Power Switch: The 9 Lives of Electronic Music
Hijacked from Jeannie Hopper's Liquid Sound Lounge show on WBAI, this segment features musical samples and discussion about Roulette's 2016 Festival of Mixology, the annual event that highlights new and unusual uses of technology in music and intermedia. This year's series is titled Power Switch: The Nine Lives of Electronic Music and runs 16-20 Feb. 2016, featuring nine artists/ensembles over 5 days. Concerts feature masters in the art of of Theremin, synthesizer, sampling, glitch, appropriation, film and video interface, analog processing, circuit bending, and DJ technology.
Hopper is joined by curator David Weinstein, the co-founder of Roulette and producer of the first Festival of Mixology over 25 years ago, and Weston Minissali, the synth half of the duo Trumpet Trumpet Synthesizer.
Here is a quick peek at the programs:
Dorit Chrysler // DJ Dog Dick
Tuesday, February 16, 2016, 8pm
Val-Inc // Trumpet Trumpet Synthesizer
Wednesday, February 17, 2016, 8pm
Z'EV: CINEmotion // Lary 7
Thursday, February 18, 2016, 8pm
David Linton: bicamRL AV // Thomas Dexter
Friday, February 19, 2016, 8pm
Yuka C. Honda with Susie Ibarra & Ikue Mori
Saturday, February 20, 2016, 8pm
Roulette is located on Atlantic Ave. and 3rd Ave. in Brooklyn.
David Weinstein is a composer, curator, radio producer, event organizer, and activist for new and experimental arts in all media. He has been a director of programming and/or operations at Roulette, MoMA/PS1, Clocktower Gallery and Radio, Outpost Gallery, and many more. He has performed and recorded with artists including Shelley Hirsch, Elliott Sharp, and John Zorn. His radio series, Impossible Music, is streamed at clocktower.org.
The object of this series is to invite emerging and established innovators to share their work. These programs are usually a combination of an interview with a far-reaching perspective on the artist's career, some recordings illustrating this history, and something new. Open territory. The unfortunate and unintended messages that come attached to a title like Experimental Composers are many. Still it is one of the few labels to come out of the world of music that has not been co-opted by promoters, corporations, journalists, or lawyers. This one just seems to have anti-market goo on it. Hooray. It's also just bad English (as if to imply that these poor souls are themselves, in their flesh and blood, some kind of experiment and, perhaps, even expendable). And then there is the spectre of defying the wisdom of the great Edgar Varèse who said something like, "I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment."more