By Corey Perla for Artvoice: There is no Magna Carta or Rosetta Stone of sampling. There are no rules or regulations, but if there were, TokiMonsta would break them. Each track on the LA electronic producer’s latest EP, Cosmic Intoxication, straddles the line between original work and mash up—blending recognizable samples with distorted, twisted clips. The glitchy hip-hop beats on Cosmic Intoxication are sample from a variety of sources, like the first track, “Playing With Toys” which creatively fuses the Junior Boys’ “Caught In A Wave” with the Flaming Lips’ “The Spark That Bled.” Not all of TokiMonsta’s samples are as easily recognizable, but they all combine to create dynamic, head bobbing tracks that usually transcend their parts. Listening to the Brainfeeder Records artist play with her toys is one thing, but watching her is another as she stands in front of her sequencer tapping out beats and wrestling knobs. TokiMonsta will bring her beats to Soundlab next Thursday (April 19) with openers Perceptor, Mark Kloud, and more.
Choose Your Own Adventure
Sunday, April 15
Saturday, March 24
The set list, with full album track links, has been assembled here.
Thursday, March 22
On view Friday, March 30-Sunday, July 8, 2012:
Featuring more than three hundred works made almost exclusively in Buffalo during the 1970s, Wish You Were Here is structured thematically around the venues and organizations that galvanized the period: the Albright-Knox Art Gallery; Artpark; the Center for Exploratory and Perceptual Arts (CEPA); the Center for Media Study at the University at Buffalo and its downtown, independent counterpart, Media Study/Buffalo; the experimental music of the Creative Associates from UB's Center of the Creative and Performing Arts, as well as the Buffalo Philharmonic Orchestra; the English Department at UB and the synchronous grassroots poetry movement; and Hallwalls.Read about it here.
Wednesday, March 21
Watch Luvstep Tour Recap (Dirty South Joe B@B Flufftronix w/ Clicks & Whistles)... there's some Buffalove in there.
Check it out. Footage from DJ sets by Dirty South Joe & Flufftronix aka Luvstep w/special guest Clicks & Whistles, following the release of Luvstep 3. 2/14/2012-2/18/2012. Included songs: Hellfire Machina feat. Infuze - Good Love . Kaskade feat. Mindy Gledhill - Eyes (Alvin Risk Remix). Usher - Climax (prod. Diplo) . Shot by Petey Clicks and Fluff in Buffalo NY, Indianapolis IN, Virginia Beach VA and Philadelphia PA. Edited by Fluff. Huge thanks to all the venues, promoters, other performers and of course THE FANS. ❤ ❤ ❤ Luvstep played Soundlab on Valentine's Day, 2/14/12.
Tuesday, March 20
Read "Percussive pianists: UB students’ performance features a retrospective of John Cage’s music for ‘prepared piano"
By Mary Kunz Goldman for the Buffalo News:
"Late on a sunny afternoon, when sane people would be outside, UB pianist Eric Huebner and three of his students are in Lippes Concert Hall gathered around a beat-up Steinway grand piano.Read the rest here.
It is not just any old Steinway grand.
Wedged under and between its strings are…objects. Felt. Bolts. Oddments.
On Wednesday, Huebner and his students are performing an hourlong retrospective of John Cage’s Sonatas and Interludes for Prepared Piano. And preparations are finally complete.
Cage (1912-1992) was known for his experimentation. One of his most famous innovations was the “prepared piano”—a piano adjusted to produce unusual
It was born out of necessity. Cage came up with the idea in the 1940s so he could get the sound of a percussion ensemble. (In keeping with his shoestring spirit, Wednesday’s concert is free.)
The composer was working a lot with dance troupes, and dance, along with Indian philosophy, inspired him. There are shards of the Baroque — trim little ornaments, tiny trills — and dance rhythms. The items among the piano strings produce soft jingles and gong sounds. There are African beats and twinkling treble lines.
You could debate whether the pieces are actually music, or if they are instead montages of sound effects. Arguments over that break out frequently on YouTube.
You could also call prepared piano “quaint.” UB, after all, has a history of the avant-garde. Cage himself was no stranger to our town.
But there is no denying the instrument’s entertainment value. And if the prepared piano never caught on among other composers, Huebner says, that is because Cage owned the concept.
“Cage got there first,” he says. “He was like an actor in a TV show.”"
From the press release:
Born and raised in the South Bay area of Los Angeles, TOKiMONSTA (Jennifer Lee) was an unfocused pupil of classical piano. However, she has come to use this background to create vast textural soundscapes through utilizing live instruments, percussion, digital manipulation, and dusty noise. Through her musical creations, she is able to fuse vintage sounds with progressive styles into something unique.
Her music has been recognized and praised by the very best in avant-garde and mainstream media. TOKiMONSTA has been featured on various large scale radio programs such as: BBC Radio1, NPR, BBC World Service, J Wave (JP), Studio Brussels (BE), Radio Nova (FR), KCRW (USA) to name a few. Subsequently, she has been featured in print by DJ Mag, Pitchfork, XLR8R, URB, Paper, LA Times, SPIN, and more. LA Weekly ranked her as 2010's #1 female DJ in Los Angeles. Additionally, Resident Adviser did a full feature on her for their "Breaking Through," an RA series which focuses on the next big artist.
Not only has she caught ears of many as a different dimension of Los Angeles-based music, TOKiMONSTA is notably the first female to join crew/label BRAINFEEDER headed by Flying Lotus- celebrated as the most exciting LA music label by LA Weekly. In addition, she is also a 2010 Red Bull Music Academy alumni, allowing her to join the ranks of other elite taste maker alumni.
Her live performance is engaging as well as intricate-using a laptop, other pieces of instrumentation and multimedia to orchestrate a truly interactive experience. She is a fearless and energetic performer who tours regularly around the world from LA to NY, London to Tel Aviv, Singapore to Tokyo. Some notable past performance were at DEMF, Sonar Barcelona. With the positive exposure and increasing movement surrounding her, she is scheduled to perform at Coachella, WMC, SXSW, Sonar Tokyo, Wakarusa, and more in 2012.
Sunday, March 11
From the Squeaky Wheel Buffalo Media Resources general email: Calling Buffalo Sound Artists: Come help shape the sonice topography of the Buffalo Waterfront! The Tactical Sound Garden is coming to Buffalo as part of the 2011-2012 Fluid Culture program of the UB Humanities Institute. Join artist/architect Mark Shepard for a workshop focused on producing sounds to be planted in a virtual sound garden along the Buffalo waterfront. Interested? Please send an email introducing yourself with links to samples of your sound work to firstname.lastname@example.org by March 15th.
As space and resources are limited we may not be able to accommodate everyone, but we'll certainly try!
Selected participants will be notified by March 22th.
Thursday, March 1
By Cory Perla for Artvoice:
Sometimes it feels like the EDM scene has lost some substance, but then an artist like Zach Saginaw a.k.a. Shigeto comes along and puts out a piece of music so personal and genuine that it revitalizes a genre. That record is Lineage, his latest “mini LP” released last month on Ghostly International. Saginaw uses his instinctual drumming skills to combine live percussion with jazz structures, hip hop tempos, and atmospheric flares that sonically express the sorrowful story of his ancestors, including his great grand-father Shigeto. This week I chatted with the Ann Arbor, Michigan native about his live performance style, the meaning behind Lineage, and the source of his urbanized soundscapes, as he worked on a new track at his home in Brooklyn.Read the interview here.
I am sad. I have nothing but fond memories of the shows Parts and Labor played at both Soundlabs starting back in the old warehouse in our first year (2002). In fact, they played the very first show at the current space, as a kind of pre-opening where they set up on the floor a week before the stage was installed. They stayed at my house a bunch of times and really were one of the pillars of what we were trying to do, as the "brooklyn" sound evolved, over the course of the last decade, from experimental art-rock made by lower east siders and outsider artists who couldn't afford Manhattan anymore to a kind of hipster brand that still produces great things but well you know. Anyway, P&L played their last show last Friday, with Neptune and Oneida, 2 other Soundlab veterans. In fact, the first time Neptune and P&L ever played together was at the old Soundlab in 2002. Both groups were looking for dates around the same time, so we put them together on a bill that also included sound/video duo Lo/Vid, who were responsible for instituting tons of art/music/noise events in NYC at the time. Afterward, P&L, Lo/Vid and Neptune exchanged numbers. They had crisscrossed each other's tours and knew each other by reputation but had never intersected. After this fateful night in Buffalo, they all played together regularly.
Here is the story from the Village Voice blog Sound of the City "Waste of Paint" by Jamie Peck:
"Friday we solemnly visited 285 Kent for Parts and Labor's sold-out farewell show, which featured strong opening sets from pals Neptune and Oneida. P+L has been one of the great workhorses of New York's scene for the past ten years, putting out consistently good albums and touring extensively without ever reaping the financial rewards of colleagues like the Yeah Yeah Yeahs and TV On the Radio. This type of dedication inspires a special type of love in scene diehards (see also: the Melvins), and as such the place was packed front to back with everyone who'd ever appreciated them over the years, including BJ Warshaw's parents. The two-hour-plus show included songs and members from every era of the band, plus some horns and an actual bagpipe player, and at one point they passed around a video camera so the proceedings could be shot from every angle by members of the audience. "Pretty much everyone I love or have loved for the past ten years is in this room tonight, so, with too many people to thank, thanks everyone in this room for being here for us," Warshaw said before launching into an epic encore in which all four drummers played at once. In the end they demolished the drum kit, the cardboard backdrop, and the paper stalactites hanging from the ceiling as BJ made feedback with his bass. "Thank you so fucking much," he said before making his exit. Dan Friel lingered a bit over his processors, drawing out the noise and the moment for as long as possible."
Tuesday, February 28
Thursday, February 23
From Artvoice: Blockhead a.k.a. Anthony “Tony” Simon is a lot smarter than his title would imply. It takes some brains to stitch together tight soul-hop tracks like “The Music Scene,” with it’s mechanical but humanized clacking dance beats and hooky vocals. “We call that a joint, we call that a joint” a trembling voice repeats toward the end of the song. It’s heady music from a heady guy. Blockhead’s focus is on rhythmic and body moving hip-hop beats with a wildcard edge: usually something like bouncing string samples, a small soliloquy, or a funk bassline (see “The Art of Walking” from his 2005 album Downtown Science). The Ninja Tune Recording artist, who grew up in downtown New York City, spent the beginning of his career as a producer, crafting beats for artists like Aesop Rock, who’s critically acclaimed album Labor Days, he produced. Now he’s focused on his own tunes though. His latest album, 2009’s The Music Scene, is a head bobbing mixture of 1970’s influenced soul melodies and intricate hip-hop beats. Don’t miss Blockhead when he hits Soundlab this Saturday (Feb 25). —cory perlaRead more: http://artvoice.com/issues/v11n8/see_you_there#ixzz1nEfBN4rJ
From Artvoice: Behold, Seattle’s punk legends-in-their-own-time, The Spits finally make their way to Soundlab on Friday (Feb 24) in support of their latest full length V. For over a decade the trio have consistently churned out a special kind of garage-infused punk anthems. Think Ramones, but more campy and guttural and with a sense of humor to be reckoned with. Relentlessly pounding and catchy with a touch of the bizarre, this music has one home, and that’s on a stage with a drink in hand and fist in the air. On tour with them are In The Red label mates, TV Ghost. Masters of dissecting the sharpest of angles between dark and theatrical no-wave and Cramps-like style and delivery. Get there early for Buffalo’s own Utah Jazz and The Narcs, from Rochester. Doors are 8pm and pre-sale tickets are still available at Record Theatre (3500 Main St. location) and Spiral Scratch Records (291 Bryant St.). —eric kendall
Read more: http://blogs.artvoice.com/avdaily/2012/02/23/the-spits-with-tv-ghost-utah-jazz-and-the-narcs/#ixzz1nEe3qPrD
By Aaron Lowinger for Artvoice: On a cold night last November, the curator for UB’s Poetry Collection took the stage at the Burchfield Penney Art Center for a fundraising event for BlazeVox Books, the Buffalo poetry press. The upstairs atrium lobby was adorned with a wine/cheese/fruit spread circled by a dozen or so tables fitted with white tablecloths. The audience was well dressed for a poetry reading: designer jeans, handbags, boots, makeup, clean hair were all easy to spot. BlazeVox editor Geoff Gatza then introduced a man who needs no introduction within the literary community: Michael Basinski. Basinski stood at the podium and quickly exfoliated any pretense of his office found perhaps in his unbuttoned white shirt and dark sport jacket, slipping seamlessly into character as a poet and performer. In his new skin he gave a brief introduction to his poem, “Maid of Beer.”
This Saturday night, February 25, at “Basinskianamania,” Michael Basinski will perform his works in all their forms and possibilities at the Just Buffalo poetry series “Big Night,” at the Western New York Book Arts Center (468 Washington Street). The evening begins at 8pm.
“The poem is a celebration of lawn fetes, a.k.a. church picnics, particularly those of East Side Buffalo, New York’s Polish parishes, and a celebration of those women who served local Buffalo beer in huge paper cups in the lawn fete beer tents,” he said. “All lawn fetes are contemporaneous.”
Read more: http://artvoice.com/issues/v11n8/in_the_margins#ixzz1nEgGyby3. Michael Basinski is a veteran of Soundlab and Basta!/Big Orbit Gallery "Murder the Word" events.
Thursday, February 16
By Cory Perla for Artvoice:
You might know them as Thee Silver Mt. Zion, or Thee Silver Mt. Zion Memorial Orchestra, or A Silver Mt. Zion, or even the Tra-La-La Band, but their name doesn’t really matter. What matters are the feelings that their music evokes. There is an emotional heaviness that is built into Thee Silver Mt. Zion’s music, not unlike the music of God Speed You! Black Emperor and Explosions In The Sky, but the difference is in the way SMZ approaches their brand of post-rock. Though their music tends to be softer dynamically, especially on albums like Born Into Trouble As The Sparks Fly Upward, there is an unusual punk rock ethos that hovers around this (currently) five-piece band from Montreal. They even called their 2003 four-track record This is Our Punk-Rock. Though the actual sound of the music is much closer to Do Make Say Think than it is to the Dead Kennedys, their passive aggressive form of punk peaks out through themes of decay and politically critical motifs, but also through their almost angrily passionate poems and lyrics, which weave in and out of their swelling songs. It has been a little while since Soundlab has hosted such an emotional and intimate show, so take that as a sign not to miss Thee Silver Mt. Zion when they play the venue on Pearl Street this Friday (Feb 17). Poverty Hymns open the show.There are still some adv tix available NOW.
From K Records:
THE INTERVIEW: Before embarking on a U.S. tour to promote his dreamy album Dream Diary, Jeremy Jay and his band (George & Nick) spent a week practicing at Dub Narcotic Studio, which is located beneath the K office. During a practice break, Jeremy (left), George (center) and Nick (right) sat down and had a conversation with Danielle (our promotions director), Eric (our intern), and Joel (our mailorder wizard). The conversation was hilarious--here's a little out-take. Click the link on the bottom to read the whole interviewOn 05/05/09 Jeremy Jay shared a bill at Soundlab with The Lochs.
Danielle: You’re playing in Mexico City?
Danielle: Didn’t you pick that show up kind of last minute?
Jeremy: Yeah, two weeks ago. Apparently you’re not supposed to brush your teeth or drink the water or take a shower.
Danielle: You can take a shower, just don’t open your mouth....
READ MORE (<---this takes you to a sweet blog post)
By Colin Dobkowski for the Buffalo News:
On Feb. 3, 1967, a thin man in his mid-50s with graying hair and thick glasses walked into the downtown Buffalo office of KLM Royal Dutch Airlines on Court Street.Read the rest here.
The man, who refused to give his name, told the clerk he was planning a European vacation and might leave within the next two or three weeks. His travels would take him first to Basel, Switzerland, then to Prague and possibly on to Bucharest, Romania. From there, he said, he was hoping to travel to Chernovtsky, a small town just over the Romanian border in the Soviet Republic of the Ukraine.
Later that day, FBI agents paid their own visit to the KLM clerk. They pressed her for the specifics of the conversation, which she recounted in exquisite detail, and asked her to select the man's picture out of a photo lineup. There was no mistaking who it was.
Milton Rogovin, the noted former communist whose every move the FBI had been tracking for the past 30 years, was heading for enemy territory.
Thursday, February 2
By Jill Greenberg for Artvoice:
This Wednesday (Feb 8) Soundlab will overflow with relaxing tones, soul-stirring bass lines, and layers of electronic sound bites. Emancipator, who is based in Portland, Oregon, will provide this delicate yet captivating music. His ethereal layered soundscapes, which are textured with dreamy echoing vocals and rollicking drums are reminiscent of British musician, producer, and DJ, Bonobo’s trip hop. This comparison makes sense considering Emancipator’s first live show in July 2009 was as the opening act for Bonobo at the Roseland Theater. Since then Emancipator has toured with Bassnectar, Sound Tribe Sector 9, and Pretty Lights. His latest album Safe in The Steep Cliffs is the auditory equivalent of a crisp and smooth cucumber martini. Where Bonobo’s music unfolds linearly, Emancipator’s develops in rolling waves of new instrumentation and organic samples that include choirs, horns, American folk instruments such as the banjo and mandolin, violin, and some Asian influences. His signature style harnesses these elements with clean production and hypnotizing melodies. Joining Emancipator will be downtempo electronic producer Laurent Clerc, known as Little People, and Portland-based electro hip-hop singer-producer Natasha Kmeto. Little People’s stripped-down tracks and Kmeto’s pumped up hip-hop vibe will compliment Emancipator’s carefully crafted style. Attend this performance in any mood as a sure fire way to calm your racing thoughts, sink into the energy, and slow down as you’re surrounded by transfixing sounds.
Monday, January 30
Contemplate the Vastness of the Cosmos at "Science & Art Cabaret No. 6.0: …Are We Special?" at The Ninth Ward Wednesday
Wednesday, February 8 at 7:00 p.m., FREE--Hallwalls, Buffalo Museum Of Science, & UB College of Arts & Sciences present--
Gary Nickard on HP Lovecraft's cosmic aesthetic. Will Kinney on a universe made just for us. Reverend Fred Jensen on poets on other planets. Paul Vanouse on specialness via genetics and art. Ravi Padmanabha on bulbul tarang. The Science & Art Cabaret is an ongoing mash-up of creative and scientific tangents and ideas, intended to entertain and illuminate. This month's theme addresses the earthly and cosmic question of our specialness-—are we unique in the vastness of the cosmos or are we banal? Are we special amid the stars or only amongst ourselves?
Sunday, January 29
By Mike Bell, Calgary Herald:
Efrim Menuck has made a career of turning unconventionality into something of a convention.Read the rest here or get tickets now!
He is, after all, one of the founding members of post-rock multimedia Montreal faves Godspeed You! Black Emperor, which earned acclaim and cult status through the latter part of the 1990s and early 2000s with its chamber drone releases and audio video live extravaganzas.
Menuck’s current musical project is also something of a unique and anarchistic act, including its name, which has, over the past decade-plus been known as: A Silver Mt. Zion, Thee Silver Mt. Zion, Thee Silver Mt. Zion Reveries, Thee Silver Mt. Zion Memorial Orchestra & Tra-La-La Band, Thee Silver Mt. Zion Memorial Orchestra & Tra-La-La Band with Choir, and, now, just Thee Silver Mt. Zion Memorial Orchestra.
And the music follows the moniker in its constantly changing, always evolving, almost unclassifiable form, mixing classical, with rock, with folk, with contemporary orchestral, with ambient — all wrapped up in a decidedly punk ethos.
So it should come as no surprise that their current tour, which brings them to the Republik on Tuesday, is not really one to support an album as such — although fans at the gig can grab a new seven-inch, which the band hand assembled in Menuck’s home — and will probably partially be used to road-test and explore new material.
Friday, January 27
Fall Like a White Dwarf from Outer Space with "Slow-mo Electro-funk Schizoid" Com Truise at Soundlab Friday
Friday, January 27, 9:30, $12--COM TRUISE w/ special guests Ay Fast (live). Perceptor & tba.
"His podcasts sound like the score of a 1980s Jackie Chan flick. His albums sound like the music you’d hear inside of a nightclub, inside of a computer…in the future. Most know him as Com Truise, but that’s just one of many personalities of slow-mo electro-funk schizoid Seth Haley. A product of the thriving upstate New York electro scene, Haley has been writing music for nearly a decade, starting as a DJ and more recently puttering in the trending territories of chill-wave, electro-dub, and synth-fi. His Cyanide Sisters EP dropped in early 2011 like a white dwarf falling from deep space, and packed twice as much heat. It’s the type of EP that makes you quit you’re day job and dedicate your life to finding new ways of dancing. Followed shortly after Cyanide Sisters, in the same year, Haley released Galactic Melt, sending the solar system into a proverbial panic…in a good way. Critics praised Haley’s revitalization of time-warped drum beats and laser-fire synth leads on the album, which spawned viral hits like “VHS Sex,” and “Cathode Girls.” Com Truise makes his return to Buffalo this Friday (Jan 27) at Soundlab after a brief opening set for the Glitch Mob in early fall of 2011. This time however, Truise has the headline spot to himself. Soundlab, prepare for launch sequence."--by Brett Perla for Artvoice
Tickets available here.
From K Records:
The new Mount Eerie single, from his Dub Narcotic Disco Plate Release “Distorted Cymbals” (DBN122) is the first we’ve heard from Phil Elverum in nearly three years, but it is a song that was certainly worth the wait. Calvin calls this track one of Phil’s most cogent projects in years—its a beautiful song, in both renditions, and a great collaboration of two friends and outstanding artists.Phil Elverum played Soundlab on 10/31/07 with Privacy and Al Larsen.
Get the new MOUNT EERIE disco plate at the K SHOP before anywhere else (like, right now) on vinyl or digital download.
Thursday, January 26
Lose Your Mind and Play as "Wooden Cities performs John Zorn's Cobra & more...." at Hallwalls Friday
Friday, January 27, 8pm, $10 general, $8 students/seniors, $5 members--
Brendan Fitzgerald (prompter) Dan Bassin (trumpet) Nathan Heidelberger (horn) Zane Merritt (guitar) Tyler Borden (electric cello) Michelle Purdy (percussion) Aaron Staebell (drumset) Evan Courtin (electric violin) Ethan Hayden (vocals) Michael McNeill (piano, keyboard) Steve Baczkowski (saxophone) .
With processed vocals, brass, winds, strings and percussion, Wooden Cities pushes its audiences with new interpretations of influential works of the 20th century and today. Born in Buffalo, New York, Wooden Cities is a collective of performers dedicated to presenting ensemble pieces for open instrumentation. In its latest incarnation, Director Brendan Fitzgerald will lead the ten-piece band in a performance of John Zorn's Cobra. The famous game piece features players jockeying for musical control by playing tactical maneuvers through sound events. The result of the struggle within the band can display itself in violent events, collective consonance, and nuanced interpersonal relationships that play out in front of its audience. This very special concert will also feature compositions for various instrumentation by John Cage, Elliot Carter, Daniel Bassin and Nathan Heidelberger.
Thursday, January 19
By Mark Sommer for the Buffalo News: Seymour H. Knox Jr. converged with the late John J. Albright 50 years ago today, hurtling the art museum bearing both of their names into a new era.
Buffalo native Gordon Bunshaft's glass-and-marble modernist addition to E.B. Green's 1905 Greek Revival structure was dedicated Jan. 19, 1962, which also led to the name changing from the Albright Art Gallery to the Albright-Knox Art Gallery.
Knox, the museum's longtime president, benefactor and visionary art buyer, along with gallery director Gordon M. Smith and the Knox Foundation, paid $1.4 million of the $1.7 million cost of the addition. The expansion heralded a huge step forward for a Buffalo museum recognized as holding one of the great collections of modern and contemporary art in the world. Read the rest here.
Monday, August 8
By Eric Kendal for Artvoice: It’s been a while since a band has come along with a name that so rightly suits their sound. Brooklyn’s K-Holes push a brand of art-infused swampy garage-rock that is just as capable of making you achieve an out-of-body hallucinatory dirge as their namesake suggests. Cramps-style drumming, guttural male/female vocals and scrappy overdriven surf-punk riffs create a cacophonous scene involving the most terrifying party music you’ll likely hear for some time. What sends them over the top is the inclusion of a saxophone which can drive a song from haunting to almost celebratory in a matter of seconds without sacrificing an ounce of depravity, you know, to keep things filthy. It’s that same kind of lights-out sexed up swagger that made bands like the Gun Club so memorable. Fellow Brooklynites Call of the Wild are along for the ride with the promise of more high-octane rock n’ roll than a trio should be allowed to handle. Soundlab’s doors open at 8pm, so don’t be late. The off-kilter dance punk antics of Utah Jazz will put a smile on your face right before the punk and roll of Fatal Figures slap it right back off. 8pm. Soundlab, 110 Pearl St. (440-5907/www.bigorbitgallery.org/soundlab). $6.
Tuesday, August 2
By Eric Swedlund for Tucson Weekly:
For an accidental band, Cults found an incredibly quick path to success.Read the rest here. Cults visited Soundlab on 4/5/11.
A chance meeting, a quick romance, some at-home music playing, three songs posted online and boom—the band winds up on Columbia Records with one of the most buzzed-about debut albums of the year.
"I don't think we ever thought about having a band," says Brian Oblivion, the guitarist half of the duo. "We'd just both liked making music around the house, just goofing around, and it started turning into songs. We went up to her parents' house upstate and recorded them in a weekend and put them online. We'd never played a live show, didn't plan on playing a live show. We just recorded some songs to show our friends we can.
"We've tried to put our finger on that moment when we decided to be in a band together and neither of us can remember."
Friday, July 29
By Cory Perla for Artvoice: DJ Soma is a true vetran of the local DJ scene, keeping bodies moving and music pumping since the early 1990′s. This week I talked to this staple Buffalo DJ, real name Curt Kuczkowski about the music he likes to spin, the 2011 Infringement Festival and his experiences on the fringe. This year DJ Soma will perform at a variety of Infringement events including Electronic Night at Soundlab on Friday, August 5th.
Read the full interview here.
Thursday, July 28
From Artvoice: Infringement Festival 2011 is upon us, which means that marginalized artists of every shape, size and genre will come out of the woodwork to showcase the off-beat, unexpected, unheard-of art that has made this festival a focal point of the summer since 2005. For 11 days, Allentown and the surrounding area becomes ground-zero for musicians, poets, dance troupes, media artists, theatre groups, street performers, and anyone else that falls between the cracks of conventionality to put themselves, and their art, on display. This year’s festival lineup boasts 1,200 performances in 52 venues across Buffalo, with group events running the gamut from the College Street Block Party, Broadway Market Extravaganza, Squeaky Wheel Film Fest, and Bike-In Movie Night at the Elmwood Co-op. The mayhem starts Thursday (July 28), as unofficial BIF headquarters, Nietzsche’s, hosts the opening ceremonies in Olympic-style fashion with a jam-packed night featuring performances by MC Vendetta, Pam Swarts, Ginger James, Scantron, Harold Black and the Entire Planet, DJ Medison, the Zombettes, Reverend Soapbox and the Rabble Rousers, and many more on both the front and back stages from 7pm until deep into the night. It’s festivals like this that prove Buffalo is a hotbed for under-the-radar art, and that there’s no shortage of artists who are willing to push the envelope to experiment, be controversial, and above all, make art on their own terms. —jon wheelock. Read the rest here.
Saturday, July 23
Big Orbit Gallery, 30D Essex Street, Buffalo, New York, 14213. 560.1968
It is Big Orbit Gallery's pleasure to announce, There Has to be Another Way Out of This F. Scott, an exhibition of paintings by artist Zack Boehler. Zach Beohler is a native of Buffalo, NY and a graduate of Buffalo State College. He is currently pursuing a MA in Art Education at the college. While Zach has displayed his work in numerous group exhibitions around Western New York, this will be his first gallery solo exhibition. Boehler is also a respected teaching artist who works extensively with children from the Boys and Girls Clubs of Buffalo through the Essex Street Arts Center's Simon Griffis Studio for Youth.
Artist Statement: When creating my work I often think of the Oscar Wilde quote "We are all in the gutter, but some of us are looking at the stars." I feel my work often examines the condition the individual faces in the built environment. People constructed the urban environment to house and move large groups. The singular individual often is left to feel isolated by the constructed system and though surrounded by others at all times and continuously visually stimulated, one finds a stunning lack of meaning.
The title of this show is derived from this lack of meaning. Looking at the great literary minds of the Lost Generation and comparing their thirst for life's meaning and also their feeling of imminent collapse many lines of similarity can be drawn to the experience I have witnessed of those today. While the Hemingways and Fitzgeralds of the 1920's were disillusioned by World War I, we are not so much disillusioned as we are over-illusioned. The constant stimulus of our society has left many of the digital natives to become numb to any stimulus at all, and left voided in meaningless. Coupled with the loss of meaning is a fear of anonymity. We are left to feel that notoriety in any respect is a necessity of success, of happiness, and will cure our voids. Notoriety can only force us to delve further into the culture that has left us numb.
When we are forced to confront these feelings, and the realization that we experience them together, we find a sense of exploration. By embracing the idea of self-manifested destiny one can shake free of the over stimulation to once again perceive humanly, through curiosity and discovery. My imagery depicts these moments, where we discover meaning and feel possibility. The white flags depicted in this show are not a symbol of being beaten, they are instead a call to take action and surrender ourselves from the society that has forced unfounded mediocrity onto our shoulders. We can be pioneers; we can own these nights, manifest our histories, raise our flags and find that our anonymity is our greatest virtue while we live the legends we were born to chase.
Friday, July 22
WHAT: Little Red Booking Presents ORIENTAL RUGS / MMCIII / D.U.G.O.U.T.C.A.N.O.E. / DJ Jake Gittes
WHEN: Friday, July 22 - 8:00pm Doors + DJ, 9pm Show
COST: $7, all proceeds go towards touring artists and art space.ORIENTAL RUGS is a Chicago three piece that utilizes analog synthesizers, cassette tapes and a VHS mixer to convey a synesthetic collage. Members consist of John Shin, Mark Lee, and Ron Ewert.
MMCIII is fantasy electronic music hailing from Denver, Colorado. Milton Melvin Croissant does video projections of 3D animations while playing homemade (as well as pre-made) instruments with light, color, and motions sensors, and magic wands. Sounds like Terminator 2 meets Beyond the Mind Eye.
D.U.G.O.U.T.C.A.N.O.E. uses a deep wealth of field recordings as well as dense layers of guitar and vocals to do positive mind poems. Reminds MMCIII of Nobukazu Takemura.
Local DJ Jake Gittes (real name: Jake Mikler) will be sharing his comprehensive music library with you all, sprinkling it like gold dust in between sets, in between universes: early outer space, post-atomic punk, minimal electronik, past and current kraut, art-punk, etc. Listen and levitate!
Saturday, July 16
Nate Wooley has a compound identity as a trumpeter. On one hand, he's created a body of work in free improvisation (as a soloist and in duos with Paul Lytton, Chris Forsyth and Peter Evans) preoccupied with exploring the trumpet's sonic possibilities and issues of space, duration and free interaction. Conversely, he's also a sideman in some highly creative but more traditional jazz groups, like the Daniel Levin Quartet and Harris Eisenstadt's Canada Day. Wooley's own quintet dates from 2008, and it clearly represents a coming-together of those interests, an attentiveness to both the minutiae of sound and the exploration of group relations within loose forms, the combination creating profoundly nuanced work.Wooley has played Soundlab many times: 10/17/04 Blue Collar (Nate Wooley/Steve Swell trombone/Tatsuya Nakatani), Padhermlardbacz Horn Trio + Drums (Ravi Padmanahba/Mike Hermanson/Mike Allard/Steve Baczkowski); 04/09/05 Nate Wooley/Chris Forsythe, Open Music Foundation; 05/13/06 Cor Fuhler, Nate Wooley, Newtown Armstrong; 09/30/06 SILO: Nate Wooley, Audrey Chen.
Friday, July 15
Thursday, July 14
From the roulette blog:
With roots in metal, modern composition, jazz, indie pop and Early Music, Charlie Looker’s music has always been an intuitive synthesis of diverse influences. A core member of the notorious Brooklyn “brutal chamber” group Zs, Looker formed his own band Extra Life in 2007 to explore more fully his vocal writing, folk-based forms and synthetic instrument sounds. Other notable projects and credits include work with Dirty Projectors, John Zorn, William Parker, Tyondai Braxton, Daniel Carter, Elliott Sharp, Christian Wolff, Seductive Sprigs and Time of Orchids.Charlie Looker played the old Soundlab with his group Lavender on 08/10/02 (also on the bill: John Long, Tassels from a Day Sale live original soundtrack to Dziga Vertov's Three Songs of Lenin). On 08/23/06 he played the new Soundlab with Seductive Sprigs, Nat Baldwin.
Wednesday, July 13
Tuesday, July 12
Monday, July 11
From the Signal to Noise blog:
Pianist Marilyn Nonken is performing Triadic Memories on June 4 in Philadelphia as part of “American Sublime,” a festival devoted to the works of Morton Feldman. Marilyn was kind enough to tell us a bit about working on Feldman’s music, as well as some of her other upcoming projects.
Sunday, July 10
In the early 2000s, saxophonist Michel Doneda was putting out an astonishing number of recordings (about 25 between 1999 and 2005 by my count), but since then, he's been relatively quiet. So it's good to see this strong batch of recent work hit. Doneda's 2004 collaboration with Tatsuya Nakatani and Jack Wright on soseditions was a stunner, so it's great to see Nakatani inaugurate his new label with a duo he and Doneda recorded in New York in September 2007.On 01/18/04, Soundlab hosted the Jack Wright/Tatsuya Nakatani/Michel Doneda trio along with the trio of Blaise Siwula/ Adam Lane/Toshi Makihara. Nakatani and Wright have visited several times since.
Saturday, July 9
Listen to a "History of Electronic/ Electroacoustic Music (1937-2001)" (but Take It With a Grain of Salt)
This massive selection is from a 62 CD set called "The History of Electroacoustic Music" that was floating around as a torrent, reputedly curated by a Brazilian student. It's sketchy. The torrent vanished and the collection has long been unavailable. It's a clearly flawed selection: there's few women and almost no one working outside of the Western tradition (where are the Japanese? Chinese? etc.). However, as an effort, it's admirable and contains a ton of great stuff. Take it with a grain of salt, or perhaps use it as a provocation to curate a more intelligent, inclusive, and comprehensive selection.
Thursday, July 7
By Cory Perla for Artvoice:
In their first year, Burlington, Vermont’s the Vacant Lots did what most indie rock bands strive to do over the span of an entire career. That is, self release three full-length albums. Tapping into the dark side of the pop spectrum, the duo of Jared Artaud and Frank Zammiello recently signed to New York City’s Mexican Summer record label to release their singles “Confusion” and “Cadillac,” two psychedelic, yet black and white garage rock burners. Its not out of the ordinary to find the Vacant Lots compared to bands like the Black Angels, Spacemen 3, the Stooges or Bo Diddley, but their sound still remains their own, combining retro-rock with grunge and indie. The Vacant Lots will bring their retro-psychedelic rock to Soundlab on Saturday (July 9). Local garage rock band the Auras and indie-pop band the Bird Day open the show.
Sunday, June 5
By Marc Masters and Grayson Currin for Pitchfork (The Out Door #14):
If you need cello on a record, Erik Friedlander might be a decent person to call. He's the musician summoning those dark storms on the Mountain Goats' "Dilaudid", and he's one of two cellists on Maxwell's Urban Hang Suite. He's played with John Zorn, Mike Patton, Wynton Marsalis, Ricky Martin, and Alanis Morissette. What's more, he's several albums into a solo career that keeps getting better.Read the rest here. Erik performed selections from his Maldoror record at Soundlab on 04/19/04
Saturday, June 4
By Marc Masters and Grayson Currin for Pitchfork (The Out Door #14):
A few months ago, music writer Ned Raggett followed up an interview with Six Organs of Admittance's Ben Chasny by jokingly offering to let Chasny interview him. Chasny took him seriously. And among his many interesting questions was this thought-provoking charge:Read the rest here.
"What do you think about every music writer comparing every acoustic guitar player to John Fahey as if he had the greatest influence on everyone? Isn't this the same sort of critical reductionism that would not be allowed in any sort of serious art journal? Wouldn't that be the equivalent of... comparing every single music writer to Lester Bangs?"
Raggett gave a typically thoughtful answer, but I later joked with him that he should've told Chasny that acoustic guitarists who want to stop being compared to Fahey should stop sounding like him. I was being facetious, but I do think there's more happening here than reductionism. It's true that no guitarist is a Fahey clone-- that would be impossible, since Fahey's own career was too wide and contradictory to be captured by one style. Chasny himself has proven that with his work as Six Organs of Admittance; while he has echoed Fahey and many other acoustic masters, those echoes often take a back seat to his own creative voice.
Friday, June 3
Tonight, June 3, 9pm, $10 general, $8 members/students/seniors--JOOKLO DUO (Virgina Genta (tenor saxophone); David Vanzan (drums, percussion). And celebrating their record release Live in Buffalo on 8mm Records recorded live at Soundlab in Buffalo N.Y. in July 2009: BILL NACE (electric guitar); STEVE BACZKOWSKI (baritone/bass/tenor saxophones).
"Coming at free jazz from psych rock, Jooklo Duo hones in on the mystical sound of Coltrane and Ayler, and plays its own enthusiastic, lo-fi version." - East Bay Express
Hallwalls and Soundlab presents the Buffalo debut of Jooklo Duo, a saxophone and drum duo featuring Italian musicians Virginia Genta and David Vanzan. Motivated by the furious playing of free jazz pioneers like Albert Ayler, Rashied Ali, Sunny Murray and Arthur Doyle, Jooklo Duo is one of the loudest, most high-energy avant-garde jazz projects making music today.
Italian tenor saxophonist Virginia Genta and drummer David Vanzan formed Jooklo Duo in 2004, and released their first album, Free Serpents, two years later. They have since toured extensively in Europe and the US in duo, and also in various configurations under the names Neokarma Jooklo Octet, Neokarma Jooklo Trio, Golden Jooklo Age, Jooklo Fire Quartet, and Jooklo Finnish Quartet, and with musicians such as Sonny Simmons, Maurizio Abate, Makoto Kawabata, Tero Kemppainen, Andrew Barker, Chris Corsano, Peaking Lights, Bill Nace, Paul Flaherty, Daniel Carter, Sabir Mateen, John Blum, John Paul Jones (Led Zeppelin), Takehisa Kosugi (Taj Mahal Travellers), Merce Cunningham Dance Company, Thurston Moore and Lee Ronaldo of Sonic Youth, Hartmut Geerken, Famodou Don Moye, Makoto Kawabata, Muruga Booker, Raymond Strid, and Giorgio Pacorig. In 2010, they released High on Genta's Troglosound imprint and The Warrior 7" on Northern Spy. This will be their first concert in Buffalo.
Jooklo Duo partnered with guitar wizard, Bill Nace, and will descend upon the East Coast and Midwest for 20+ dates from May 19th through June 17th. Touring in support of their 7" release The Warrior on Northern-Spy Records, released last November, and Where Has the Jazz Gone on the duo's own Italian imprint Troglosound, released in March, the group will play shows in Philadelphia, Washington DC, Baltimore, Jersey City, New York City, New Haven, Providence, Boston, Northampton, Albany, Rochester, Buffalo, Cleveland, Ann Arbor, Detroit, Chicago, Lafayette, Cincinnati, and Pittsburgh. Upon completion of their tour the band will record their first state-side full-length LP in Brooklyn for Northern-Spy which will be released in early 2012.
Steve Baczkowski and Bill Nace Steve Baczkowski & Bill Nace – Live in Buffalo, 8mm Records:
"…LP that documents a furious duo exchange between US power saxophonist Steve Baczkowski (best loved for his work with Flaherty/Corsano and his duo with Ravi Padmanabha) and Northeast guitar mangler Bill Nace (Northampton Wools, Vampire Belt, Blood Stereo et al). Recorded live in Buffalo this is a wild side, with more in common with the sense-destroying attack of Borbetomagus circa Zurich than anything coming out of the post-Ayler tradition. Baczkowski balances huge sheet metal waves on the tip of his tongue while Nace takes a grinder to the table-top guitar ala Donald Miller. There are some eerie passages of high-tension silence populated by non-specific electronics, slithering drones, vocals and high lonesome feedback but they don't last long and it's the molten peaks that keep you coming back again and again. Industrial strength free jazz from a duo who know." – Volcanic Tongue
Friday, May 27
By Colin Dabkowski for the Buffalo News: Cory Arcangel, the Western New York native and Nichols School grad who has a high-profile show opening this week at the Whitney Museum of American Art in New York City, has been all over the arts press lately. He was the subject of a long profile in this week's issue of The New Yorker, a profile and a (rather middling) review in The New York Times, another long profile in New York Magazine. Seldom has an artist "arrived" with such fanfare. And if you read all these pieces, you'll begin to see what all the fuss is about.
Locally, Arcangel's work will be on view starting on July 1 as a major part of the Albright-Knox Art Gallery's boundary-pushing exhibition "Videosphere: A New Generation," in which the gallery will showcase its small but potent collection of new media art. The show also serves as a sort of declaration by the museum of its committment to collecting new media art much more going forward.
Look for more coverage of that show -- and other interesting developments at the gallery -- as its opening approaches."
Cory Arcangel's Beige Records performed an "art battle" with Paper Rad at Soundlab on Novemember 9, 2002.
From the AKAG press release: Starting on May 28, the artist Jonathan VanDyke will perform The Long Glance, a work in which he will stand and contemplate Jackson Pollock's Convergence, 1952, for forty hours over five days. VanDyke will remain in the same spot each day from 10 am to 5 pm, with only slight movements and just one twenty-minute break. Visitors are welcome to watch the artist's silent performance or view the painting alongside him. The performance will also be broadcast on the Gallery's website.
On Friday, June 3, as part of M&T FIRST FRIDAYS @ THE GALLERY, VanDyke will reprise his performance from 1:30 to 5 pm, and give a talk about his experience at 7 pm.
Tuesday, May 3
By Tom Breihan for Pitchfork:
It's All True, the new album from the Canadian synthpop smoothies Junior Boys, is due June 14 around the world and June 20 in the UK, via Domino. Here, the nine-minute, album-closing soul odyssey "Banana Ripple" is streaming. Before the album drops, the group will release "Banana Ripple" as a 12" single on May 30 in the UK, with remixes by the Field and disco edit pioneer Tom Moulton.Junior Boys hit Soundlab on 11/03/09 with Wooden Hand.
Monday, May 2
By Puja Patel for the Village Voice's Sound of the City blog:
Dubstep is the first thing that comes to mind when people mention Rusko, and that's almost become a disservice to the young UK-born DJ. While Chris Mercer is certainly credited as an innovator of the wobbly, bass-thwarting, and often numbingly gloomy genre of electronic music, he left the darkness behind a long time ago. Growing up in a Leeds, the young producer was immersed in local reggae and dub scenes; eventually he adopted those sounds and pushed out his experimental electronic tracks alongside co-conspirators Caspa and Skream. The sound caught on quickly among dub fiends, drum-n-bass heads, and even jungle lovers because of the way it gave the masses a more relaxed groove to soundtrack their dimly lit warehouse raves. But slow and steady is not what Rusko is about. Not too long after the genre's inception Mercer veered away from its sticky basslines in search of uptempo beats and melodies, then took the hybridized results to audiences outside of the underground. And so far, it's been working.Read the interview here. Rusko played Soundlab on 12/05/09 with RX & Chae Hawk, Big Basha and Steve Kream.
We caught up with the DJ while he was rehearsing for his tour--which arrives in New York tonight--to talk about his newest dub finds, "bro-step," and his work in pop music.
Sunday, May 1
By Tom Breihan for Pitchfork:
On June 7, Jagjaguwar will release Absolute II, the new album from Brooklyn experimental rock scene elders Oneida. Absolute II is the third and final album in the band's Thank Your Parents triptych, which also includes 2008's Preteen Weaponry and 2009's Rated O.Oneida performed at Soundlab on 08/03/06 with From Monuments to Masses and Sleeping Kings of Iona
Oneida's Bandcamp page includes an overview of the entire Thank Your Parents project, which the band calls "an aesthetic object, a historical meditation, and a narrative experience." A buzzing excerpt of the track "Horizon" is up above, for your listening pleasure.
Even though Oneida has an absolute beast of a drummer in Kid Millions, a press release promises that the four-track Absolute II includes no audible drums. It also lacks any "identifiable 'rock' music." That's the album's cover art above Listen to an excerpt here.
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