Thanks to Neclectic for the photos!
Thanks to Neclectic for the photos!
We are celebrating the release of Serious German Polka with a launch party on November 16th at the Glasshouse Gallery, Brooklyn, hosted by Partyst. All guests at the launch party will receive a free copy of the album. If you can’t make it to the launch (and we know for some of you that may be a stretch!) you can still pre-order the album at the 100m Recordstore.
For those who can make the launch, here’s the event info – https://www.facebook.com/events/503533382999894
PERFORMING THE BUILDING’S AWARENESS OF ITSELF
Friday, October 12th, 6pm to Saturday, October 13th, 6pm
Glasshouse Gallery, 246 Union Ave., Brooklyn, NY 11211
8 microphones, 5 speakers, 2 Laptops, 2 Mixers, Cables, Wire, Pickups, Live electro-acoustic treatment, Custom Audio Devices, Found Objects, Midi triggers, FX pedals, 3 Cameras, 2 Projectors, 1 Screen.
All audio is recorded between 6pm, October 12 and 6pm, October 13. Audio is created on the Sound Stage using custom musical instruments built during the 24hr period from found objects. Audio created on the Sound Stage is transferred to the Processing Stage. Audio created on the Processing Stage is transferred to the Sound Stage. The looped system is tuned close to feedback, exploring the primary frequencies of each space.
Fates are American composer Django Voris and British-born artist PJ Norman. They met in New York City in early 2009. Their shared passion for electronic experimentation led to a set of improvisation sessions with Swiss electronic artist Moritz Wettstein. The sessions were recorded at Harvestworks, the foundation co- founded by Bob Moog to support experimental music. The recordings led to “Murky Circuits”, an LP release on 100m Records in 2010 which met enthusiastic reviews from the electronic music press, describing it a “post-glitch triumph” (Cyclic Defrost) and “one of the most original electronic records of the year” (The Milk Factory).
The departure of Wettstein in late 2010 back to his hometown of Zurich, Switzerland, meant that Voris and Norman were free to explore more tonal pastures. Norman elaborates:
“On “Murky Circuits” Moritz was handling a lot of the beat work, he’s a glitch-maestro. When he left, Django and I were challenged to fill the space. We didn’t want to impersonate Moritz (I’m not even sure that would have been possible), so we decided to explore more tonal and harmonic ideas, working in multiple keys simultaneously over simple loops. Then, when we wanted more rhythmic ideas we brought in a live drumkit. That’s where Claudio came in.”
Recorded over a series of sessions at the group’s studio in DUMBO, Brooklyn, between 2010 and 2012, ”Serious German Polka” continues the strict electronic improvisation ethic that Voris and Norman established with Wettstein on “Murky Circuits”, culminating in the epic, 15-minute title track, featuring Swiss drummer Claudio Strüby on drums. Voris describes the process of working with Strüby:
“Before we brought Claudio in PJ had been laying down the drums, on Morning USA for example. But then we had this long fifteen-minute improvisation that just required something more complex, more bombastic. PJ had met Claudio back in Zurich and invited him to sit in. It was incredible to watch, Claudio listened once through what we had laid down and then improvised two takes over it start to finish. He’s a serious professional… I mean, we were working in multiple, overlayed time signatures.”
Norman explains how they came up with the title:
“After Claudio had finished tracking, Django and I were both dumbfounded. He looks at us and says,”That was some serious german polka”. We knew right away that was the title.”
During Fall, 2012, Fates were invited to bring their improvised electronics to a residency at the Glasshouse gallery, Brooklyn, in a series of 24-hour audio/visual performances utilizing the gallery, project space and apartment space as an open system to source, disseminate and interpret the electronic performance. The series, titled “Play Me”, sees the pair orchestrating installed sound sculptures using motion sensors and ball bearings, live ambient location recordings and re-projected visual sources throughout the building turning the space into an audio/visual instrument and dynamic canvas simultaneously.
Action 1 – EVERYTHING AND THE KITCHEN SINK
September 21st to September 22nd
Action 2 – PERFORMING THE BUILDING’S AWARENESS OF ITSELF
October 12th to October 13th
To coincide with their Glasshouse residency 100m Records release this, their second full-length, “Serious German Polka” on November 20th. Pre-order the album at the 100m Recordstore.
“Nebulous post-industrial soundscapes constantly tweaked and realigned to create one of the most original electronic records of the year to date. 4.5/5″ – The Milk Factory
“A post-glitch triumph that goes by quickly but not without making one’s head spin.” – Cyclic Defrost
“Literally one in a million; tweaking and meshing uncommon sounds to create one of the most original electronic pieces I have heard all year. Abstract art for the ears most certainly.” – AW Music
“Murky Circuits sounds like a highly caffeinated robot took over a decrepit Radio Shack and had its way with anything it could grab.” – Chubby Jones
“Dizzying and compelling.” – Brainwashed
“When you listen to this material with headphones it really takes on a life of its own as all of the various textures come together to create lush soundscapes.” – Cosmos Gaming
“Experimental, rampant and very energetic.” – Radio Onde Furlane
EVERYTHING AND THE KITCHEN SINK
Friday, September 21st, 6pm to Saturday, September 22nd, 6pm
Glasshouse Gallery, 246 Union Ave., Brooklyn, NY 11211
24-HOUR PROGRAM FOR THIS PERFORMANCE
Friday, September 21st, 6pm
Assembly of the audience whilst Fates activate the location sources and the installed ball-bearing device at the kitchen sink, and commence the improvised audio performance with assembly of musical equipment in the project space.
Friday, September 21st, 8pm
CHAPTER 1: Execution
Fates perform a full improvisation on the completed assembly of musical equipment in the project space, utilising keyboards, laptops, midi triggers, guitar and drums whilst manipulating the gathered sound sources from around the kitchen sink.
Saturday, September 22nd, 2am
CHAPTER 2: Nightshift
PJ Norman performs an amplified washing of the ball-bearings in the window of the gallery whilst Django Voris collects ambient recordings from inside and outside the Glasshouse.
Saturday, September 22nd, 9am
CHAPTER 3: Morning Reading
Fates present a live, electro-acoustically treated reading of ‘I Am A Strange Loop’ by Douglas Hofstadter.
Saturday, September 22nd, 12pm
CHAPTER 4: Finale
Fates gather all the material created over the previous 18 hours into the improvised finale performance.
Saturday, September 22nd, 6pm
Fates announce Play Me, a series of 24-hour performances at the The Glasshouse Gallery, Brooklyn. Plus they invite you to the grand opening of the gallery on September 1st where they will be performing a live installation piece titled “Open System Audio Surveillance”.
Fates are American composer Django Voris and British-born artist PJ Norman. They met in New York City in early 2009. Their shared passion for electronic experimentation led to a set of improvisation sessions with Swiss electronic artist Moritz Wettstein. The sessions were recorded at Harvestworks, the foundation co- founded by Bob Moog to support experimental music. The recordings led to “Murky Circuits”, an LP release on PJ Norman’s 100m Records label imprint in 2010 which met enthusiastic reviews from the electronic music press, describing it a “post-glitch triumph” (Cyclic Defrost) and “one of the most original electronic records of the year” (The Milk Factory).
Fates now bring their improvised electronics to a Glasshouse residency in a series of 24-hour audio/visual performances utilizing the gallery, project space and apartment space as an open system to source, disseminate and interpret the electronic performance which orchestrates live ambient location recordings and re-projected visual sources from throughout the building into an audio/visual instrument and dynamic canvas simultaneously.
Glasshouse is a versatile art-space dedicated to the community at large which functions in tandem with the actual home of artist-duo Lital Dotan & Eyal Perry. First realized in Tel-Aviv in 2007, Glasshouse was founded on the basic concept that “Art should be experienced in a place that allows staying”. The aim is to promote artistic experiments that encourage participation and collaboration in performance and installation art within the domestic sphere.
Recently re-located to a 2,500 square foot multi-level space in Brooklyn, the newly acquired space in Williamsburg is comprised of a street-level storefront and basement, which also includes direct access to the residential unit next door and vice versa. This arrangement allows for the further expansion of programs and activities of Glasshouse by providing a physical link between these public and otherwise typically private spaces.
The Glasshouse can now encompass cross-disciplinary performance events, residency programs open to artists and the public, and a flexible rotating schedule of lectures, workshops, shows and much more. Visitors are welcome during all posted gallery hours and also by appointment.
Lital Dotan & Eyal Perry (a.k.a: Glasshouse) have been a collaborative team since 2001. Their work is best described as interdisciplinary performative art, integrating elements of video, photography and installation into performance; challenging ideas pertaining to the role of art in society, the role of the audience in art and the very nature of art itself.
In their performative pieces they often involve the public, seriously examining public morality and the deeper, more hidden motivations behind social interactions. In 2010 the Glasshouse project was hosted by seminal performance artist Marina Abramovic at her institute in San Francisco.
In addition to their work as Glasshouse, Lital & Eyal’s works have been exhibited internationally in museums and galleries (the Israel Museum, the San Francisco Jewish Modern and the National Museum in Cracow among others) and can be found in public and private collections worldwide.
For more information: www.perry-dotan.com
“A post-glitch triumph that goes by quickly but not without making one’s head spin.”
Read the review here: www.cyclicdefrost.com
“When you listen to this material with headphones it really takes on a life of its own as all of the various textures come together to create lush soundscapes.”
Read the whole review here: www.cosmosgaming.com
“Not an album in the traditional sense, but Murky Circuits is unified by that consistent feel of sound being created and immediately dissected digitally, crafting a style that really requires full attention to be truly appreciated.”
Read the whole review here: www.brainwashed.com