∆ Casey Anderson
∆ JSoliday
J. Soliday is an electronic musician. A member of neural goldberg, Cleav’d Cleaver, xTAL fSCK, LORD MUTE, and various ad-hoc ensembles too numerous to mention. He can usually be found traversing the boundaries between free improvisation, concrete composition, and aleatoric noise.
J. Soliday is an electronic musician. A member of neural goldberg, Cleav’d Cleaver, xTAL fSCK, LORD MUTE, and various ad-hoc ensembles too numerous to mention. He can usually be found traversing the boundaries between free improvisation, concrete composition, and aleatoric noise.
∆ Melon Sprout
Melon Sprout uses ceramic instruments to extend their body physically and sonically. Material and body become a tangible space for the ephemeral. “Ceramusic” – a word for Melon’s ceramic music – encourages viewers to activate, interact with, and extend themselves physically and sonically in the form of ceramic music-making. Their ceramic instruments retain physical traces of the ceramic’s original soft clay state, and the instruments go through many transitions as functional and aesthetic art objects. Sprout’s ceramic instruments are performed, climbed, spun, recorded, edited, and altered. The ceramic instruments become a conduit of reciprocity, and offer non-linguistic communication in order to develop an animated environment where feelings and ideas are free to exchange.
Melon Sprout uses ceramic instruments to extend their body physically and sonically. Material and body become a tangible space for the ephemeral. “Ceramusic” – a word for Melon’s ceramic music – encourages viewers to activate, interact with, and extend themselves physically and sonically in the form of ceramic music-making. Their ceramic instruments retain physical traces of the ceramic’s original soft clay state, and the instruments go through many transitions as functional and aesthetic art objects. Sprout’s ceramic instruments are performed, climbed, spun, recorded, edited, and altered. The ceramic instruments become a conduit of reciprocity, and offer non-linguistic communication in order to develop an animated environment where feelings and ideas are free to exchange.
∆ Graham Stephenson
Graham Stephenson uses amplification to focus on interior aspects of the trumpet. Through the use of highly pressurized breath, valve rotation, and extreme embouchure, the instrument becomes an unpitched sound generator, able to share space in improvised settings with acoustic and electronic instruments. Recordings are available on Erstwhile, Pilgrim Talk, Hideous Replica and the new release, Apposite Rejoinder, is a duo with Jesse Kudler on JMY Records.
jmymusic.bandcamp.com/album/apposite-rejoinder
Graham Stephenson uses amplification to focus on interior aspects of the trumpet. Through the use of highly pressurized breath, valve rotation, and extreme embouchure, the instrument becomes an unpitched sound generator, able to share space in improvised settings with acoustic and electronic instruments. Recordings are available on Erstwhile, Pilgrim Talk, Hideous Replica and the new release, Apposite Rejoinder, is a duo with Jesse Kudler on JMY Records.
jmymusic.bandcamp.com/album/apposite-rejoinder
Friday, February 16, 2024
8p doors, 8:30 start
$10-15 suggested donation
Tritriangle
1550 N Milwaukee Ave Fl3
Chicago, IL 60622
