Gnarwhallaby open their season tonight at Boston Court, with premieres from Colin Wambsgans and Nick Deyoe, and music by Martin Smolka, Edison Denisov, and Henryk Gorecki.
These guys rock. Here’s an example of why:
Tickets are at http://www.bostoncourt.com/events/221/gnarwhallaby, and you get $5 off with the code “MUSIC2014”.
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!
Ashley Walters and Derek Stein, cellos, and Ryan Nestor, percussion, performed Nicholas Deyoe’s piece Erstickend at WasteLAnd’s concert back in April at Art Share. It was such a cool piece and killer performance that I thought it deserved to be heard/seen on here.
WasteLAnd’s second season at Art Share starts next Friday, September 19, with Justin DeHart performing John Luther Adams’ The Mathematics of Resonant Bodies. Details are at wastelandmusic.org.
Last Monday populist records held the release party for Nicholas Deyoe’s album with throbbing eyes at Machine Project in Echo Park. It’s a significant event not only because we’ve got a sweet new album to listen to, but because it marks the new label’s first release. We managed to catch up with founders/owners/operators Andrew McIntosh and Andrew Tholl to discuss plans for the label and all of the stuff coming up that we get to be excited about.
First off, how was the release party? I’m sorry I had to miss it.
The release show was very successful. You can’t really go wrong with beer, cupcakes, live performance, and a bunch of people who are excited to hear some new music.
Ha, agreed. It seems like there’s been a serious groundswell of new classical and experimental music coming out of LA, and specifically Echo Park, in just the last couple of years. Is that the case, or is something that’s always been there just gaining more exposure lately?
Los Angeles and the West Coast in general have traditionally been places of great creativity and experimentalism. In the earlier part of the last century we had Stravinsky, Schoenberg, and John Cage. Other composers like Harry Partch, Lou Harrison, Harold Budd, and James Tenney chose to make this area their home as well. The West has an iconic history of being an enclave for free spirits and rogue thinkers, while on the East Coast there seems to be much more infrastructure and a more clearly defined concept for how music is made.
[See: this cell phone video of Nicholas Deyoe and Clint McCallum playing at the release party]
That being said, it is hard for us to speak for LA’s more recent history since we both have only been here for the last six years, but it seems that right now there is a whole community of exciting musicians who are choosing to make a place for themselves in this city. Many of us come from elsewhere, but a connective thread in the community that we’re referring to is that many of us came to LA for CalArts at some point. What we like about the community here is that it is not clearly defined and has many faces, but it seems to be made up of people who really believe in what they are doing, do it well, and are committed to presenting a wide range of music in a compelling and often slightly unusual manner.
One might think that by starting a label at this moment, you’d be perfectly poised to capture what’s been going on (and I’m sure you’ve heard more than enough references to what New Amsterdam is doing in Brooklyn). At the same time, with all of the developments over downloading, minuscule payments from streaming royalties, and so forth, this is a pretty rough time for labels, perhaps even more so than artists. Could you discuss your thoughts on going into this business side of the scene?
Well, I don’t think either of us ever really thought we should start a record label because it would be a great way to make money. We probably won’t…at least not for quite a while. But it still seemed worthwhile for us to start the label anyway. While it might seem like we’re suddenly jumping into the music business, both of us have been working as freelance musicians for years – which is very much a kind of business that you run for yourself; starting a label is just another aspect of that. As far as the comparisons to New Amsterdam go, we haven’t really heard many…we’re just starting out and I don’t think too many people are aware of us yet. But we are very aware of New Amsterdam and think the community they’ve created is pretty amazing. If we could do the same out here, we’d be pleased.
Nicholas Deyoe’s with throbbing eyes is one hell of an aesthetic statement for a label’s first release. Do you see yourself as representing the whole of this music that’s being made in and around LA, or do you have a sound in particular that you’re hoping to cover? Perhaps something akin to the more drastic side of modernism featured here?
Well we had to put something out first, but I don’t think that our first release should necessarily be taken as a statement towards what “kind” of music we intend to continue putting out. We put out Nick’s music because we like it and think it’s really good and deserves to be heard, which is probably the biggest criteria for anything we will put out in the future – we have to like it. But there’s a lot of different kinds of music that we like. While we both live Southern California and want to put out projects from our community and invest in the people around us, we don’t really have a goal of representing the entirety of the Los Angeles music scene…it’s just too big.
How hands on are you with production? I know that sounds like a silly question, but I’m curious…I know some label heads who are check in on their artists every day in the studio, while others, in a sense, foot the bill and wait for a recording to be delivered for them to take to the market. I know this first release had been previously recorded. Is that the plan?
Well, we had been talking about starting a label for at least the last year, maybe two, and we had already played on half of the works on with throbbing eyes, so we were already pretty involved before anything official happened. The album needed a home so it motivated us to actually get things going and start the label. While the album was Nick’s project, there was still a strong collaborative effort between ourselves and him throughout much of the production process. For now, I can’t really see us putting anything out where we don’t already have some sort of relationship with the composers or artists involved. Also, the way an album is put together – the space it’s recorded in, the musicians, the mixing, the track order, the album cover, etc. – is very important to us and is something we are very consciously crafting for each project.
What’s next for the label?
Our second release comes out on March 13 and will be a mostly solo album of music by minimalist composer Tom Johnson that Andrew McIntosh is recording and organizing. It also features local musicians Brian Walsh on clarinet, composer Douglas Wadle as a narrator, and is being recorded and mastered by Nicolas Tipp, who has very much been a part of the creative process for that project. It’s also interesting that both Tom Johnson and Nicholas Deyoe are originally from Colorado.
After that things are a little open, but we have several projects in the works. It is extremely likely that we will put out an album with wild Up (in collaboration with Chris Rountree and again, Nicolas Tipp). Also, we will at some point put out a duo CD of the two of us featuring composers who have come out of the CalArts community, a CD of Andrew Tholl’s experimental/improv ensemble touchy-feely, maybe a full length from the Formalist Quartet, and possibly some Morton Feldman. Oh, and in the indie label tradition, we’re toying with the idea of a single of the month club that would allow us to put out some shorter things that we think should be heard but don’t necessarily work on a whole album.
That would be amazing, please do that. Is there anything else you’d like to add?
We’re really thrilled at the response we’ve had to the label so far. It’s encouraging that so many people are interested in what we’re trying to do. We hope you’ll check out our first release, enjoy it, and continue to follow us as we try to build something great.
Our friends over at Out West Arts were able to make it to the populist records/Nicholas Deyoe CD release party in Echo Park on Monday, and have posted an awesome review of it, with video and such, here:
Meanwhile, we’ll have an interview up with the label founders sometime in the next couple of weeks. This is an exciting time to be a musician in LA.
Slightly late notice, but Nicholas Deyoe‘s record with throbbing eyes, which features Red Fish Blue Fish, The Formalist Quartet, Stephanie Aston, and Brendan Nguyen, is coming out this Tuesday, January 17th. It will be the first release from Populist Records, a new label based in Echo Park, owned and operated by Andrew McIntosh and Andrew Tholl.
The release party will be held on Monday at Machine Project from 1 to 4 pm, and Mr. Tholl mentioned to me that, in addition to performances and Eagle Rock Brewing’s Populist IPA (which is delicious), there would be cupcakes. As such, I highly recommend going, and am again saddened by the prohibitive 9 to 5 lifestyle that I’ve adopted as of late.
I’ll have a review of the record up here soon. But why wait for me to review it when you could go hear it yourself, live, with cupcakes? Complete details are on populistrecords.com.