The next Tuesdays at Monk Space concert will feature a unique opportunity to hear almost all of Luciano Berio‘s famous Sequenzas – all in one place! Berio wrote these solo pieces throughout his life, starting in the 1950s up until his death in 2003. Numbering fourteen in total, they speak to the unique possibilities of almost every orchestral instrument. The concert will take place in the warehouse at Monk Space, with a simultaneous performance happening in the Annex across the hall. Audience members are invited to move between the halls at their own pace (and maybe stop for some wine in between).
An all-star cast of performers will be lending their talents to these works, and are graciously donating their performances to this fundraising concert. I asked some of the performers about their challenges, triumphs, and overall experiences with these pieces. Here’s what they had to say:
Elizabeth Huston – Sequenza II (Harp)
I find it fascinating how Sequenza II uses nearly every known extended technique for the harp, while simultaneously making the piece cohesive using thematic material. Often, when composers use too many effects and bizarre techniques, it comes off as just a showcase of weird sounds, not a thoughtful piece of art. This is not the case with Sequenza II, however, which really showcases Berio’s skill as a composer. I also find it incredible how many new rhythmic, melodic, and dynamic themes I find every time I practice the piece. It’s incredibly dense.
I first performed it on my own showcase of all the Sequenzas. Like any piece with this level of complexity, you can practice it indefinitely and it always has room for improvement, which is simultaneously frustrating and rewarding. It’s very significant to me because the challenge of putting together the showcase was, like the piece, incredibly frustrating and rewarding, and resulted in one of the most fun projects of my life. The research put into all of the pieces to create a cohesive show made me really understand the incredible thing that is the Sequenzas, and how the evolution of the Sequenzas in many ways maps the evolution of western music as a whole. I applaud Aron for taking this on!
Stacey Fraser – Sequenza III (Voice)
I think the most interesting and challenging thing is that you need to remain humble and continue to revisit the score despite the number of times you may have performed it! There really are so many notes, subtleties and nuances that it is essential for one to continue to study the score, vocal and silent practice are critical. This is not an improvised piece, Berio notated every note and every vocal gesture. I have been singing the piece since I was a student in the late 90’s and I think the fun thing for me is to see how the piece has matured in my voice over the last 22 years. I have the technical facility to do a lot more in the way of actually making tone yet the “young me” somehow still emerges every time I take the piece out to practice. Those were the days of rock and roll – Nirvana, Soundgarden, Stone Temple Pilots and BERIO!
I first performed the piece on the stage of Borden Auditorium at the Manhattan School of Music on February 25, 1995 as part of their annual Festival of New Music. I was the first act on the program and the concert closed with Tan Dun’s Circle with Four Trios and he was indeed in attendance, I of course had no idea who he was at the time. Not only was it my first time performing the Sequenza III but this also marked my New City debut. I was a young soprano from Nova Scotia, Canada having just completed my undergraduate degree at the University of Toronto. I found myself enrolled in the Master of Music program at MSM and among a sea of 90 amazing sopranos, graduate and undergraduate combined. I figured out within my first month that if I wanted a solo opportunity in my first semester at MSM, it would likely only happen if I sang music that the other 89 sopranos would not be so interested in learning. I hoped and prayed that that my U of T training would allow me to tackle such a challenging work. Claire Heldrich, percussionist and Director of the Contemporary Music Ensemble entrusted me with the piece, she hadn’t even heard me sing but somehow my passion for new music convinced her that I could do it.
A few days before the concert I came down with sinusitis/laryngitis but by some miracle I was able to sing – I didn’t realize until my teacher Cynthia Hoffmann called me the following Saturday morning to tell me that a photo of my performance and a favorable review by Allan Kozinn was gracing the front page of the Arts Section of the Saturday edition of the New York Times. Although not a new music aficionado of contemporary music herself, Ms. Hoffmann was proud and felt that the piece was the key to me opening up my operatic voice; I believe she was correct. It is always fun revisiting the work, and I can’t help but feel like that 20 something year old naive soprano from Canada is somehow reflected in even my latest rendition of the piece.
Mari Kawamura – Sequenza IV (Piano)
This piece casts of variety of small sections with different characters that are sequenced one after another, and this demands of the pianist a great deal of concentration and delicate control. As the section move on, you have to change the technique immediately: the touch, speed of attack, amount of body weight…these constant shifts are the most difficult thing about this piece.
I first performed this piece last March, so our relationship is rather new. The more I learn it, the more charming and playful I find it to be.
Matt Barbier – Sequenza V (Trombone)
For me the most interesting parts about the trombone sequenza relate primarily to it’s place in the canon. It’s really the first piece in the trombone repertoire that asks a player to redefine their relationship with one’s instrument. It also has an interesting, and somewhat dubious, history, but I suppose it’s best to leave somewhat off the record. The biggest challenge for me is picking the sequenza back up as these moments arise. I always find it an interesting dichotomy when I return to the piece because the it’s ingrained on my memory for the view of a much less skilled trombonist, so my return visits always find me questioning if I’ve made the musical choice I’m remembering to cover a lack of skill or to embrace a past vision. I always enjoy trying to access my 22 year oldish brain and try to sort what was going on in there.
I first performed it in the fall of 2007. For me it’s gone from a piece that I thought would, at one point, be a repertoire cornerstone, but, as my relationship to traditional new music has changed, has really become something I view as quite old (it’s 51 years old). As something of that age, I came to feel that it’s important to know, but ultimately something to be moved past. Now my relationship with it is primarily in teaching it as a jumping off point with students who are more interested in exploratory techniques. That said, the piece does have a very nostalgic place for me as when I started to learn it I ended up having about ten days to do so for a master class with Mike Svoboda. That moment laid the foundation for our relationship and Mike has been an incredibly helpful resource as I’ve found my own creative path.
Trumpet player Daniel Flores has his mentor’s copy of Sequenza X, with handwritten markings from Berio himself.
Daniel Flores – Sequenza X (Trumpet)
For me, Sequenza X represents a unique blend of both technical challenge, and an opportunity to express oneself in a freer manner than one might find on a standard piece of trumpet literature. As you can hear throughout the different sequenze, Berio offered both a consistent set of textures and effects he wanted created, ranging from trilled notes on one pitch, frantic scale runs, and extreme dynamic contrasts, to more instrument native ideas. In the case of Sequenza X, Berio had both the great jazz trumpeter’s Miles Davis and Clark Terry on his mind, and really, jazz was certainly on the mind of Berio throughout. Whenever you hear the interval of a minor third from D natural to F natural in the first gesture of the piece, you are actually hearing Ray Noble’s “The Very Thought of You,” sang by Nancy Wilson in 1964! So, what I find most interesting about Sequenza X is the blend and balance of the evolution of Berio’s original ideas, coupled with the taste and information of what makes sense in the trumpet tradition.
I first performed this piece in 2015 at the Chosen Vale International Trumpet seminar, which was quite a year! I had the opportunity to learn the piece from two very special artists, the great Thomas Stevens, former principal trumpet of the LA Philharmonic, who premiered the first iteration of the piece, as well as the famous Italian trumpet soloist, Gabriele Cassone. In fact, I had to perform the piece in masterclass for both of them, which made me quite nervous, but things seemed to work out! That night, Thomas Stevens gifted Berio’s manuscript of the third iteration of the piece, which we play today, to Gabriele…what a special night that was!
So, Sequenza X has a very close place to my heart in that my teacher in Italy, Gabriele Cassone, worked directly with Berio in the recording studio, to create what many of us consider to be the benchmark recording of the piece. In fact, the score in front of me on stage is a copy of Gabriele’s part with Berio’s personal hand markings, as well as penciled in meters that were the genesis of what would become Chemins VI, otherwise known as Kol-Od, which Berio wrote specifically for Cassone.
I would definitely consider myself a 2nd generation student of Berio in that the information Cassone received was directly passed to me, and my relationship with the piece certainly has evolved from one of understanding the basic architecture of the work to that of being able to interpret the piece on a much more personal level, really striving to play it from the heart…to not worry about being surgical with the technique, but to play each and every gesture with as much freedom as possible. It never will sound the same twice, and in my opinion, that is the beautiful result of Sequenza X!
Mak Grgic – Sequenza XI (Guitar)
I find that the most interesting characteristic of the Sequenza written for guitar is also its biggest challenge. This might be the case with the others as well, but amongst the plethora of notes used in all the crazy permutations, which sometimes seem a bit repetitive, there is a clear progression and pathway from one “tonal” center to another. These tonal centers are sluggish to shift, as each lasts for a few pages easily. Battling through all the virtuosic material with grace while underlining such a global progression of musical mass is what intrigues me most with this piece and is also a very tasking thing to do well.
I performed this piece for the first time at Jacaranda Series, and had less time to prepare it than I would have hoped for. At that time, which I believe was a year and a half ago, I had told myself that it will be impossible to land every single of the notes, so I went for “the gestures”. The performance was just as nerve wracking as it was successful. Now, a year or so later, I have had the opportunity to play it a few times around, and have grown fond of its intricacies, which I hope will speak with grace and vigor at the performance on Tuesday.
Ashley Walters – Sequenza XIVa (Cello)
As a kid, I grew up playing both cello and percussion and I think part of why I love this piece so much is because it allows me to play both! In many ways, Berio set the precedent for composer/performer collaboration making the unique characteristics and capabilities of each dedicatee a central theme in many of his Sequenzas. In the case of this final Sequenza, Berio incorporates these Kandayan drumming cycles, which were shown to him by the great Sri Lankan cellist, Rohan de Saram. I first learned this piece 10 years ago and it has been a staple of my repertoire since.
Tom Peters – Sequenza XIVb (Double Bass)
Sequenza XIVb is a re-imagining of the cello Sequenza, by double bassist Stefano Scodanibbio with the blessing of Luciano Berio. The most challenging part is learning Stefano Scodanibbio’s crazy pizzicato harmonic techniques, something he was famous for. This will be my first performance of Sequenza XIVb.
Check out Tuesdays at Monk Space for more information about this event.
Sitting in Bing Theater in the heart of Los Angeles, I found myself experiencing a unique insight into Hungarian culture at The Vision of Moholy-Nagy and Contemporary Music. The performance was timed to coincide with the Moholy-Nagy exhibition Future Present at LACMA. In all fairness, there was a dose of German culture mixed in too, since the ideals of the Bauhaus school (of which the Hungarian painter and photographer Moholy-Nagy was a prominent figure) were a resonating theme throughout the evening. The performers came from all over: Hungary, yes, but also Los Angeles and New York. True to the Bauhaus movement, different approaches to music, technology, and art were combined, necessitating the concert to be a multi-disciplinary event – even the walk to the theater involved passing some pretty spectacular sculptures and architecture.
The concert began with the fearless Gőz–Kurtág–Lukács Trio, who performed various selections of electro-acoustic works on cimbalom, trombone/bass trumpet/seashells, and synthesizer/computer, with mesmerizing visualizations by Szabolcs Kerestes. Partly through-composed and partly improvised, these works were a collective microcosm of the Hungarian classical electronic music scene, a creatively vital genre during the repressive decades of state socialism. Their performance transported me to a meditative, almost spiritual state, yet somehow simultaneously rooted me with technical, detailed focus. I was entranced by the immaculate, reverberant textures, ranging from pointillist and chaotic to celestial and broadly gestural. The accompanying visualizations featured rapidly moving lines, shapes, and colors, and were directly responsive to live sound. The exception to this rule was György Ligeti’s graphic score to Artikulation, which was comically incredible to watch on a big screen with surround sound.
Lukas Ligeti, who recently moved to Southern California for a new teaching position at UCI, was the featured composer after intermission. The art of the Bauhaus movement, and of Moholy-Nagy, seems to have a marked influence on Ligeti’s music, which showed impressive breadth, experimentation, and proportional symmetry. He presented three works with varying instrumentation and compositional approaches. The first, Language: PROUN: music (2016), had its west coast premiere by soprano Ariadne Grief and wild Up members Matthew Barbier (trombone), Matthew Cook (vibraphone), Derek Stein (cello), and Andrew Tholl (violin). The piece itself is a reaction to Moholy-Nagy’s exhibition Future Present, and follows the Bauhaus tradition in its unconventional exploration of balance and symmetry (however, this is done on Ligeti’s own terms). While in many cases text is made to fit the cadences of music, Ligeti turns the usual plot on its head by allowing the natural rhythm of freely-flowing speech to entirely dictate the music. Continuing on with the natural progression of this idea, the instrumentalists follow the cadences led by the soprano, which Ariadne Grief accomplished with radiant, playful sincerity.
Next was Thinking Songs (2015), a fiercely virtuosic five-movement work for solo marimba. Few marimbists could have pulled it off like Ji Hye Jung – she not only played it perfectly, but also somehow made it look easy (in fact, she danced through the hardest parts). The technical expertise required for movements such as Four-Part Invention and Dance was matched by a musical expressivity that was stunning to behold. The composition itself took us an incredible musical journey: exploiting timbral possibilities with different mallets in Dance, slow-moving lines in Lamento, technical impossibilities manifested into reality in Four-Part Invention, playful exploration of prepared marimba in Scherzo, and quasi-minimalist shifting accents in Two-Part Invention.
Closing the show were three works for Notebook, an ensemble founded by Ligeti to explore the intersection between composition and improvisation. These pieces featured not one but two electric guitars (Eyal Maoz and Tom McNalley), trombone (Rick Parker), violin (Amma Savery), saxophone (Daniel Blake), synthesizer (Ricardo Gallo), and the composer on drums. The performance was pure fun, with an exploratory energy that reconfirmed the experimental and playful side to Ligeti’s musical personality.
WasteLAnd continues to impress audiences with a program of new music, most of it from LA-based composers. Each performer has their respective claim to fame in LA and is closely associated with wasteLAnd, and each composer is a long-time favorite of wasteLAnd’s. New to the scene, however, is Allison Carter, a poet whose words found their way into Deyoe’s new piece. Her work made quite the stir among the audience members, and I have a feeling we will begin to hear her name more in the future.
Before I review the concert itself, I find something worth mentioning: the gender representation. It was an even split. In my day job, I currently have my students writing a paper on 19th century gender roles and women composers in the Romantic era, so this has been on my mind a lot. One hundred years ago, women could not vote in the United States, and it was nearly impossible to earn respect as a composer or performer. Nowadays, female representation in the music scene is gaining. It is not yet even, but progress is happening. WasteLAnd’s October concert featured six composers; three were women and two were men (Erik Ulman had two pieces, so the ratio of compositions is 3:3). There were seven performers (including Allison Carter reading aloud), and four were women. The best part was that I didn’t notice until afterwards. I have come to recognize that gender equality is already quite common in the LA new music scene. So much so that this is the first time I put it together. I looked back over some old programs I’ve reviewed, and every concert has women as composers, performers, directors or all three.
Ok. Feminist aside complete. Moving on, because there is so much good about this concert to discuss.
The night opened with Kaija Saariaho’s Folia, performed by Scott Worthington on double bass and electronics. Like many compositions from the end of the 20th century, this piece focuses on dynamics and timbre over pitch and harmony. Sometimes the bass whistles like an icy wind, other times it rumbles like an earthquake, putting palpable pressure on your ears. Scott saws out some kind of textural melody, phrases build and climax and fade – textural intensity carries the musical line. The electronic aspect augments and echoes the timbres. It overlays overtones, resulting in both a more ‘open’-sounding composition and greater complexity overall.
Next on the docket was the duet Tout Orgeuil… by Erik Ulman. Stephanie Aston and Elise Roy are always an amazing team, and their performance on this piece was no exception. It begins with a piccolo solo, and Roy gradually descended down the flute family to alto flute. Aston sang sleepily about pride smoking in the night. Given that the text is from a Stephan Mallarmé poem, my mind turned to Debussy. Ulman is no Impressionist, but I feel Debussy would have approved of the modern counterpoint and expressive extended techniques. The pitches bent down, down, down into sleep, and the flutes became larger and the words grew heavier. Erik captured the good sinking feeling, the kind you feel in a cozy armchair while drifting to sleep.
Third up was Matt Barbier on trombone and electronics performing puddles and crumbs by Katherine Young. For me, this piece created a very specific soundscape: I, the listener, am a koi in the pond on a rainy day and the daily miracle of food raining from heaven is happening. Three of the major elements that contribute to this soundscape are 1. Sharply sucking air through the trombone, 2. Sharp plosives into the mouthpiece that are amplified by the electronics, 3. Dynamic tempi. Matt’s deep breathing combined with the electronic influence reminded me of snorkeling, the plosive pops like rain on water’s surface when I swim underwater. These are instinctive memories, of course, and it may be a coincidence that they play so well together. Now you understand my watery theme. The push and pull of the tempo took me a while to incorporate into my soundscape idea. At first I thought it felt like seasickness, but I eventually concluded it was more like watching fish dart in a pond. They sprint only a few inches or feet, depending on the size of the fish, and then hesitate. The tempo seemed to do exactly that. And then it all became clear, that the soundscape was from the point of view of a koi in a pond in the rain during feeding time. I’m sure many will disagree, whether they had another idea or didn’t find it so blatantly programmatic at all; one of the wonders of music is how everyone experiences things differently. For what it’s worth, I did come up with a secondary interpretation that involves heavy breathing, plosive pops, and sprinting-and-stopping: Darth Vader playing basketball. So really it’s all relative. Regardless of the loftiness or pop art-iness of my personal experience, Barbier proved yet again that the trombone is more than just a brass instrument in a marching band. He played every color in the palette, and demonstrated rigorous control over his body and his instrument to perform such a demanding piece.
Fittingly the 100th piece wasteLAnd has programmed, Erik Ulman’s this until is a flute solo, and Elise Roy absolutely nailed it. I’ve said before that she has superhuman control of her instrument, and she proved it again with this piece. She made her flute sing, speak, howl, wail and whisper. Though a solo composition, I could sometimes here a ghost of counterpoint when she effected heavy harmonics. I honestly couldn’t say if that was Ulman’s intention or Roy’s execution, but every so often a particularly turgid note would quietly sound the octave or fourth below, creating a beautiful, haunting harmony. this until was the only solo acoustic musical composition of the night and it was right in the middle of the program; Elise managed to keep up the energy on her own, and carried us into the final pieces of the evening.
The program ends with a sort of binary piece. First, Allison Carter read her Poems from A Fixed, Formal Arrangement; Nicholas Deyoe used the text for his piece Finally, the cylindrical voids tapping along, a line from the poem. I can’t say I have ever attended another concert that had the poet read their work first before the musical product, and I wish this would become the norm everywhere. As a general rule, increased understanding leads to increased appreciation, so knowing the text ahead of time (and from the author herself, no less) helped Deyoe’s work succeed. The instrumentation sounded like speech slowed down by a factor of ten. The melodies felt like they wanted to resolve up to a tonic, but they kept bending downwards, defying expectations. One thing I love about Deyoe’s style is that it’s always interesting and it never fulfills your expectations. Once you think you have it figured out, he changes it again. This piece feels like your mind wandering and getting lost – when it’s 4am and you have to wake up in two hours but you’re caught up in the twilight zone that is four in the morning. Knowing composers, that is probably the mindset he was in while writing. Also, knowing composers, that is a hard composition to pull off. I commend Nicholas Deyoe for a well-constructed and evocative ensemble composition.
WasteLAnd concerts are on the first Friday of every month at ArtShare. Check out Weights and Measures on November 4.
Editor’s note: WasteLAnd is currently running their annual fundraiser. Take a minute to support them at https://squareup.com/store/wasteland/
With a name like “FACE|RESECTION,” you know it’s going to mess with your head. The album title is a merging of the two track names, Facesplitter and Bowel Resection, performed by Matt Barbier and released on populist records. Both use extended techniques transform the trombone into much more than a mere instrument.
The first track, written by composer and guitarist Nicholas Deyoe for solo trombone, imitates machine noises. A lawnmower here, a band saw there, and an electric drill and sink disposal in between evoke a soundscape of quotidian noise as music. Rarely is there a sound produced by Nicholas which does not have some parallel which can be heard from your own kitchen. This catalogue of techniques moves the listener to appreciate these noises more as music than something to be ignored. In short, I would call this music by a human about inhuman subjects for humans.
Clint McCallum’s piece is another technically startling trombone solo called “bowel resection.” It emphasizes circular breathing and uses the sniffs to remind the listener of the human behind the mechanism, of the organic being in machine. Another set of extraordinary trombone techniques, this piece brings a new emotion with each listen, one of which is, as you may guess from the name, disgust. But, like spectacular gore in a horror film, you won’t want to turn away. To compare this track to gore seems both blasphemous and fitting. You’ll have to listen for yourself.
WasteLAnd‘s second season at ArtShare starts this Friday, September 19 (tomorrow) at 8 PM, with percussionist Justin DeHart performing John Luther Adams’ The Mathematics of Resonant Bodies in its entirety. Their first season at the venue was a blast, and drew great crowds for dense and challenging music. We managed to track down the series’ co-directors for an interview about the series and what’s coming up.
What was the impetus to start this series?
Scott: I think we had all individually dreamed of having a series that played music we wished would get played more ’round these parts. Then we realized that multiple heads can be better than one. Our programming is sort of a mash up of all of our desires. For example. I mostly just recommend pieces that are long enough to be the whole concert.
Matt: A lot of the music I really love has a tendency to fall in the cracks between different series in town, so for me, an exciting part of wasteLAnd is getting to focus upon music that I really love that is just outside of the mission of a lot of the series and groups I play with. It’s exciting to get to listen to other performers interested in this type of music and hear what they want to play, but don’t get to, and help provide a space for them.
Nick: I’ve been talking about wanting to do this for years. I’ve never really wanted to run an ensemble, but have wanted to run either a series or a venue for quite a while. In fact, I would love it if, at some point down the road, it became possible for wasteLAnd to have its own space. I had discussed this off and on for some time with Scott, Brian, and Matt, but nothing ever got started until Scott finally found an opportunity through ArtShare that looked promising as a way to launch wasteLAnd.
Is there a central mission, theme, or idea you program your concerts around, or is each one a beast of its own?
Scott: We try to focus on local performers the most (their repertoire interests and, of course, performances), local composers second, and then music that doesn’t seem to show it’s face much around Los Angeles. From there we try to put together concerts that we want to go to.
Matt: Frequently a programming decision is made around the idea of “I really want to hear/perform this one piece, but it’s too much for me to throw together a concert.” With wasteLAnd that’s frequently become a central kernel for a concert. We have an idea for one or two pieces one of us really loves and that gives us a bend and ensemble to build around. Or at least that’s how I think…
Nick: Basically what Scott said… We love LA and want to show how special the things that happen here are while also presenting music by composers around the country/world who excite us. The five of us (Elise, Brian, Matt, Scott, myself) have pretty different aesthetic positions. For anything to be programmed, all five of us have to be on board with it, rather than a simple majority vote. This is something I feel strongly about because it helps to keep our overall output broad and requires that we all give serious consideration to all of the ideas that are brought to the table (or G-chat conference).
I’ve heard Barbier joke that the directors are Deyoe’s minions. How do you guys divide responsibilities?
Brian: This is a classic example of Barbier’s inability to grasp infinite recursion. As one of the directors himself, Deyoe clearly makes this so-called “joke” an ontological cow pie.
Matt: Well maybe I’m just Deyoe’s minion, or at least try to be.
Nick: the division of responsibilities is an ongoing project for us. For season one, everyone kind of did everything. For each set of tasks that came up, we’d email around with a list of “what needs to be done” and divvy up the responsibilities. This will always be some version of how we do it (especially during concert weeks), but we are also working on better defining our individual roles within the organization to make certain aspects more efficient.
What do we have to look forward to in the coming season?
Nick: LOTS to look forward to! We’re excited to finally be at the point of announcing things (coming out this afternoon along with our kickstarter). We’ve been thinking about the concerts (programs/personnel/logistics) since April. We have 25-30 local performers playing and are presenting something around 30 composers. Some highlights are The Formalist Quartet with Erika Duke-Kirkpatrick in October, Mark Menzies and Stephanie Aston with the wasteLAnd musicians performing Ferneyhough’s Terrain and Etud
Matt: What Nick wrote. This year is exciting because it’s a wonderful mix of pieces I’ve wanted to play for a long time (Terrain, Saxony, Hölszky’s WeltenEnden, EARTH) and that I’ve always dreamed of hearing like- particularly Ferneyhough’s Etudes Transcendantales. So for me it’s very exciting and I think this year’s programs will have that for a lot of people.
Is Elise Roy having any issues with being the only beardless member?
Brian: All conditions are impermanent. My beard, for instance, has grown substantially in the last few days. Elise was brought on for her deep existential wisdom; I doubt she’d fall prey to fears of beardlessness as a permanent state of being…
Nick: I think there’s still plenty of beard to go around. Having Elise as a part of the team has been great so far. She came in once most of the season was already planned, but will be instrumental in our planning for season 3 and has also offered a lot of very useful insight as we prepare to raise the funds for the current season.
Anything else you’d like to share?
Scott: Please be on the look out for our Kickstarter which will help prolong wasteLAnd’s life and wellbeing.
Matt: Well one can braid top-of-head hair into a beard with quite successful results.
Elise: If you find yourself at any of our concerts, please introduce yourself or say hi to us. For the five of us, one of the joys of hosting this series is seeing the new music community of Southern California come together!