Thursday, October 17, 2013
RCN CAVE | 68 W. Exchange St., Akron, Ohio 44308
RCN is proud to announce this amazing event, partially presented in quadraphonic sound, for yr enjoyment on the evening of Thursday, October 17, 2013 w/ a suggested donation of $5 strongly encouraged… thank you see you soon…
Mark Hosler - Founder of legendary culture jamming collective Negativland performing solo utilizing samples and synthesis. (http://en.wikipedia.org/wiki/Mark_Hosler | http://www.negativland.com/)
M.C. Schmidt & Wobbly - Schmidt is a founder of renowned electronic duo Matmos. Wobbly is a well-established performer of electronic music with releases on Illegal Art, Important Rec, and Tigerbeat6. They are performing as a duo using electronics, synthesis, and samples. (http://vague-terrain.com/ | http://www.detritus.net/wobbly/)
Thomas Dimuzio (ReR, Ipecac, Dimmer) - SF-based electronic composer and sound designer with releases on ReR, Gench Music, and No Fun performing with modular synthesizer. (http://www.thomasdimuzio.com/)
Joseph Minadeo & Curt Brown - Minadeo is a composer and multi-instrumentalist, founder of Patternbased & Low in the Sky. Brown is a founder of Rubber City Noise and numerous projects. Performing as a duo using synthesis, samples, and acoustics. (http://www.josephminadeo.com/)
Thieves - RCN founders Joshua Novak & James Bryan Park exploring found sound and stolen samples.
& throughout the evening, special multi-projector live visuals by Jeremy Bible
Friday, November 22, 2013
Bent Crayon | 1300 west 78th st cleveland
bent crayon presents: kallocain
a night of dystopian sound + vision:
regis - downwards - uk
veronica vasicka - minimal wave - nyc
talker/stave - downwards/fss - chi
prostitutes - mira/diagonal - cle
visuals: jeremy bible - experimedia
this is a ltd engagement. ticket information forthcoming.
the job of the artist is to always deepen the mystery - francis bacon
A few photos from VIA 2013 October 2nd.
VIA 2013: CONTAINER, FORMA, PHARMAKON, RICHARD PINHAS, AARON DILLOWAY, UNICORN HARD-ON w/ Live original audio reactive visuals by Jeremy Bible.
Excerpt from the album Collisions out now.
Source: SoundCloud / experimedia
His new album “Collisions” begins as a series of small, highly focused electronic ‘studies’, each seemingly demonstrating an interesting digital processing technique: quiet hums, melodic golden spirals, and the like. However, it is not long before a sound is encountered that sounds undeniably digital, yet somehow also richer, more complex, and more familiar than those that came before it. In fact, it sounds a lot like the the incessant, sharp, high-pitched sounds coming from just outside the window…
This sound is your first clue to that “Collisions” is more than simply a collection of algorithmic concoctions, interesting though they are; and in fact your ears weren’t deceiving you: the album does indeed draw heavily on sounds made by birds — but not in the ways you’d normally expect. For example, there are relatively ‘clean’, unprocessed recordings of bird calls on the album, but they are combined with electronic tones in such a way as to muddy the distinction between the synthesized and the avian. Or — perhaps most strikingly — unprocessed bird calls are allowed to be drowned out by the (again unprocessed) sound of flapping wings, intentionally creating an experience that one generally only comes across in other field recordings by accident: an acoustic illusion of which, to commandeer Timothy Morton’s expression, one could not say for certain whether it really was an illusion or not.
“Collisions” is thus an album that flits like a restless bird between the digitised and the natural, the concept and the object — or rather, it often fails to decide on a precise distinction between the two, finding one in the other and vice versa, sine waves in bird calls and mathematical equations in puffs of smoke. It’s a record that practices what Morton calls “realist magic”, drawing the uncanny and the preposterous out of the very semblance of the real, and no more so than at its most unedited. Bible has produced a subtly provocative record that should give plenty of food for thought to anyone interested in the natural in music and the musical in nature. Available as a (praise be!) 24-bit download from Experimedia, this is, from my perspective, essential listening.