tumblr.com

Doors at 8PM, $5 FB event page

3.14.15 Charles Atlas: Dance! Dance! Dance!

7:30PM

“Ex-Romance”, 1987 (48 min)

“Hail the New Puritan”, 1985 (84 min)

As part of the ATLAS IN LA festival, a nine-day festival of film screenings, which will occur March 10^th-19^th at eight venues around Los Angeles, Human Resources presents a night of Charles Atlas’ two most well known dance-narratives. In Ex-Romance, Atlas’ fascination with “narrative, psychology, dance, and flights of fantasy,” is manifested in this dynamic videodance musical. Here the postmodern choreography of Karole Armitage is performed by Armitage, Michael Clark and others to American pop and Latin music. Framed and interrupted by the ironic observations of two parodic “public television” commentators, the dancers play fictionalized versions of themselves in a wry tale of contemporary romance, in which the dance literally and metaphorically advances the narrative. Hail the New Puritan is a simulated day-in-the-life of British dance celebrity/choreographer Michael Clark. Atlas’ fictive portrait of the charismatic choreographer serves as a vivid invocation of the studied decadence of the 1980s post-punk London subculture. Contriving a faux cinema-verite format in which to stage his stylized fiction, Atlas seamlessly integrates Clark’s extraordinary dance performances into the docu-narrative flow. Focusing on Clark’s flamboyantly postured eroticism and the artifice of his provocative balletic performances, Atlas posits the dance as a physical manifestation of Clark’s psychology.

Atlas' practice is firmly rooted in the moving image, and he is most famous for works that blur the line between experimental dance documentation and performance for the camera. In his 40-year career, he has produced dance films, experimental videos and documentary features. Atlas has collaborated extensively with other artists, dancers and choreographers, including Marina Abramovic, Antony and the Johnsons, Leigh Bowery, Michael Clark, Merce Cunningham, and Yvonne Rainer. Atlas has exhibited internationally at Tate Modern, Centre Pompidou, De Hallen, South London Gallery, SALT Istanbul, Walker Art Center, and he has been included in four Whitney Biennials including 2012, but his work has rarely screened in Los Angeles. ATLAS IN LA, is an opportunity to expose the city of Los Angeles to many more of Atlas' films and videos.

Charles Atlas was born in St. Louis, MO in 1949; he has lived and worked in New York City since the early 1970s. His work has been exhibited and is in the permanent collections of such institutions as Tate Modern, London; the Museum of Modern Art, New York; the Centre Pompidou, Paris; the Institute of Contemporary Art/Boston; Hamburger Bahnhof – Museum für Gegenwart, Berlin; the Whitney Museum of American Art, New York; and the New Museum, New York, among many others.

ATLAS IN LA is organized by Paul Pescador. Images and content courtesy of the artist, Electronic Arts Intermix and Luhring Augustine.

Media partner: ForYourArt. For full festival details and more information about Charles Atlas, please visit: atlasinla.tumblr.com.

3.13.15 a stone in the middle | contemporary techno-temporal innovation

a stone in the middle | contemporary techno-temporal innovation

I understand techno- from the Greek τέχνη. It could mean arts or craft or both.  I also understand -temporality as relative to time, in many ways. It is also a form of electronic dance music, I heard, but this is also relative to time. So what is techno-temporality? I think of the term as related to the digitization of our times and to the way our apperception of time is (re)built. In that case, isn't a contemporary techno-temporality a pleonasm? When else in history did we experience an age of digitization prior to now? Could digitalization ever precede the invention of the digital? The artists of the show share the same space in the same time. And this seems already enough to know. Together their works engage into a never ending techno-dance that, ultimately, leaves us questioning the floor we thought we were dancing on. But was it ever a floor in the first place? 

Film, performance — 8PM

Performances by Joanna Swan and Noon Tran

Participating artists: Martha Dimitratrou, Jane Moseley, Audrey Wollen, Jullen Borno, Ilana Kozlov, Kinkey Dolores Cosi S, Dylan Corbett, Timo Fahler, Jesse Adams, Judith Rau, Joanna Swan, Noon Tran

3.12.15 MUSICAL EXPOSITION: THEE OH SEES AND CALDWELL/TESTER

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MUSICAL EXPOSITION featuring Thee Oh Sees and Caldwell/Tester

This will be a test run of sorts for the newly formed double drums lineup of Thee Oh Sees... John Dwyer has still got it.. he just has more thump and whack behind it.

CALDWELL/TESTER are synths and electronics emotified... bring your slow dancing shoes. 

Doors at 8PM, $5 

3.11.15 BEING FOR THE BENEFIT OF MR. FORD

HR and LAFMS present Being for the Benefit of Mr. Ford: A benefit and celebration for Ace Farren Ford 8PM

Ace Farren Ford has been on the outskirts of the improvisational / noise scene for more than 40 years, an original founding member of the Los Angeles Free Music Society and has been with a variety of ensembles such as Smegma, AIRWAY, the Mystery Band, the Hangar Quartet, Crowbar Salvation, EXP, Heltir and many others. As many have in today's economy, he has been struggling to stay afloat in recent years.

Human Resources and LAFMS has come to his aid with this evening of sound and art, including performances by Joe Potts, Sleepwalkers Local, s&ndc&stl&, Balkh, Small Drone Orchestra, Ted Byrnes, the Hangar Quartet, and special guests. 

Original art by Ace Farren Ford and records will be available for sale. 

$10 suggested donation FB event page