field report no.032517

SUBJECT: Big Ears Festival

Work and life conspired to keep me to just one day of the 4-day Big Ears Festival in Knoxville. I poured over the early schedules, debating which day to choose—no easy task with lineups that were both eclectic and packed with experimental star power. Ultimately it made sense to choose Saturday, the 25th.

I wanted to arrive early, so as to not miss anything due to unforeseen logistics. I needn't have worried. Big Ears proved to be a well-organized and expertly managed event. Picking up my pass as the proverbial gates opened, I had time to catch the showing of Jonathan Demme's late-90s documentary on Robyn Hitchcock. As an avid Hitchcock fan, I've seen the movie (repeatedly), but never on the big screen. Robyn himself was there to give a cheeky introduction. The theatre was enormous (especially for the small, early-riser crowd) and lavishly baroque.

From there, it was just down the street to the next theatre to see Meredith Monk. For Monk's revered status, I'd yet to spend much time with her repertoire, so this hour-and-a-half presentation was something of an immersion course. My first impression was sheer bravery: a small woman, alone on stage, commanding a good-sized room of fans and curious onlookers with wordless, a cappella songs and strange ululations. Her songs were playfully challenging, wrapping NYC, avant garde formalism in sing song nursery patterns. She has a commanding knowledge of musics of the world—displaying techniques from Southwestern Native Cultures as well as Chinese and Indonesian flourishes. I'm not 'woke' enough to gauge if these strains in her music constitute learned influence or appropriation.

Then a few blocks up to standing-room only room, to see Xylouris White. The duo of Greek-born lutist, Giorgis Xylouris, and the legendary Australian post-punk drummer, Jim White, are often lauded for merging Mediterranean folk with a driving krautrock motorik. Their range is much more dynamic than their press—taking in atmospheric chants and tunes with a far more subtle, jazz-tinged percussion—but it's understandable. Those wild flights of abandon that music feel transcendent: White chasing an ever-higher crescendo and Xylouris giving a full-throated rallying cries. 

Just across the tracks, in a cavernous, modern event space, Musica Elettronica Viva gathered a crowd for a concert in the round. The trio of Richard Tietelbaum, Alvin Curran and Frederic Rzewski are elder statesmen of experimentalism, playing together on and off for over 50 years. While MEV's pops and fizzles of improvised electronic sounds are no longer quite as alien, their restraint and broad palette belie a wizened experience. It's hard to imagine any young, Brooklyn synth group incorporating Biblical passages in their work without a heavy dose of ironic detachment. In Rzewski's hands, these Abrahamic fragments were a springboard for calls to Freedom and Resistance.

I couldn't get into see a folk performance by Joan Shelley, but honestly, it was the only thing that felt like filler in my schedule for the day. I had only read about her music, and have a narrow interest in folk forms. Instead I took the opportunity to catch a lunch. The cafe where Shelley performed seemed to be only space small enough to regularly run out of room, which speaks again to the festival's planning. Big Ears by no means seemed sparsely attended but nor did it seem oversold, devolving into a line-cutting mob-scene.

Back to the club to see Horse Lords. I'd heard them first at a Pioneer Works showcase, in Brooklyn. Since then, I've more thoroughly explored their mash-up of King Crimson's dextrous bravado and Steve Reich's pattern-based minimalism. Their infusion of process music with raw rock muscle is riveting at full-force volume.

The main reason I chose Saturday, and made the two hour drive to Knoxville, was Gavin Bryars. I first heard his music in the early 90s, because Tom Waits was a featured soloist on the Point Records release of Bryars' Jesus Blood Never Failed Me Yet. I quickly became a devoted follower. While the performances of Jesus Blood… and his Sinking of the Titanic on Sunday were surely going to be divine, I wanted a chance to dwell in his works I wasn't quite as familiar with.

Where his early work split the difference between classical minimalism and Brian Eno's Discrete Music, his newer material draws more heavily on ancient songforms. Many of the pieces were 'Laudas', which he described as small chorales sung outside churches, to coax people in, "who would otherwise be on their way to the pub". Even still, he has a patience as a composer to include only what is absolutely necessary. The chamber group performed in a small cathedral just off the old-town square. The stone church provided appropriately stately and reverberant acoustics for the atmospheric performances.

I snuck out of Bryars' show a touch early to catch a Steve Lehman and his Sélébéyone group. Their abstract combination of hip hop and spiky, downtown jazz had been on repeat for months and I was keen to squeeze one last show in before I drove home to Asheville. I shouldn't have bothered. Their set started nearly one hour late (due to some technical difficulty or other). The crowd sat impatiently through repeated sound checks (that all sounded the same to us), increasingly worried we were going to miss something else if this dragged on. It was hard not to let that anxious impatience spill into actually listening experience. They seemed a little put off too, dispirited but not disinterested. The performance seemed flat, and overly reliant on pre-recorded material. Entire sections saw the whole septet standing around listening to Lehman's laptop with the audience. The album is phenomenal, but there's definitely distance left to run for the live set, yet.

There was much more, even that one day, I left to early to see Phillip Jeck, Deerhoof, Roedelius, Nels Cline and Yuka Honda, or Supersilent. Alas, safety first. Next year I am definitely going to make a weekend of it.

NOTES: Robyn Hitchcock (film); Meredith Monk; Xylouris White; MEV; Horse Lords; Gavin Bryars Ensemble; Steve Lehman Sélébéyone

field report no.073016

LOCATION: Pioneer Works BK.NY
SUBJECT: Issue Project Room Showcase

The fabulously diverse assortment of this night's music reminds me why I've been a supporting member of Issue Project Room for years now. Despite how eclectic the sets were, they all shared a similar vein of extremism, but couldn't be more different in their execution.

Horse Lords kicked it off with a rockist gut-punch. Their instrumental math rock owes as much to Terry Riley and classical minimalism (on amphetamines) as it does to Don Caballero. As thrilling as their set was, in retrospect my only complaint is that they violated a certain curatorial purity the rest of the night maintained: largely electronic solo artists. Those artists came in startlingly wide varieties, but outside this first set, there was a sort of unity to it.

Ben Vida, an artist I've followed since his days in Chicago's Town and Country, turned in a mind-altering set of modular synthesis (a mode he's been working in for a number of years now). His work in this field, that many can veer towards faceless and sterile, always manages to come off as playful and irreverent (but never naive or juvenile).  

Greg Fox, formerly the drummer of the death metal band Liturgy, followed with a solo percussion set. He was beta testing a new software, Sensory Percussion. It (seemed) to act as a live sound processing unit, allowing him to add a different effect to each piece of his kit—or have those drums trigger samples. There also seemed to be a theremin-esque motion sensor element to it, as I swear I saw him triggering sounds without touch the drum set. Overall it was a bit clunky, but he's still a mightily impressive drummer to witness and I'm sure the software (and his skill with it) will improve.

The middle portion of the night was given over to two female acts (a not insignificant point considering what a boys-club electronic and noise music can be). I had only read about Eartheater but still had little idea of what to expect. Her set was confrontational, steering sometimes more towards performance art. I feel like I'll have to acquaint myself with her music more as was hard to fully process. MV Carbon is a long-time friend of Issue Project Room, so I've seen her perform a number of times, but this was the first one I really took note of. Seasick electronics and amplified scrap metal with the occasional vocal line dredging along the bottom of a sound swamp. 

Container looped the energy of the room back around to the beginning of the night. His industrialized techno minimalism got the crowd full of tragically hip kids actually shuffling. It turned into an actual dance party when Eartheater came out to the audience to promote some actual hip shaking. Container's degraded sound works best at volume. At some point, I stepped to the back of the room, and while still good, it wasn't nearly as impressive without concussive force.

I actually bailed before the last set by Daniel Menche. This wasn't a judgement—I've not actually heard his music before—but I'd been hanging out at Pioneer Works for 5+ hours and was a getting a tad peckish, so opted to shuffle off.

NOTES: Horse Lords; Ben Vida; Greg Fox; Eartheater; MV Carbon; Container; Daniel Menche