mimaroglu music sales ☞ artists ☞ alan licht

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previous artist: lichens		there are 13 titles featuring alan licht in stock. they are listed below.		next artist: justin lieberman

$13.65

new to stock as of
august 23rd, 2007

threads:
modern-psych
free-improvisation
film-video
electro-acoustic-improvisation
concert-recordings

a silent place (italy) #asp 16 cd

text of light / my cat is an alien “cosmic debris, vol. i” compact disc

text of light - "033103 paris"
my cat is an alien - "everything falls like cosmic debris"

a silent place press release...

asp16
text of light / my cat is an alien: 'cosmic debris, vol.i'
cd digisleeve

cd re-issue of the first instalment in the new "cosmic debris" split art-lp series set up by maurizio and roberto opalio, aka my cat is an alien. this volume i sees the two space brothers from torino, italy, alongside lee ranaldo (sonic youth) and his all-star ensemble text of light* (here featuring alan licht, dj olive, ulrich krieger and tim barnes).

their track "033103 paris" has been recorded live at centre georges pompidou in 2003 and mixed in dual mono by ranaldo & licht at nyc echo canyon studio. mciaa's piece entitled "everything falls like cosmic debris" is a conceptual ouverture to the whole series, performed in april 2006 at their secret recording space called alien zone, located up the italian western alps.

the five-volumes series "cosmic debris" features my cat is an alien alongside text of light, steve roden, keiji haino, mats gustafsson, loren connors & his haunted house band. each cd cover artwork reproduces the full image and details of the acrylic paintings created by roberto opalio for each copy of the original vinyl edition on mciaa's own opax records. cd comes in a digi-sleeve textured cardboard cover.

$9.24

back in stock as of
february 19th, 2009

first in stock on
september 23rd, 2006

threads:
guitar-themed
free-improvisation
concert-recordings
electro-acoustic-improvisation

best of 2006 !!!

antiopic (usa) #an 009 cd
antiopic live series (usa) #ls 003 cd

tetuzi akiyama / oren ambarchi / alan licht “willow weep and moan for me” three inch compact disc

willow weep and moan for me (18:48)

gorgeously subtle trio guitar / electronics set, jointly improvised by oren, alan, and tetuzi down in new zealand a few years back ... more than just a foot-note in the respective discographies of each, i’ve always found this a nice “transitional” piece as tetuzi’s blues-based playing got more abstract (eventually yielding “don’t forget to boogie”) & alan & oren’s more monolithic (ditto “a new york minute” & “suspension,” respectively) ...

antiopic press release...

tetuzi akiyama / oren ambarchi / alan licht
willow weep and moan for me

recorded 6 july 2004 at the bomb the space festival, wellington, nz

release date: 22 august 2006

an009 / ls003
running time 18:48

remove the chugging rhythm of the blues and you are left with the wail; that slow motion ghostly gasp of sorrow and bad omen. the high and lonesome sound of something wicked on the horizon is ingrained in this trio's shadowy and disembodied take on the blues. new york experimental music veteran alan licht, who has explored similar territory in his beautiful duo with loren connors, is joined by australian sound artist oren ambarchi and japanese improviser tetuzi akiyama at the 2004 bomb the space festival in wellington, new zealand.

using guitars the trio create an alien and minimal free-blues drone. akiyama and licht both revel in the spirit of blues guitar, intertwining high melodic lead lines and creating clusters of tense tone. ambarchi is a master at low end drift, and here the repeating low tones serve almost as a mutant version of a 12 bar anchor. all three players are deft at combining emotion with abstract playing (licht's rabbi sky, ambarchi's suspension, and akiyama's pieces for the wooden guitar series just to cite a few), and this set is an exemplary instance of engagingly emotive yet free playing.

$11.76

new to stock as of
january 19th, 2010

threads:
guitar-themed
harsh-noise
free-improvisation
modern-composition
minimalism-drones
modern-psych

corpus hermeticum (new zealand) #hermes 022 cd

alan licht “the evan dando of noise?” compact disc and booklet set

i hate gate (part 3) (8:18)
ambulance chaser (1:18)
west twenty (19:05)
lonesome valley (5:50)
for jojo (13:06)
untitled (0:19)

1997 release ; second solo album from alan licht (after the 1994 siltbreeze “sink the aging process” lp) ...

starts out with two impressively coruscating chunks of high-gain guitar demolitionry before receding into the album’s centerpiece “west twenty” (a 20-minute duet with mars’ lucy “china burg” hamilton fusing charlemagne palestine-lineage church organ held-tones with terry riley style bass clarinet) ... then a fine bit of solo scrabble overlaid on a field recording of a “hollerin’” competition & two further guitar blasters ...

alan’s playing (as always) is rich & full throughout ; always thought this a great disc that was unduly buried due to its somewhat ill-advised title ... each copy comes with the april 1997 issue of bruce russell’s “logopandocy” journal, in this case a 16-page back & forth with licht & russell that’s as fine a read as licht’s “an emotional memoir of martha quinn” ...

corpus hermeticum press release...

$10.85

back in stock as of
december 1st, 2011

first in stock on
november 20th, 2007

threads:
printed-matter

drag city (usa) #dc 213 book

alan licht “an emotional memoir of martha quinn” book

an emotional memoir of martha quinn (76 pages)

drag city press release...

an emotional memoir of martha quinn
by alan licht
dc213 book

a thoughtful and entertaining look at how music and culture infect (“cross-pollinate?”) each other, alan licht’s an emotional memoir of martha quinn succeeds by being real. paper, ink, binding – it’s all there – but licht, a long-time musician — and writer of music-inspired commentary — has brought the lessons learned, the high and low-lights of the last few decades in the realms of popular music, back home again.

as his preface is quick to alert you, alan licht’s an emotional memoir of martha quinn doesn’t shed any light whatsoever on what has happened to that charming mtv vj in the last twenty years. it does, however, offer significant insight into what has happened to some of a few of the rest of us. in his own words, licht’s book “is a highly subjective survey of the last two decades as seen through my prism as a music performer, listener, scenester, and, occasionally, writer. it traces the changes in the new york and national underground music scenes, paralleling my personal journey through adolescence to adulthood.”

for many of “us,” music was (and continues to be!) how we divined our way through the general horrors of adolescence. it was how we defended (and defined) ourselves against classmates, parents, teachers, the dreaded man, and even our very own friends. but what happens to your relationship with music once you “grow up?” does it necessarily fade in its intensity as you become, to a greater or lesser degree, a part of the culture from which you worked so hard to distinguish yourself? is it the nature of all subcultures to just disappear; or – worse, even — to be absorbed into mainstream culture and lose all meaning? in a series of interlocking essays, an emotional memoir of martha quinn follows the author as he traces the role that music has played in his own life, from a lockdown childhood in the “jail sentence” of the new jersey suburbs to a career as a musician.

that alan licht’s rock ’n‘ roll upbringing was concurrent with musical developments during the dark days of the 1980s, not to mention the dark days of grunge rock, and the extremely dark days of post-rock, makes this book one of the first of its kind. that it is penned by an active participant in these changing times, and a new yorker to boot, makes it that much more prescient.

licht manages to speak about his generation without trying to speak for them (a lesson this 1-sheet has failed to absorb). his style is simultaneously sharp and casual as he slips easily between such seemingly disparate subjects as a flock of seagulls’ (the band, not the flock) unfortunate haircuts (which he describes as looking “like some origami fantasia on a merkin”) and the effect of the dissolution of the soviet union on american youth culture (in short — the effect was grunge!).

at once earnest and warmly sarcastic, an emotional memoir of martha quinn, alan licht’s deeply personal examination of the relationship between music, culture, and identity, reads like a long conversation you might have when staying up too late with one of your smartest friends, pausing only to hit the loo – there to discover the empty cardboard tube that surrounds the dowel, and a perfectly good 3/4ths of a roll sitting on the window sill. i mean, jesus christ — even lester bangs changed a toilet paper roll every once in awhile!

$12.61

back in stock as of
february 11th, 2009

first in stock on
march 9th, 2007

threads:
modern-composition
minimalism-drones
guitar-themed
concert-recordings
field-recordings
sound-art
plunder-phonic

experimental intermedia (usa) #xi 128 cd
xi records (usa) #xi 128 cd

alan licht “a new york minute” double compact disc set

double-disc set of alan’s minimalist / sound-art / guitar work !!

disc 1: studio

a new york minute (15:17)
freaky friday (19:23)
muhammed ali & the crickets (6:41)
another sky (5:31)

disc 2: live

14, second, fifth (37:21)
remington khan (hearing test mix/12-string version) (38:48)

... recent collection of long-form pieces by alan licht ; love how this runs the gamut from noisy, plunderphonic-style pieces that wouldn’t be out of place on his siltbreeze / corpus hermeticum sides (i.e. the raucous “muhammed ali & the crickets” - listen to the sound-sample) to plaintive, minimal pieces far more relevant to the company he’s now keeping over @ xi ... if you’ve only ever heard alan as a guitar / electronics improviser, check this out for another side of the coin altogether ...

experimental intermedia press release...

alan licht
a new york minute

alan licht wears many hats. over the years, he's been a curator of music as well as a tireless performer. and he's as well-known an author as he is a musician. it's one thing to have eclectic tastes; it's another to make a practice of them.

while licht's earlier records have seamlessly melded his improvisational guitar playing with extended plundered sounds, a new york minute takes things a few steps further. instead of fusing the many sides of licht into one monolithic mega-mix, this disc separates them into discreet compositions. there's a lot more at stake here: the guitar pieces are showcased as guitar pieces and the plundered works are just that. the conceptual tendencies in licht no longer hide behind his talent as a guitarist; likewise, the guitar pieces are no longer propped on hooky concepts that take our attention away from his fretwork. the good news is that both work: licht is as strong a conceptual artist as he is a composer. (kenneth goldsmith, liner note writer)

...

a new york minute lasts 2 cds long: the title track consists of compiled, multi-tracked weather-reports from everyday in january 2001 in the city. well, there we got our addictive quality of a repetition of the same but not quite the same. in the differences, those slots and gaps we fill in our desire, in that mood between active and passive in a sort of state of weakness lies sensuality, fluidity, moments of lust whatever. there is nothing we can do about the weather. but it is the most basic piece of information everybody takes in and processes all the time. and why not transformation in a minute or so, becoming part of it all.

"remington khan" the longest track of all, recorded live, functions as a purely musical companion to "a new york minute". it keeps going and going goes on and on till you feel the boundaries of consciousness, pushing you forward, softly. restrained, full of weird little moments, feelings, small sound patterns, that build up. somewhere in there a kind of singing. an odd kind of expression of a collective voice. a perfect deep deadpan moment.

"14 second fifth," the other live track, is a loop that lasts 14 seconds, of a perfect fifth (pitch internal).

"another sky" is pure calm, balm, yet within the realm of the unpredictable, causing a heightened attentiveness in the listener. patterns reversing patterns, very subtle shifts and balances, made out of multi-tracked chord organ (one of those portable organs with an electric motor). becoming organ. it ends on a very light note, but will resonate for a while. (jutta koether, liner note writer)

$13.44

new to stock as of
january 27th, 2010

threads:
guitar-themed
modern-psych
concert-recordings

family vineyard (usa) #fv 75 cd

alan licht / loren connors “into the night sky” compact disc

map of dusk (24:13)
into the night sky (24:08)

february 2010 release ; two otherwise unreleased sets from the guitar duo of loren connors & alan licht, recorded a decade apart ...

it’s interesting to hear the dynamic between the two remain relatively constant despite the gap ; the strumming dissonance & wise use of space really works beautifully on the second, more recent take (listen to the sound-sample) with the energy levels only rising above a murmur for a few isolated peaks ; otherwise it’s pure shimmering bliss ...

family vineyard press release...

alan licht & loren connors
into the night sky
fv75 cd

into the night sky is the sixth album from avant guitarists alan licht and loren connors, the first after 2003's in france (fbwl). since 1993 these new york city artists have evolved an instrumental dialogue merging shades of electric blues and minimalism. these two epic pieces -- one from 1996, the other 2006 -- recorded live in concert clearly show far their desolate sound world grew over a decade of collaboration while the core of layered guitar complexities and alien melodies remain. the atmosphere conjured by the licht-connors duo is unmistakable -- the ebb of eloquently shaped feedback -- while the harmonic patterns recall 20th century classical music.

active since the early 1990s, licht has worked with a veritable who's who of the experimental world, from free jazz legends to iconic composers while performing in text of light and an ongoing duo with aki onda. since 1978 connors has released dozens of acclaimed and sought after lps documenting his singular adaption of the blues and forging his place as one of america's most iconoclastic artists.

release: february 23, 2010

$11.95

back in stock as of
june 7th, 2011

first in stock on
december 5th, 2007

threads:
analogue-synth
guitar-themed
free-improvisation
electro-acoustic-improvisation
harsh-noise
minimalism-drones

no fun productions (usa) #nfp 28 cd

nels cline / carlos giffoni / alan licht / lee ranaldo “nothing makes any sense” compact disc

nothing makes any sense (53:03)

december 2007 release; lengthy free-improv session from the guitar trio of nels cline, alan licht, and lee ranaldo; with no fun’s carlos giffoni on synthesizer...

not quite the white-heat-laced shards-of-sound approach you might expect given the lineup, but rather a fairly static, drone-based piece (guitars are tuned down, bells are chimed) closer in spirit to something like maurizio bianchi’s early 80s tape-work than anything else... splendid.

no fun productions press release...

28 nels cline / carlos giffoni / alan licht / lee ranaldo 'nothing makes any sense' cd

a constantly shifting and engaging long-form piece of developed drone, foreboding melody, and harsh grit, nothing makes any sense finds lee ranaldo (sonic youth), nels cline (nels cline singers, wilco), and alan licht pushing their guitars into a cacophonous state that bears much influence from the post-jazz fields they've all cut their teeth in, but also bearing down a forceful brutality that has sometimes eluded their past material. while carlos giffoni uses his analog synth mastery to adequately contend and mesh seamlessly with the trio of strings, letting his analog noise pulsate and pierce with its own sense of contained stampede.

$16.49

new to stock as of
december 3rd, 2008

threads:
concert-recordings
film-video
modern-psych
electro-acoustic-improvisation
free-improvisation
guitar-themed
playback-music
plunder-phonic

room40 (australia) #edrm410 cd

text of light “rotterdam.1” compact disc

rotterdam.1 (19:24)

2006 release ; raucous blast of electric free improv from alan licht, lee ranaldo, ulrich krieger, tim barnes, and dj olive ...

room40 press release...

text of light
rotterdam.1

recorded at the rotterdam international film festival in january 2005, this explosive piece from text of light typifies their abilities as a vivid freeform improvisational unit. ranaldo and licht’s measured guitar work sets a basis on which kreiger’s blaring saxtronics, barnes’ percussive explorations and dj olive’s swirling turntable incursions can intertwine and augment one another. this piece ebbs and flows, each of the players listening intently and guiding the proceedings with disarmingly sublime yet focused intensity.

like all their recorded works to date, this piece was delivered in tandem with a live film projection – this interaction between 20th century abstract and experimental film and live improvised performance at the very core of the unit.

text of light on rotterdam 1 are:

alan licht: guitar
lee ranaldo: guitar, electronics
ulrich krieger: sax, sax-tronics
dj olive: turntables, powerbook
tim barnes: drums, percussion

recorded by martin van rappard and edited by lee ranaldo and alan licht.

$7.98

back in stock as of
july 1st, 2011

first in stock on
november 10th, 2006

threads:
guitar-themed
free-improvisation

rrrecords (usa) #pure licht cd
pure (usa) #pure licht cd

alan licht / tamio shiraishi “our lips are sealed” compact disc

our lips are sealed (19:54)

killer 1997 release; a free-jazz blowout between my bandmates alan licht and tamio shiraishi. more skronk than fire-music... think a borbetomagus cover-band rehearsing johnny hodges lines direct to 16pm transcription discs, then playing them back at 78...

rrrecords press release...

tamio shiraishi: alto saxophone
alan licht: twin reverb, digital delay, turbo rat, tube screamer

$11.76

back in stock as of
september 13th, 2010

first in stock on
february 8th, 2007

threads:
minimalism-drones
modern-composition
guitar-themed

siltbreeze (usa) #sb 076 cd

alan licht “rabbi sky” compact disc

rabbi sky (1-4)
all blues

1999 solo release by alan licht, his third overall...

siltbreeze press release...

musically, it would be rather fantastic to describe rabbi sky as a hybridization of this previous two efforts (the evan dando of noise?, corpus hermeticum, 1997 and sink the aging process, siltbreeze, 1993); if you feel a compulsion to nod in their direction, console yourself by thinking of this one as a most excellent extension.

listening to the opener, the title track executed in four movements, the listener is cast headlong into a minimalist menagerie; the bracing, string-tingling beginning segues into hypnotizing, ecclesiastical chord organ drone that then resurrects into a tremendous cut-and-paste finale of looped and overdubbed guitar that whirls around in the air like a white-winged moth performing a lascivious, improvisational fandango.

on the other hand, “all blues” (the second and final track, dedicated to both james mcnew and phill niblock) is pure aggro-muzz that takes on an almost anthemic persona.

...

mr. ubiquitous lends his formidable name and image to a siltbreeze project. experimental drones and noises with nods to phill niblock and noted pop subversive james “dump” mcnew. a big, clanging, obstreperous, kosher meatloaf of an album.

$15.51

new to stock as of
june 13th, 2011

threads:
electro-acoustic-improvisation
minimalism-drones
guitar-themed
doom

sub rosa (belgium) #sr 306 cd
new series framework (belgium) #new series framework #2 cd

ulrich krieger “fathom” compact disc

fathom (50:19)

december 2010 release ; ... essentially, this is a text of light record (only christian marclay & william hooker are absent) albeit one containing a single composition (by krieger) “for contrabass saxophone, 2 electric guitars, close-mic’ed percussion and 2 cds” ...

sub rosa press release...

new series framework #2 / ulrich krieger
fathom

700 copies limited edition / cd digipack
sr306

features
ulrich krieger
lee ranaldo
alan licht
tim barnes

new series framework

an extension of our concrete electronics noise, a brand new mix-up of unusual conceptions of sound material by young unknown composers, well known not-so-young composers and old but clever composers.

ulrich krieger studied classical saxophone, composition, electronic music and musicology at the manhattan school of music (new york), the universität der künste (berlin) and the freie universität (berlin). since the late 1980s he became more and more interested in american music and its different approaches (chance music, process music, just intonation, multi-stylistic, minimalism, drone). in 1991 he moved to new york. in the 'cage of saxophones' series krieger recorded the complete saxophone and any-instrument works of john cage for mode records. the first one focuses on drone music (cage, tenney, niblock), while the second focuses on pattern music (reich, glass, riley) in the early 1990s he started working on a more electronic approach. he began developing an original amplification for the saxophone and various live-electronic signal processing set-ups. in the electronic experimental field he collaborated with rock, noise and ambient artists like karkowski, merzbow, koener, toeplitz. he also worked with the berlin ensemble "zeitkratzer" for which he transcribed lou reed's metal machine music.

text of light is a 2001 founded formation with lee ranaldo and alan licht, performing along with films of experimental film maker stan brakhage (1933-2003).

metal machine trio began in 2008 together with lou reed and sarth calhoun as an experimental free rock project.

$24.18

back in stock as of
april 21st, 2010

first in stock on
february 29th, 2008

threads:
guitar-themed
modern-composition
minimalism-drones

best of 2008 !!!

table of the elements (usa) #toe 813 cd

rhys chatham “guitar trio is my life !” triple compact disc set

guitar trio pt. 1, brooklyn (19:27)
guitar trio pt. 2, chicago (23:34)
guitar trio pt. 1, buffalo (21:15)
guitar trio pt. 2, toronto (19:20)
guitar trio pt. 1, montreal (22:24)
guitar trio pt. 2, cleveland (16:35)
guitar trio pt. 1, minneapolis (6:45)
guitar trio pt. 2, milwaukee (19:04)
guitar trio pt. 1, chicago (30:23)
guitar trio pt. 2, brooklyn (16:27)

... as psyched i am for this mammoth set of alternating renditions of rhys chatham’s “guitar trio pt. 1” and “guitar trio pt.2” - i can’t help but be a little bummed at the omission of either of the boston takes (which, to my amp-damaged ears, sounded quite fine w/chris brokaw, david daniell, winston bramman, myself, and the devil music guys essentially playing a single-chord to a sold-out allston-rock-city crowd for over an hour) - but that’s neither here nor there ...

what you do get from this excellent triple-disc box are takes from the brooklyn, buffalo, chicago, cleveland, milwaukee, minneapolis, montreal, and toronto stagings of the piece during february 2007, performed with ludicrously high levels of energy by chatham himself, along with such notables as andrew broder, tony conrad, david daniell, kim gordon, alan licht, robert longo, rob “lichens” lowe, doug mccombs, thurston moore, jon mueller, harris newman, jeff parker, lee ranaldo, chris rosenau, adam & ben vida, etc ...

if you don’t know the piece ; it’s essentially an exercise in yielding what chatham himself describes as “choiring” - a heavy, upper-register buildup of harmonic movement that results when so many guitar players, over 20 minutes, slowly work across an open e minor chord from the low e to the high e, at deafening volume, while a single drummer keeps time on a hi-hat (pt. 1) or contributes with a “driving backbeat” followed by a long fill / freak-out (pt. 2) - it’s the ultimate in high-gain rock ‘n’ roll minimalism, really, and because of the open interpretation, the piece can swing pretty heavily in a number of directions given the players - hence this collection offering 5 different realizations of each part by 8 different groups ...

highly recommended as a historical document and as a testament to the piece’s lasting relevance ...

table of the elements press release...

rhys chatham & his guitar trio all-stars
“guitar trio is my life !”

utilizing multiple electric guitars and a single chord, 1977’s “guitar trio” is composer rhys chatham’s signature work, and a euphoric, minimal-punk classic. it’s an inspired amalgamation — the droning, shimmering harmonics of john cale and tony conrad fused with the power and fury of the ramones — that had a meteoric impact. it placed chatham at the forefront of the burgeoning no wave scene; its influence then spread further, as protégés and participants in chatham’s ensembles — including glenn branca and members of sonic youth — folded the sound into their own. “guitar trio” remains a composition with a half-life, an adventure in sound that continues to radiate influence and inspiration.

now, to celebrate the 30th anniversary of “guitar trio” on an epic scale, chatham musters an all-star guitar army for the 3xcd set, “guitar trio is my life!” the sprawling collection features members of sonic youth, swans, tortoise, godspeed you! black emperor, hüsker dü, modern lovers, silver mt. zion, town and country, die kreutzen, 90-day men, collections of colonies of bees, and many more; even tony conrad gets in on the act. together these artists celebrate chatham’s wordless anthem, with its minimalist origins, rock & roll rhythm, ecstatic whorl of harmonics, and ever-evolving, ever-expanding nature.

so, take a listen, and hear what one man can do with hundreds of guitars, 30 years, one chord, and a skyscraper of amps set to liquefy. “guitar trio” endures.

3xcd set of previously unreleased material;
includes 32-page book with liner notes and unpublished photographs

$15.29

new to stock as of
november 25th, 2008

threads:
harsh-noise
electro-acoustic-improvisation

victo (canada) #victo 111 cd

michael snow / alan licht / aki onda “five a's, two c's, one d, one e, two h's, three i's, one k, three l's, one m, three n's, two o's, one s, one t, one w” compact disc

allorolla (33:03)
doo rain (15:10)

november 2008 release ; believe this was only the second performance by the trio of venerable filmmaker/musician michael snow, alan licht, and aki onda (essentially a synth/guitar/tapes “power trio”) ...

impressive that they’re showing signs of a refined sense of interplay even this early on in the trio’s lifespan ... whereas alan’s duo w/ aki seemed to tone things down a bit ; it’s great to hear him go batshit via some high-gain / heavily effected electric guitar freakoutery. aki’s even taking something of a back-seat here to snow’s errant synth squeals, although the mangled tape does cut through the mix from time to time ...

victo press release...

michael snow (synthétiseur cat, radio à ondes courtes, piano)
alan licht (guitare électrique, électroniques)
aki onda (cassettes, électroniques).

“the snow/licht/onda concert was proof that the most unconventional of instruments can be used to create imaginative soundscapes. canadian pianist/electronic manipulator michael snow has led a life of diversity as a celebrated avant-garde filmmaker and improvising artist. new york-based guitarist alan licht has operated in a variety of musical spheres, influenced by everything from the minimalism of steve reich to no wave bands like sonic youth. japanese-born, new york-based aki onda is an equally intrepid artist who, aside from composition, production and photography, uses a most unlikely instrument -- a cassette walkman -- to create a personal view of music as texture and experience.

the trio's hour-long performance, while not its first, found them still very much in exploratory territory, looking for ways to shape sounds ranging from spare and atmospheric to dense and industrial. while there was little relationship to the familiar, the set had its own form, even if suggestive of a relentless barrage of sound. snow, at various points, put a portable radio up to a microphone, broadcasting whatever he happened to find, including a radio announcer discussing a festival taking place in victoriaville. like many other moments during this often intense spatial-temporal audioscape, serendipity reigned -- the postmodern self-referentiality of the radio announcement being a prime example. but perhaps what made the set so interesting was, above all, the audience' awareness that many of the sounds being produced by snow, licht and onda were as new to the artists as to the audience. improvisation as texture, not as rhythm, melody or fixed form.”

-- john kelman, all about jazz, victoriaville may 18th, 2007.

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next artist:
justin lieberman