Live Score to Gast Bouschet & Nadine Hilbert’s Metamorphic Earth
March 28th 7:30pm
“Insofar they may expand on the O))) principles albeit perhaps a more sculptural and angular direction; the extended solid and geometric aspects of the guitar and amplifiers, sound pressure, volume and temporal structure as ambiguous and solitary form.”
Stephen O’Malley (b. 1974) was born in New Hampshire, USA and raised in Seattle. He eventually spent a decade in New York and presently is based in Paris.
As a composer and musician he has been involved in hundreds of concerts and performances around the world over since 1993. O’Malley is a founding member of several groups including Thorr’s Hammer (1993), Burning Witch (1995), Sunn O))) (1998),
Khanate (2000), KTL (2005), Nazoranai (2011), ÄÄNIPÄÄ (2011) and others. He is a frequent collaborator of many outsider musicians, artists and composers in various formations, in concert and studio settings.
“Stephen O’Malley placed himself on the furthest right side of the stage with his guitar and pedals, acting as a servant to three stacks of amps. Drones started to flow, quite shy was my first thought, like a certain percentage of a Sunn(((o))) drone was going to happen. Then O’Malley saluted his guests and a film came on, cast on the while stage; experimental film works, possibly close-ups of the iris of an eye, flittering as when forced open. It worked perfectly as a soundtrack, the drone still going easy on the small crowd but slowly rising, no pain in my unprotected ears. O’Malley keeps layering and steps on his pedals, I feel my trachea vibrating and my mind expands on this picture of the flickering eye cast on this stage. the three amp stacks are deistic icons and this is a ritual where we worship as O’Malley interprets their voices. They are giant Daleks who’s voices stream through us. My chest is now vibrating and my guts being softly punched. I close my eyes and am happy, I am one with the layers of drone. The gathering salutes Stephen O’Malley, the “Don of Drone.” Not until I come outside and walk towards my bus I feel the physical effect of this set.”
– Sigurður Harðarson
Live performance of selections from HIVE and ORANGED OUT
March 28th 7:30pm
Tyondai Braxton is an American composer and electronic musician. He has been writing and performing music under his own name and collaboratively, under various group titles, since the mid 1990’s. His music incorporates electronic and modern orchestral elements, ranging from solo pieces to large-scale symphonic works.
The former front man of experimental rock band Battles, Braxton has since focused on his own work, including his critically acclaimed album Central Market – which has been performed by world-renowned orchestras such as London Sinfonietta, the Los Angeles Philharmonic, and the BBC Symphony Orchestra.
He has been commissioned to write pieces for ensembles such as The Bang on a Can All Stars, Kronos Quartet, Alarm Will Sound, and Brooklyn Rider. In 2012, Braxton collaborated with legendary composer Philip Glass – performing as a duo for the festival series All Tomorrow’s Parties, as well as remixing Glass’ work for the REWORK remix album.
In 2013, Braxton premiered HIVE – a multimedia piece that is part sound installation/part live performance – at the Guggenheim Museum in New York City. He has given subsequent HIVE performances at Sacrum Profanum Festival in Krakow, as part of the Nonesuch Records 50th Anniversary celebration at The Barbican in London, and at Sydney Opera House. The album HIVE1 was released by Nonesuch Records in 2015.
Subsequent to that Braxton released the Oranged Out – EP digitally and as a pay-what-you-want via Bandcamp and donated all of the proceeds to Everytown For Gun Safety.
In April 2018 he premiered his new piece for large orchestra TELEKINESIS with the BBC Concert Orchestra & BBC Singers at London’s Queen Elizabeth Hall.
“One of the most acclaimed experimental musicians of the last decade” – Washington Post
“[W]hat sets this album apart is its playfulness—the feeling that experimenting with sound is a joyful game.” – NPR
“a sonically absorbing experience.” – Q Magazine