The 28th conference of the Society for Electro-Acoustic Music in the United States, founded in 1984, will be held in New England for the first time since 1998. Throughout the three days, over a dozen concerts featuring new work from composers, performers, sound artists, improvisers, and scholars from around the country will be presented on the Wesleyan campus. Special events include performances involving Memorial Chapel’s computer-controlled organ, sound works for sound systems emanating from MiddleOak corporate headquarters off Main Street in Middletown, live-coding, and a recreation of David Tudor’s “Rainforest IV” in the Zelnick Pavilion. For more information as well as a detailed listing of events, please visit here.
Dates: March 27th-29th
Place: Center for the Arts
Cost: $160 general public conference registration; $80 student conference registration
From Keenan Burgess’16:
Electronic up-and-comer Druid Cloak’s coming to Psi U this Saturday for the first party/concert of the fall semester. Wes’ own Ron Beatz and cone+ will be opening.
Date: Sat, Sept 7
Time: 9 pm- 2 am
Place: Psi U
The term “electronic artist” seems to mean more and more, or less and less, within the music world. In my mind, it’s as pointless a classification as “alternative” or “contemporary.” Keith Fullerton Whitman’s concert on Thursday night made that more clear than ever. I went in to the concert anticipating drone/ambient music, perhaps a Philip-Glass-via-Moog type of sound. From recordings I’d listened to—I highly recommend Generator 1—I had a certain set of expectations about what this music was going to be. Needless to say, all of those were thrown out the window very quickly.
Whitman, who mostly makes music with an analog modular synthesizer (a big ol’ box of knobs and interconnecting wires), began his set with no introduction and set right in to his noise-making. The atonal, arrhythmic sounds that emerged from the speakers sounded less like “music” than the anxious transmissions from an alien satellite. There were moments when it began to sound as if the pieces were building up to something, and then all of a sudden, all sense of semblance would drop off. Sporadic silences were followed caustic explosions of noise. For a more accurate portrayal of the music Whitman played, check out this recording of a recent show in Cambridge, Mass:
Alex Lough ’13 is sitting in a room different from the one you are in now, namely the CFA Hall:
come watch twentyish music majors play music while the music plays
them right back. these are dangerous explorations of sound and vision
that are meant only to be handled by professionals so you’ll want to
be there in case we burn our eyebrows off. if you want your Wesleyan
music experience to be more mind-expanding, come let us tenderly
inject multimedia into your veins.
you will witness the work of
Wes Alum Myles Potters ’12 just released a fresh-to-death EP using works from his senior thesis called Apertures. Potters writes:
This release is many months in the making, and is the recorded, modified version of my Senior Thesis Recital at Wesleyan University. The Thesis revolved around the question: What can we consider to be ‘live’ music in the 21st Century? The music in this album, though recorded, continues to ask similar questions by highlighting contrasts between instrumental improvisation, sampled beats, and notated music.
I could spend a solid amount of time writing about what I like about it, not to mention the dank group of musicians that he had on the album: Wes Alum Owen Callahan ’12 on sax, Nate Campagne ’15 on drums, Sam Friedman ’13 ticklin’ the ivories, and Dylan Bostick ’13 (see: DreamHost) working the electronics. Instead, I asked Mr. Potters a couple questions, and I feel like that does a lot more justice explaining the album than what I could do by myself. That’s all past the jump.