August 11: DOUG THERIAULT & RM FRANCIS

Doug Theriault

Chapel Performance Space
4649 Sunnyside Ave. N, Seattle (50th & Sunnyside in Wallingford)
8pm, $5-15 sliding scale

Gift Tapes/DRAFT presents Doug Theriault and RM Francis for its third installment of its 2018 program at the Chapel Performance Space, in association with the Wayward Music Series. Portland-based Doug Theriault makes his first Seattle appearance in five years, performing live cut up guitar improvisations using custom made electronics. Local RM Francis kicks off a string of west coast performances, debuting new work that is sure to convey his innovative approach to computer-generated sound. Join us for this exciting evening of new electronic music.

Doug Theriault

Doug Theriault is an unclassifiable multi instrumentalist, composer and instrument builder who lives in Portland. His work has covered many different music styles but he is mostly known for his live cut up guitar improvisations using custom made electronics.

RM Francis

RM Francis is an artist based in Seattle working with computer-generated sound via recordings, installations, and performances. His work is primarily informed by historical electroacoustic practices and posthumanist philosophy. He has presented his work at numerous festivals in the US, including Debacle in Seattle, 2 Day in Portland, Diffusion in Baltimore, and Human Festival in Philadelphia. His work has been released on DRAFT, Agents of Chaos, and atrium. His 2017 release Hyperplastic Other, a multimedia work utilizing chocolate and sound, is published by nada. Francis is also a member of Mesh Collaborative, a computer music ensemble employing network architecture to explore novel modes of collective authorship.

June 2: Arun Chandra & Scott Goodwin at The Chapel Performance Space


Gift Tapes/DRAFT presents the Arun Chandra and Scott Goodwin for its second installment of its 2018 program at the Chapel Performance Space, in association with the Wayward Music Series. The work of Arun Chandra is not often presented outside of academic circles, but offers an extremely unique perspective on composition and computer music, having studied under Herbert Brun and recorded and performed works by Brun, Barry Traux and Xenakis. He will present three works, including a recent composition for 32 channels, down-mixed for 8 channels. Scott Goodwin will perform live, drawing on his niche somewhere between new techno and experimental composition, employing his ever-rotating set of electronic instruments (currently Eurorack synthesizers, outboard effects, and computer) to craft a set specifically designed for the Chapel “inspired by rhythmic minimalism, club music, video game soundtracks and the science fiction works of Greg Egan and Liu Cixi”.

 

BIOS:


Arun Chandra

Arun Chandra is a composer and a conductor, teaching at The Evergreen State College in Olympia Washington since 1998, working with undergraduate students interested in compositional experiments in music and theater, and the social context of contemporary artistic creation. His compositions have been performed at festivals and conferences in the United States, Europe and Asia.

He is a 2007–08 recipient of a Fulbright Fellowship to India, where studied the combinatorial possibilities of North Indian melodic scales with the Indian mathematician Dr. Ashok Narayan.

In 2003, the Wesleyan University Press published his edition of When Music Resists Meaning the articles and lectures of Herbert Brun, his primary composition teacher.

He was the Music Director and Conductor of the Olympia Chamber Orchestra for four seasons (2000–2004), giving numerous premiers of new works for orchestra, along with works from the traditional orchestral repertory. With the orchestra, he recorded for publication Dominion for orchestra and two-channel tape by Barry Truax, and Infraudibles for quintet and two-channel tape by Herbert Brun.

During the 1990s, he was a Visiting Assistant Professor at the National Chiao Tung University in Taiwan (1992–1994), Assistant Professor in Computer Science at the Parkland Community College (1997–98), and a developer for Wolfram Research Inc. (1989–92), At Wolfram Research, he wrote the Audio and Music packages for Mathematica. He received his Doctor of Musical Arts degree from the University of Illinois in 1989.

He was a founding member of the Performers’ Workshop Ensemble, with whom he toured extensively in the United States from 1978–1991, giving yearly performances for the American Society of Cybernetics. With the Ensemble, he helped start the School for Designing a Society in 1991.

Chandra continues to compose for various media and instrumental compositions. For the past five years, he has led the Evergreen Experimental Music Ensemble, a group of student instrumentalists and singers from The Evergreen State College, performing contemporary experimental works at colleges and schools in the Northwest. The group has performed works composed by the students, as well as Maledetto by Kenneth Gaburo, Nuits by Iannis Xenakis, and other works by contemporary composers.

Scott Goodwin
Scott Goodwin started building DIY synthesizers in 2008 after returning from a short tour of the East Coast performing with three iPods, a microphone, and a crumpled brown paper bag. Over the years he’s played with the glacially static drone group Bonus, polyrhythmic house duo Polonaise, with “structural techno” band Operative, and with solo projects in both the techno and experimental music genres. Much of his work uses electronic instruments to explore the physicality of sounds, hearing, and perception. He’s also somewhat obsessed with applying concepts from the late 90s DIY hardcore punk scene to electronic art making. In 2017, Scott became a cofounder of Portland-based modular synthesizer company Plastic Ideas Electronics.

Feb 3: Seattle Phonographers Union & Mesh Collaborative

Chapel Performance Space
4649 Sunnyside Ave. N, Seattle (50th & Sunnyside in Wallingford)
8pm, $5-15 sliding scale

Gift Tapes/DRAFT presents the Seattle Phonographers Union and Mesh Collaborative for its first installment of its 2018 program at the Chapel Performance Space, in association with the Wayward Music Series. The Seattle Phonographers Union, a unique collective with an ever-changing lineup, performs site-specific sound works using unprocessed field recordings. Mesh Collaborative is a computer network music collective that creates synthetic sonic environments by means of realtime cross-compositional systems. Both sets of sound/music will be performed over a 4-channel sound system.

Engaging in collective improvisation using only unprocessed field recordings, the Seattle Phonographers Union explores the ways in which we recognize, differentiate, map and navigate our sonic environment. Our intent is to move beyond habitual experience of sound and uncover what is foreign in the familiar and familiar about the foreign; to explore what we hear and relearn what we know. Some sounds will be familiar; others less so. Both novel and familiar sounds are juxtaposed in ways unique to each event. Our intent is to investigate and enrich both our intuitive and analytical relationship with sound. The goal is not to excite, confuse or entertain per se, but to attend to the world, which is much more detailed and diverse than any one person’s perception of it. Performers will include: Steve Barsotti, Mark Cooper, Doug Haire, Jake Muir and Steve Peters.

Mesh Collaborative’s debut performance will feature a single desktop computer performing digital synthesis in response to control messages sent by four human performers with laptops. This system, built using the SuperCollider programming language, is designed to exploit the inherent volatility of the network, complete with lag, race conditions, and possible system crashes. Performers include: a 2007 iMac, Jeff Huston, James Watkins, RM Francis and Jason E Anderson.

August 26 JARRAD POWELL & GOLDEN RETRIEVER

Gift Tapes/DRAFT Presents:

JARRAD POWELL & GOLDEN RETRIEVER

August 26, 2017
8pm, $5-15 sliding scale
Chapel Performance Space
Facebook event page
Gift Tapes/DRAFT presents Jarrad Powell & Golden Retriever for its forth installment of its 2017 program at the Chapel Performance Space, in association with the Wayward Music Series. Jarrad Powell will present some of his electronic music, offering up a rare opportunity to experience these works outside of a music for dance context.  Opening the performance will be Portland’s duo Golden Retriever, their first Seattle performance after their forthcoming record Rotations (Thrill Jockey) is released.

JARRAD POWELL
Jarrad Powell is a composer, performer, and teacher. He is currently a professor in the Music Department at Cornish College of the Arts in Seattle where he teaches composition, world music, gamelan, tuning and temperament, and other theory-related classes. He is Director of Gamelan Pacifica and Co-Director of IETI+I (“yeti”), the Institute of Emergent Technology + Intermedia at Cornish. His compositions have been performed and broadcast internationally and include pieces for voice, gamelan, various western and non-western instruments, electroacoustic music, music for theater, dance and experimental film. His work also includes numerous cross-cultural collaborations, particularly with Indonesian artists. Since the early 80’s he has directed the group Gamelan Pacifica, one of the most active and adventurous gamelan ensembles in the U.S. As Music Director and composer for Scott/Powell Performance, a contemporary dance company formed in 1994, he has created over 20 major works with choreographer and visual artist Mary Sheldon Scott. Other projects also include music for three innovative short films of Robert Campbell, as well as Campbell’s most recent feature-length film Pulchrior In Luce. His music can also be heard on environmental activist and filmmaker Jeff Fox’s most recent documentary film How to Let Go of the World (and Love All the things Climate Can’t Change). His work has been commissioned by The Walker Arts Center, Performing Arts Chicago, On the Boards, Music in Motion, Southeastern Center for Contemporary Art, Myrna Loy Center/Helena Presents, the National Performance Network as well as individual performers. He has received numerous grants and awards, including NEA, Arts International, Rockefeller Foundation, Paul Allen Family Foundation, 4Culture/King County, Office of Arts and Cultural Affairs/Seattle, Artist Trust Foundation and Creative Capital Foundation. His recordings can currently be found on New World Records, Present Sounds, and Blind Stone Records.
http://jarradpowell.com/

GOLDEN RETRIEVER
Golden Retriever, the duo of Matt Carlson and Jonathan Sielaff, have been developing their musical language since 2008. Primarily working with the intersection of modular synthesis and amplified/effected bass clarinet, the duo have done eight releases for labels like Thrill Jockey, Root Strata, and NNA Tapes. Their music combines an intense emotional immediacy and meditative focus with strong melodicism and an organic, naturalistic approach to experimental electronic sound. Their next record for Thrill Jockey, “Rotations”, will be released this year, and features the duo expanding their sonic palette to incorporate a full chamber ensemble into their sound world.
https://goldenretriever.bandcamp.com/

May 6 Program Notes

I’ve been in touch with the artists and they have each sent us some program notes for the May 6th performance! See below to find out more about what each artist will be presenting!

Also, I have an important announcement about the next installment of our series on August 26th. Pulse Emitter/Daryl Groetsch had to cancel, but we are very fortunate to have Golden Retriever take his place! Matt Carlson and Jonathan Sielaff have both performed in the series already, but not in the context of their band. I am particularly excited about this addition, as Jarrad Powell was Matt’s composition professor! Stay tuned for more info…

May 6 Program Notes:

SETH NEHIL
Pulsar has been created from a single recording of a snare drum hit. Using granular techniques, new sounds are synthesized from the waveform – designed, layered, stretched and processed through a multitude of techniques. I migrate between ProTools, Pure Data, Audition and Ableton Live, creating mutations of sounds on a “family tree”. Convolution reverb is used extensively to place sounds into breathing spaces, introduce spectral shifts and alter envelopes.

Pulsar emerges with sounds that mimic natural textures (wind, rain) and slowly coalesces into more pitched and musical material. Over the course of the piece, timbres shift from organic to synthetic and structures begin to crystallize.

CAMERON SHAFII
I like to deliver my work in small portions; portions that are microscopically forged by a phenomenologically-painstaking process that is not to be fixed or normalized.

‘Pithy & Prolix’ is the working title of a series of spatially diffused electroacoustic pieces I’ll perform.

In general, I permute sounds using a host of digital synthesis processes which are informed by acousmatic theory, particularly spectromorphology. In ‘Pithy & Prolix’, sound scenes are encoded for ambisonic mixing to emphasize the materiality and morphology of spatial textures and their corresponding textural topologies.

For me, there is a certain threat and allure to these sounds.

RM FRANCIS
A literal description of material to be performed by RM Francis at the Chapel Performance Space on May 6, 2017, as rendered by speech-to-text software:

The performance begins with recording the generative synthesis exercises and pit shifting of two octaves and slow down 50%. Can you or Sam particles into shortly there after soon joined by a little center part. Elusive Parkinson’s and pension becomes noisier more enharmonic the original voice speeds up and the sun is down words into a text on the quality of arpeggiated mine. Of it away in the new section begins which one recording of an active since part is they back in a different speed any channel to channel his field you by different spectrum. Do you were Support center which are subjected to complementary specialization algorithms. Next to some non-digital resources sound is deployed which is a sample of recording the feedback to tape in which to take Steve’s manually manipulated to the recording. This recording was it self processed of the Fourier analysis and demonizing. I’ll part stay away except the tape sample which with Sonos upward and about the cats off is the new part begins in which to send voices are being deployed one which only adds spectral data is being realize the other in the air amplitude data is being applied to the spectrum out of the first since park the boat parts are segmented into 1/100 of a second sections which are controlled separately as grains. Specialization of these parents is controlled by several different patterns over the course of the section including Brown in motion in between renters. Other factors in financing the movement of the section include variation play back speed both the spectral an amplitude data sources and variation of the length of the greens. Reprocess the recognizable segment of my forthcoming release P gone all snap trap is introduced which eventually disintegrates into using Nike and style stochastic synthesis in which point because of FM synthesis of compliments at it.

May 6: SETH NEHIL, RM FRANCIS, CAMERON SHAFII

Gift Tapes/DRAFT Presents:
SETH NEHIL, RM FRANCIS, CAMERON SHAFII

Seth Nehil Cameron Shafii RM Francis

May 6, 2017
Chapel Performance Space
4649 Sunnyside Ave. N, Seattle
Doors 7:30 / Start 8:15pm
$5-15 sliding scale, All-ages
Info/Sounds: Gift Tapes event page / Facebook event page

Gift Tapes/DRAFT presents a night of experimental electronic music featuring Seth Nehil, RM Francis and Cameron Shafii – for the third installment of its 2017 program at the Chapel Performance Space, in association with the Wayward Music Series. Each set will be presented in 4-channel quad surround sound.

SETH NEHIL

Seth Nehil has released over 15 albums of experimental music and has performed internationally. In the last decade, he has produced sound for dance and theater, has written and directed original multimedia performance works and has created multichannel sound and video installations. Among other things, he is currently creating music for a retrospective exhibition by sculptor Bill Wills (August 2017), designing sound for the Hand2Mouth Theater production Psychic Utopia (November 2017) and composing for Linda Austin’s dance piece A World, A World (December 2017). Seth teaches courses in sound and video at the Pacific NW College of Art in Portland, OR.
http://www.sethnehil.artdocuments.org/

RM FRANCIS

RM Francis is a Seattle-based musician working with computer-generated sound in performance, installation and recordings. Drawing on a panoply of digital synthesis techniques, his work interrogates the boundaries of musical form and performance. Francis is also a member of the networked computer music ensemble Mesh Collaborative. His spring 2017 release, Hyperplastic Other, is published by Nada.
http://rmfrancis.net/

CAMERON SHAFII

Cameron Shafii is a San Francisco-based Iranian composer practicing generative and electroacoustic music. His compositions are inflected with a host of digital synthesis processes and are informed by aspects of acousmatic theory, particularly spectromorphology. His works do not impose any temporal scheme upon the listener – rejecting the semiotic operation of ‘engagement/disengagement’ in the discourse of A.J. Greimas. Rather, he presents an asymmetrical narrative that features hyperkinetic movement, tensions and complex sonorities. His works aim to explore a functional range of sounds from microscopic and minimal, to macro and maximal. Shafii has remixed, reprocessed and produced compositions for Anòmia and Farmacia901. Currently, he is working in conjunction with Chris Douglas (Scald Rougish, Dalglish) on a forthcoming collaborative release. He runs the Ge-stell label.
http://ge-stell.net/

Please note that this show was originally announced in mid-February.

GIFT/DRAFT’s second 2017 performance, March 18

Gift Tapes logo Gift Tapes / DRAFTpresents:
Matt Carlson, Jeff Witscher, Jason E Anderson

Matt Carlson. Photo: Valerie Calano

Our second show of 2017 could prove to be one of this series’ least ‘accessible’ presentations, but that didn’t seem to deter people; there were many new faces and really large turnout!  I was extremely happy about this, as the quad setup and video projection made this one of my more complex setups at the Chapel.

Jason E Anderson. Video: Emily Pothast

After announcing the performance, I began my set (Jason E Anderson), mostly hidden behind a ridiculous amount of hardware hear, which was driven by a computer running Supercollider programmed to generate control voltages to automate a modular synth and send MIDI notes to Roland MKS-70 (which is the Twin Peaks synth in a box).  I won’t speak to how this was received, but it wasn’t as much of a train wreck as I thought it’d be!

Jeff Witscher’s performance probably hit the hardest, pushing the volume to the limits of what the space will allow.  His set contained both 100% synthetic tones and enhanced field recordings/foley sounds edging towards the artificial, played back via computer. What struck me the most was his use of space–dynamic gestures made of noisy textures and clean tones, but punctuated with varying moments of silence.  His accompanying video was very much coming out of Witscher’s visual repertoire: a sort of autobiographical view into his world through a collage of symbols captured to video from a phone… an odd blend of comedic and beautiful.

Matt Carlson. Video: Emily Pothast

Matt Carlson’s performance was a bewildering assault of a seemingly unlimited set of modular synth patches, punctuated by word fragments and presented in 4-channel quad surround sound.  This was synthetic maximalism taken to the next level.  Carlson performed his piece using a mic and a sampling keyboard setup (NI Kontakt, computer, midi keyboard), mapping each key to a massive array of custom modular synth patches and voice recordings.  Each of these sounds were then assigned to different locations throughout the speaker array.  Sounds glided and jumped from one place to the next, occasionally colliding in such a way that sentences seemed to form around you. It was impressive to listen to such large assortment of sounds and witness how they could form a specific logic together.

A special shoutout to: James Watkins for again running video and lights, to Robert (RM) Francis for managing the door and merch, to Steve Peters/Wayward Music Series for making the show possible, and to audience for pitching in on the cleanup!

MATT CARLSON, JEFF WITSCHER, JASON E ANDERSON

Gift Tapes/DRAFT Presents:
MATT CARLSON, JEFF WITSCHER, JASON E ANDERSON
March 18, 2017
Chapel Performance Space
4649 Sunnyside Ave. N, Seattle
8pm
$5-15 sliding scale

MORE INFO/SOUNDS:
HTTP://WWW.GIFTTAPES.COM/GT-PRESENTS/
FACEBOOK EVENT PAGE:
HTTPS://WWW.FACEBOOK.COM/EVENTS/129760860846677/

  

Gift Tapes/DRAFT presents a night of experimental electronic music featuring Matt Carlson, Jeff Witscher, and Jason E Anderson – for the second installment of its 2017 program at the Chapel Performance Space, in association with the Wayward Music Series. Making his first Seattle appearance since the release of The View from Nowhere (Shelter Press), Portland’s Matt Carlson will perform a 4-channel piece for modular, synth and voice. Jeff Witscher (Rene Hell) will perform a computer music composition set to video. Local sound artist and Gift Tapes/DRAFT head Jason E Anderson will perform computer-controlled synthesizer.

MATT CARLSON
Matt Carlson is an electronic music composer from Portland, Oregon. He works with analog modular synthesis, voice, computer, field recordings, and improvisation to construct dense clouds of surrealistic electroacoustic sound phenomena. His most recent work includes “The View from Nowhere”, a text-sound LP for the French label Shelter Press, and “Aakash”, a collaborative LP with vocalist Michael Stirling and guitarist Doug Theriault. He also performs with bass clarinetist Jonathan Sielaff as Thrill Jockey artists Golden Retriever.
https://soundcloud.com/matt-carlson

JEFF WITSCHER
Jeff Witscher was born in 1983 in Long Beach, California and currently manages his own cleaning company Vincent’s Expert Cleaners in Portland, Or. He has recorded under a few different names, Rene Hell perhaps being the most known. He is an avid chess player & spends most of his time working, cleaning & reading. He focuses on sound composition utilizing his computer attempting strong narratives with accompanying videos for his live performances. He’s currently working on Cob Music & reclaiming his position atop fantasy basketball. Recent solo recordings include Bifurcating a Resounding No!, 2014; Meclu, 2013; Vanilla Call Option, 2013.
https://soundcloud.com/rnpetalgaz

JASON E ANDERSON
Jason E Anderson is an artist from Seattle whose work includes performance, recorded works, video, installation, and music for dance. He creates sound using synthesis, acoustic recordings, programming and text. His work emerges from the traditions of experimental music and sound art. Anderson performs and records music under his own name, as Spare Death Icon, and in performance art / music / film hybrid LIMITS with dancer / choreographer Corrie Befort. He is an active performer, an organizer/producer of performance events in the Pacific Northwest, and he publishes the recorded work of his contemporaries on his experimental music record labels Gift Tapes and DRAFT. Anderson’s recorded work can be found on these labels, as well as Locust, Digitalis, Aguirre (Belgium), SicSic (Germany), Börft (Sweden) and many others.
http://pathoftheelk.com/
# # #
2017 Performers: Million Mists, Jonathan Sielaff, Norm Chambers, Matt Carlson, Jason E Anderson, Seth Nehil, RM Francis, Cameron Shafii, Jarrad Powell, Pulse Emitter, Seattle Phonographers Union, Mesh Collaborative

Gift Tapes/DRAFT presents: Jonathan Sielaff, Million Mists, Norm Chambers

Gift Tapes logo Gift Tapes / DRAFTpresents:
Jonathan Sielaff, Million Mists, Norm Chambers

Saturday, January 28, 2017
Chapel Performance Space
4649 Sunnyside Ave. N, Seattle (50th & Sunnyside in Wallingford)
8pm, $5-15 sliding scale

Gift Tapes/DRAFT presents a night of experimental electronic music featuring Jonathan Sielaff, Million Mists & Norm Chambers – for the first installment of its 2017 program at the Chapel Performance Space, in association with the Wayward Music Series.

Jonathan Sielaff resides in Portland, OR and plays the bass clarinet. Because he likes to play with drummers and electronic instruments, he often amplifies the bass clarinet and processes it with guitar pedals (he is also, conveniently, a guitarist). He cut his musical teeth in rock bands, new music ensembles and various schools of improvisation but most enjoys exploring the territory that exists between genres. His primary musical project is the duo Golden Retriever, with Matt Carlson on synth. They have a bunch of tapes and CDs out there as well as albums with Root Strata and Thrill Jockey.

Million Mists is the musical project of Portland resident Jamie Potter. Utilizing a variety of consumer-level electronic instruments and outdated recording techniques he has crafted a unique approach to experimental synthesizer music, referencing equally the subliminal atmospheres of new age and the rugged immediacy of 90’s hip hop production. Drawing inspiration from his visual and video art practice, he seeks primarily to create immersive, idiosyncratic sound worlds. In this performance Potter will create a live soundtrack to one of his video works. His musical efforts began with minimal Seattle drone group Bonus as well as involvement in free improvisation circles. He currently performs with Brother Raven and records solo work under the names Million Mists and Father Sound. His work can be found on Digitalis, Taped Sounds, Aguirre Records, Root Strata, JYRK and Gift Tapes.

Norm Chambers is a Seattle-based composer and synthesist. He has been active making music since the 1990s, however has gained more traction with his Panabrite project since 2010. Emerging from a love of early electronics, concrete/tape music, soundtracks and early new age, Chambers attempts to create worlds of sound that touch on many elements and moods, from more spatially motivated ambient to aspects of cosmic synth, minimalist composition and improvisation. Chambers utilizes an array of synthesizer equipment to achieve his sounds, in addition to field recordings and occasional acoustic elements. He has released numerous LPs, cassettes and CDs on such labels as Immune Recordings, Preservation (Australia), Aguirre (Belgium), Digitalis, VCO, Constellation Tatsu, Gift Tapes and many more. Chambers has recently retired the Panabrite moniker, yet continues to pursue new avenues of sound.

UPCOMING:

March 18 2017 – Matt Carlson, Jeff Witscher, Jason E Anderson at the Chapel Performance Space (Seattle)