[Moshe]

http://netnewmusic.net/reblog/archiv...s_nova_in.html

Saturday, January 31 | 8pm

Mats Gustafsson + Thurston Moore

with
Mats Gustafsson, saxophone

Thurston Moore, el. guitar

[blunderbuss]

Saturday, January 31 | 8pm
Mats Gustafsson + Thurston Moore
with
Mats Gustafsson, saxophone
Thurston Moore, el. guitar

International House Philadelphia
3701 Chestnut Street

$25 / $17.50 / $20
Purchase Tickets HERE

 

 

Event Description:
"Mats is the most modern of players where the genre tags of jazz, noise, experimental, avant-whatever are finally transcended to a new millennium – where compositional concepts are at once in check with open improvisation and a supermodernism that we always wanted: rock & roll." -Thurston Moore

Sweden’s Mats Gustafsson is one of the world's biggest names on the free music scene. His extended saxophone techniques draw equally from the fiery free jazz blowing tradition as well as the European microtonal schools, reinventing the playing of the instrument along the way. Through groups such as The Thing, Peter Brötzmann’s Chicago Tentet, Barry Guy New Orchestra, Otomo Yoshihide’s New Jazz Orchestra, Original Silence (with Terrie Ex and Jim O’Rourke) and collaborations with Sonic Youth, Joe McPhee and The Boredoms, Gustafsson is one of the most powerful saxophonists working today.

Guitarist Thurston Moore, a member of the critically-acclaimed art/punk rock band Sonic Youth, has been involved in numerous experimental side projects – from composing for the Bang on a Can All-Stars to collaborating with Cecil Taylor. Along with carrying Sonic Youth into the 2000s, Moore has performed with scores of exceptional underground musicians including Lydia Lunch, William Hooker, Christian Marclay, Mike Watt, Chris Corsano, Nels Cline and Glenn Branca.

This concert has been funded by The Pew Center for Arts and Heritage, through the Philadelphia Music Project.

Presented with International House Philadelphia. Special thanks to R5 Productions

http://www.arsnovaworkshop.com/

[blunderbuss]

^
The fact that that "buy tickets" link shows info for Mats / Thurston but then says that you're buying tickets for Steve Reid + Kieran Hebden has nothing to do with me.

[tesla69]

"with members + subscribers pre-concert reception"

[Moshe]

Saturday, January 10, 2009

RED DESERT NIGHTS January 30th / Mats Guftasson and Thurston Moore


RED DESERT NIGHTS presents a very special evening with powerhouse saxophonist Mats Gustafsson on January 30th:

Mats Gustaffson and Thurston Moore 9:00
White Out with Samara Lubelski 8:00
$10

Set times will be promptly at 8:00pm and 9:00pm

at club rehab
25 Avenue B, New York, NY 10009
212-253-2595

[deflinus]

i would of gone to the nyc show if i fucking knew about it BEFORE the 10th

[Moshe]

Mon 2/2
Intransitive presents Thurston Moore & Mats Gustaffson, Sickness, Ashley Paul, Perispirit – 18+ $8adv/$9dos – NOTE: 8:30 Doors

 

[tesla69]

Originally Posted by Moshe

Set times will be promptly at 8:00pm and 9:00pm

do we get a fucking cookie when this turns out to be bullshit?

this duo also plays at Glasslands in Williamsburg Feb 1 with the Dead Machines folks

[Moshe]

 

[Moshe]

pictures

[RanaldoNecro]

he uses effects with a sax?

How did that sound?

[Moshe]

We Know It’s Only Avant Garde Noise But We Like It

 

HOWL: Thurston Moore, International House, Last Night [Photos: JONATHAN VALANIA]

 

BY DAVE ALLEN I counted about a dozen walkouts from Thurston Moore and Mats Gustafsson’s performance at International House last night. The duo’s aggressive and experimental playing on guitar and saxophone, respectively, tested the limits of what two instruments, with but six strings and one strip of wood between them, could do, but it also tested the audience’s patience and tolerance of noise. During quieter moments, the duo’s playing resembled a static-smeared AM radio receiver rapidly cycling between stations, and during the louder moments they sounded like dueling atom smashers. Those who left the near-capacity crowd certainly missed some punishing aural moments, as well as some astonishing ones, but the pleasures of the experience were as fleeting and ephemeral as the concert itself: A dense force field of noise, destined to evaporate from memory once the ringing left our ears.
From the start, the duo held nothing back. Moore took to his guitar with a screwdriver, wrenching out metallic shrieks and piercing scratches.Gustafsson conjured multi-phonics from his baritone sax in a relentless attack that produced multiple notes and all the fractured squawks in between. Some of the lowest notes on the instrument were forced in to high, ringing overtones by Gustafsson’s fire-breathing exhalations.
There was little, if any, rhythmic coordination or communication between the players; sax roars and guitar jolts bleated and darted wherever and whenever they wanted. At one point, Moore kept a kind of beat by rapping the strings with a drumstick. That approach produced a bright, leaping pulse like a video game ray gun, one of a few bits that stood out of the din. He later stuck the drumstick between the neck and the strings and moved it back and forth like a capo or slide, a favorite gesture from the salad days of Sonic Youth, the longest-running of Moore’s many avant-garde projects.
During what could have been the evening’s second movement, both players busied themselves with pedals and other pitch-shifting devices.Gustafsson set down his saxophone entirely and manipulated pitches with a liberal dose of feedback. Intermittently, Moore engaged in what looked like traditional guitar heroics — fleet-fingered runs at the top of the neck, switch-flicking, whammy bar toggling, and faintly VanHalen-esque finger-tapping — but they produced nothing like typical sounds.
Near the end of the session, Gustafsson employed what looked like a flute with a saxophone mouthpiece jammed onto the end. He took a lighter approach on this instrument, clacking keys and exploring breathy attacks. He returned to the baritone near the end, moving from helicopter-like tonguing to broad, forceful honking as at the beginning. The jam ended quietly, and only during the applause did Moore uncoil from his seat to show his long, lanky self: easily six feet, six inches tall, maybe more.Gustafsson had dwarfed him throughout the evening, standing with feet apart and chest stuck out like a saxophone colossus.
A second, shorter jam — Moore called it “the three-minute piece,” though it went on longer than that — began with low, fat thuds from Gustafsson before turning into a bout of guitar vs. amplifier. The storms of distortion during the encore were even louder than before. After more than an hour of prickly, unceasing abstraction, nothing could have been more jarring than when Moore shut off the power to the whole array of pedals and processors. We were plunged into silence to wonder what we’d just heard and then struggle to remember it. Trying to make sense of it, though, would prove ill-advised if not beside the point.

 

[o'connor]

i love four tet (kieran hebden). but i think t might be better

[tesla69]

Originally Posted by Moshe

RED DESERT NIGHTS January 30th / Mats Guftasson and Thurston Moore
Set times will be promptly at 8:00pm and 9:00pm

just for the record White Out didn't start until 8:45 and Moore bros @ 9:45 and because it was so delayed White Out only played 30 mins.

[Moshe]

Thurston Moore, Mats Gustafsson

http://www.philly.com:80/inquirer/ma...ustafsson.html
By A.D. Amorosi
For The Inquirer
To aficionados of the avant-garde, the teaming of Thurston Moore and Mats Gustafsson at International House on Saturday was a dream date, a match made in improvisational-music heaven. After all, Moore is practically the Good Housekeeping seal for alternative music. Along with his band Sonic Youth, a granddad of noise punk, Moore is responsible for bringing Nirvana and Be Your Own Pet to the majors. But his love of adventurous sound goes deeper, away from punk's center. He's written books about the discordant No Wave movement, started his playing career in Glenn Branca's "guitar-chestra," and collaborated with scores of nu-jazz giants.
Gustafsson doesn't need Moore's seal of approval to garner awe. To lovers of abrasive jazz, the Swedish reeds player is a god. He's played with free jazz legends like Derek Bailey and is a master of aggressive, microtonal magic. Gustafsson's renown comes from playing live, violently lipping mouthpieces to a tenor sax and a self-made flutophone until he's red as a beet. It's as though he's wrestling his instruments as he hunches and flails.
On Saturday, Gustafsson did all that - tapping his sax's pads while blowing softly to create a percussive click, then a noirish subtone reverie, turning on a dime to craft a molten roar, then morphing that into a foghorn honk and the scream of geese. When he wasn't busy with horns, he played a "crackle box," a custom-made distortion box with bone-rattling feedback.
Moore sat while caressing and assaulting his guitar and its touch-sensitive amplification. You heard him tapping the fretwork as if a fly's wings were flitting across them. The scrape of a fork across the strings, the thrum of a drumstick, fingers plucking and strumming - it was symphonic.
There were no songs, just intentions and intuition. Each knew where to brace and when to blast forth. The audience could feel and hear, in real time, the emotional and physical interplay - the moans of crying children, the howls of lovers. The process was stirring, as if the duo had harnessed the electricity inside and outside of the listener.
Philly's Ars Nova Workshop's should be proud to have presented the dynamic duo at the sold-out show, even if a number of audience members walked out during the 60-minute set.

[Georgekrz]

Sunday night was amazing, 20 minute set which synched up perfectly to I Am Cuba which was being projected up on the wall behind the stage. Not to mention rest of the night which was also pretty damn good.

glasslands after the show: http://3.bp.blogspot.com/_LuLvgfE5p2...h/IMG_4763.JPG

[narlus]

Originally Posted by Moshe

Mon 2/2
Intransitive presents Thurston Moore & Mats Gustaffson, Sickness, Ashley Paul, Perispirit – 18+ $8adv/$9dos – NOTE: 8:30 Doors

 

did anyone go to this last night?

i was initially planning on it, but had to get some work done last night and make an early meeting @ work today, so i bailed.

[Moshe]

http://www.prefixmag.com/photos/thur...re-glasslands/

[Georgekrz]

That was Tony Conrad on autoharp with Tovah Olson. Yes.

[Moshe]

Live: Thurston Moore and more


When: 2/1
Where: Glasslands

OK, when I listed this show in my last "upcoming shows" post, I didn't really explain what kind of show it was. It wasn't until I was on my way over on Sunday night that I realized I should have given more warning. I used to be neighbors with Thurston Moore and his wife and bandmate Kim Gordon in the wee town in New England where the two now live. Thurston was always playing shows around the area with various people no one ever heard of. So I forgot to mention that when Thurston plays a small arthouse venue like Glasslands, and when he has a bunch of names you have never heard before on the bill, it's going to be a noise/art rock/experimental/freeform set. He's not going to be playing songs from Psychic Hearts. He's not going to be playing "songs" at all.

So sorry if anyone went to the show unprepared! My bad!

Sunburned Hand of the Gene Moore - I arrived during the set of this band (actually called, separately "Sunburned Hand of the Man" and "Gene Moore" - Thurston's brother, rumor has it). They were rather uninteresting noise rock, with nice solid walls of sound but nothing that hasn't been done before. They made random loud sounds with guitars and electronics, occasionally accompanied with an arrhythmic drum beat for a few seconds at a time.

The trouble with noise as a musical genre is the same as what I said recently about singer-songwriter music - every possible creative avenue has been explored, and originality is next to impossible. Sunburned Hand of Gene Moore was decent, with nice walls of sound, but it was nothing I hadn't heard before.

John Olson with Okkyung Lee & C.Spencer Yeh - John Olson is from Wolf Eyes, one of the very worst bands I've ever had to sit through. This set was nearly as painful - it seemed completely random, for the most part. The strings were off-putting, and Olson just messed around with a bunch of equipment with no apparent larger vision than doing shit that sounds kind of "cool." In contrast to the previous act, however, this group seemed to do their best at their quietest moments. Then there were flickers of subtle beauty that were definitely not accidental.

Tovah D-Day - I assume that's who this next act was, anyway, since they are the only other folks on the flyer. There were two of them, an older man playing autoharp and a younger woman with a bunch of electronic equipment, a tin can and a metal wastebasket with springs strung across it. Of all the acts (Thurston excepted), this was definitely my favorite. The autoharpist gave hints of actual harmonies and real notes, while his partner's the bizarre equipment made well-conceived sounds. It seemed to me that she had taken the time to identify the noise makers that would make exactly the kind of noise she envisioned. It was still an improvisational set, but it seemed more purposeful and the result was more satisfying and interesting than the goofing-around style of the preceding groups.

Thurston Moore and Mats Gustafsson - This set started with Moore attacking his guitar with pieces of metal while Gustafsson made some brutal shrieking noises on a baritone sax. Eventually Gustafsson migrated to some electronic equipment and then back again to his sax, while Thurston finally ditched his guitar and went straight to the source, attacking the amplifier by picking it up and slamming it down until the chair it had been resting on was in shambles.

 

Thurston Moore
Noise-wise, it wasn't that different from what the other bands had done - but it had something they all lacked: it was punk. This is the punk-rock spirit, this is subversive, this is what's at the core of rock'n'roll - not that you necessarily have to break shit to be punk, but it's not a bad means of self-expression. Especially when it's accompanied by closely-controlled, frantic sonic experimentation that leaves your audience's ears ringing.