WEDNESDAY, OCTOBER 24th 2018
9PM
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9PM
ELI KESZLER
$3.33
GREGG KOWALSKY
BULBS
ZEBULON
GREGG KOWALSKY
BULBS
ZEBULON
ELI KESZLER (New York - Shelter Press)
Touring recently with Laurel Halo and presently as a member of Oneohtrix Point Never's MYRIAD ensemble, percussionist and polymath Eli Keszler runs with the advance guard of electronic expression. Though his solo work too fits into that aesthetic milieu, the source of his pulses and clicks is sometimes also a source of surprise. With a drumkit at it's core, Keszler corrals a menagerie of acoustic sound, short-cutting the signal chain to focus on the intimate and immediate.
Keszler's solo Los Angeles appearance at Zebulon relates to his ninth album – Stadium – which is being released shortly beforehand by the cross-disciplinary French publishing house Shelter Press. With Stadium, Keszler stages a cycle of empathetic urbanism – organic pitter-patterns inspired by the massive complexities and asynchronies of the metropolis. Reduced to the human scale – and with his pointillist approach so precise – the space around the sounds becomes a fluid element at play.
Keszler is a versatile player and has also collaborated across the gamut with figures diverse and singular: Christian Wolff, Joe McPhee, Tony Conrad, Rashad Becker, and James Hoff. His own sounds have been published by crucial contemporary labels including PAN and Empty Editions, and he has made a number of major sound installations at key settings including the Barbican in London, the Kitchen in New York, and Boston City Hall.
$3.33 (Leaving Records)
Celia Hollander’s $3.33 project has registered her as an emergent maker of timbre and pattern, repetition and layer. Rendering the high minimalism of Riley and Reich relevant to this very moment, her own din is always novel, and often earmarked with digital artifact intact. Hollander’s total art is a practice uncompartmentalized as she scores across media and contexts, be it for dance, installation, car stereos, or player piano. In it’s most available forms - in the cloud and in concert - $3.33 is currency.
GREG KOWALSKY (Mexican Summer)
Gregg Kowalsky’s masterful 2017 meditation on radiance – L’Orange, L’Orange – recasts Ambient as a foreground concern, fully embracing it as a pop form. This sun-spotter paints with a pallet of tone and drone, stretching meshes of moiré into pastoral fields of sound, transposing a skyward gaze into a pattern haze. With flecks of magnetism in the air, Kowalsky can turn up the heat in concert, play the room, and simmer in the moment. Working the site specific, and keen to the psycho-acoustic, he lets flow a live electronic music that happens between the ears. Turn your head, hear?
BULBS (Shelter Press, Important)
A duo for a decade plus, Bulbs operate autonomously – and outside the lines – imagining and inhabiting their own sound-world. Tones flow and quiver amidst sap drips and wing flitter! Their abstraction abounds in a compost of electronic process, though guitar and drum hits may be closer than they appear to the ear. Communiqués from their cocoon have been spotted as limited art-editions, official label releases, and fittingly as a 12” on the French imprint Shelter Press. Luckily local to L.A., the Southland has a better forecast to see Bulbs crop up live in the act. Buy a ticket and take the aphid trip.
Flyer by Robert Beatty
Descriptions by Tim Leanse
show pulled prior to UPEND
Touring recently with Laurel Halo and presently as a member of Oneohtrix Point Never's MYRIAD ensemble, percussionist and polymath Eli Keszler runs with the advance guard of electronic expression. Though his solo work too fits into that aesthetic milieu, the source of his pulses and clicks is sometimes also a source of surprise. With a drumkit at it's core, Keszler corrals a menagerie of acoustic sound, short-cutting the signal chain to focus on the intimate and immediate.
Keszler's solo Los Angeles appearance at Zebulon relates to his ninth album – Stadium – which is being released shortly beforehand by the cross-disciplinary French publishing house Shelter Press. With Stadium, Keszler stages a cycle of empathetic urbanism – organic pitter-patterns inspired by the massive complexities and asynchronies of the metropolis. Reduced to the human scale – and with his pointillist approach so precise – the space around the sounds becomes a fluid element at play.
Keszler is a versatile player and has also collaborated across the gamut with figures diverse and singular: Christian Wolff, Joe McPhee, Tony Conrad, Rashad Becker, and James Hoff. His own sounds have been published by crucial contemporary labels including PAN and Empty Editions, and he has made a number of major sound installations at key settings including the Barbican in London, the Kitchen in New York, and Boston City Hall.
$3.33 (Leaving Records)
Celia Hollander’s $3.33 project has registered her as an emergent maker of timbre and pattern, repetition and layer. Rendering the high minimalism of Riley and Reich relevant to this very moment, her own din is always novel, and often earmarked with digital artifact intact. Hollander’s total art is a practice uncompartmentalized as she scores across media and contexts, be it for dance, installation, car stereos, or player piano. In it’s most available forms - in the cloud and in concert - $3.33 is currency.
GREG KOWALSKY (Mexican Summer)
Gregg Kowalsky’s masterful 2017 meditation on radiance – L’Orange, L’Orange – recasts Ambient as a foreground concern, fully embracing it as a pop form. This sun-spotter paints with a pallet of tone and drone, stretching meshes of moiré into pastoral fields of sound, transposing a skyward gaze into a pattern haze. With flecks of magnetism in the air, Kowalsky can turn up the heat in concert, play the room, and simmer in the moment. Working the site specific, and keen to the psycho-acoustic, he lets flow a live electronic music that happens between the ears. Turn your head, hear?
BULBS (Shelter Press, Important)
A duo for a decade plus, Bulbs operate autonomously – and outside the lines – imagining and inhabiting their own sound-world. Tones flow and quiver amidst sap drips and wing flitter! Their abstraction abounds in a compost of electronic process, though guitar and drum hits may be closer than they appear to the ear. Communiqués from their cocoon have been spotted as limited art-editions, official label releases, and fittingly as a 12” on the French imprint Shelter Press. Luckily local to L.A., the Southland has a better forecast to see Bulbs crop up live in the act. Buy a ticket and take the aphid trip.
Flyer by Robert Beatty
Descriptions by Tim Leanse
show pulled prior to UPEND