Infest – Usurper
Usurper
Miniscule free-noise hissy-fits and broken instrument scrape/ squeal jams from the fools what brought you Giant Tank.
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Miniscule free-noise hissy-fits and broken instrument scrape/ squeal jams from the fools what brought you Giant Tank.
Three intense solo performances for drums (both played and screamed through), cymbal, voice, credit card, bird whistle, and guitar amplifier/leads.
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
Autobiographical detail becomes a lens to reflect and refract the deepest aspects of personal and social life in Delany’s ground-breaking non-fiction writing.
Ecstatic, intensely joyous experimental club music: like “the sound of our water ceremonies…40 bands playing their melodies at once to recreate the cacophony of the first aurora and the call of the morning star Venus”.
A performance bearing witness to a struggle built upon patience and collective action from the great multi-instrumentalist and member of the AACM.
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
Taking a scalpel to the relationship between performer and audience: cutting something out to see what’s left, a drastic subtraction and shift of emphasis.
The Cube is a 6 hour performed installation in which sound and image are treated as independent but equal, where musicians and filmmakers sit alongside each other, improvise to and feed off both projected image and amplified and acoustic sound.
Jacobs’ pulsing and abstract 3D Nervous Magic Lantern performance grounded by Eric La Casa’s manipulated recordings of everyday locations.
Torrential, wrenching wordless wails, guttural screams and roars, a Haino solo vocal performance.
A confrontational and somehow shamanic stance; introspective silences shattered by savage jabs at the strings, whirlwind strums dying into spartan chords