The Los Angeles Chamber Orchestra sounded as good as ever under conductor Peter Oundjian on Sunday evening in Royce Hall at the University of California, Los Angeles. Opening with the world premiere of Sarah Gibson‘s warp & weft served as a reminder of what LACO does so well: careful and consistent programming that feels balanced, approachable, and keenly aware of what repertoire best showcases their style and sound. Gibson herself proved to be a fitting choice for the commission of a new work, tempering the curious vocabulary of modern music with a thoughtful, intentional sense of timing and form. That sense of linear clarity in the work brought out the best in the ensemble, encouraging a commitment by the ensemble to even the most exploratory moments.
Ruth Crawford Seeger’s Andante for Strings had a strong performance, though it may have suffered for the same reasons the Gibson succeeded; its more open approach to time and its compressed musical language sometimes were lost in translation (an issue shared with the original quartet form of this work, and which partially inspired its re-orchestration). Similar to the handling of Pärt’s meditative song on Dausgaard’s program with LACO earlier this season, Andante for Strings was emphasized by its pairing with a bold and formally-defined closer–this time Beethoven’s Fifth Symphony. Together these two works of the second half strengthened each other and reiterated a savvy attention to programming.
Guest pianist Jonathan Biss joined in a nuanced performance of Mozart’s Piano Concerto in G Major (K.453). Sensitive and operatic, this concerto reminded the audience how strange and exploratory Mozart can be while remaining utterly polished and grounded by a musical language that is always conversational, always shimmering. Biss’ playing was precise and clear, particularly during the moments of Mozart’s treacherous–if subtle–rhythmic deceptions. Some of the details in the piano were lost in Royce Hall, though the intention of contrasts was clear in Biss’ playing; he might have benefited from some ears in the hall during rehearsal. Overall, though, the performance was well-balanced with the orchestra, and rounded out a program with a little something for everyone.
This week, Zipper Concert Hall at the Colburn School hosted the latest installment of the Piano Spheres series, a concert by pianist Mark Robson entitled “The Debussy Project.” Specifically, the program placed Debussy’s Douze Etudes against a set of compositions by living composers—each responding in their own way to a particular etude from Debussy’s set.
Robson’s command of the Debussy was stunning: watching his performance, one could get lost in the theater of fingers built into the work. But beneath the virtuosic flurries was a technical mastery that highlighted Debussy’s emphasis on texture, and amplified the orchestral spirit of his piano writing. The simplicity of concept that underpins each etude might have risked sounding like a progression of, well, studies, but in Robson’s hands they provided a window into how various musical materials were treated by Debussy to create a musical language rich with contrast, layers, and detail.
The twelve accompanying composer reactions constituted the second half of the recital, and the range of styles and approaches indicated the degree to which Debussy’s language continues to serve as musical inspiration, continues to provide a bridge between past and future. Some focused on his style: Kotcheff’s work evoked virtuosic and dramatic contrasts, and Ivanova’s explored the commenting, often brash, musical interruptions. Bansal and Kohn both tapped into Debussy’s proclivity for sheathing his musical ideas with layers of sparkling textures—a foregrounding of detail taken to the extreme by Gates, whose piece unfolded flurries and sheets of sound until a final, tender conclusion.
Others focused on exploding those details out of time completely, exploring harmony and texture carefully and without Debussy’s liberated, roaming abandon. Rothman and Gibson used low piano harmonics to create a patient, meditative atmosphere anchored by the resonance of the piano. Norton’s response utilized two pianos (Vicki Ray joined Robson on stage for this) for spacious, overlapping textures that in their freedom managed to capture something of Debussy’s penchant for fleeting sentimentality, that return later as tinted, softly-distorted memories. Also in this vein was Robson’s own reaction, a magic act of sorts, summoning rich timbres and sonorities that moved seamlessly between the piano and electronics.
It might have been interesting to have seen the works paired directly with their inspirational counterpart, but hearing the progression of Debussy’s original twelve etudes in direct sequence, in my opinion, better prepared the audience by giving a framework to identify and appreciate the various types of inspiration and influence employed by the commissioned works. It is rare that a solo piano recital of this length can maintain my interest throughout, but the quality of Robson’s performance and the strength of the music was certainly worthy of the audience’s attention. And from what I could hear in muffled murmurs around the hall between pieces, Piano Spheres has succeeded in building an audience that is willing to give that attention, and which is appreciative of the talent presented.
The virtuosic Aperture Duo (Adrianne Pope and Linnea Powell) will be performing at Tuesdays at Monk Space this coming Tuesday, February 27. I had the opportunity to ask Adrianne Pope (violin) and Linnea Powell (viola) about the upcoming show, working with composers, and more. Here’s what they had to say:
Our Monk Space program has been incredibly fun to put together, as it features some of our favorite composers and people whose works center around memories, reunions, and reflections. Sciarrino’s short and fleeting “La Malinconia” and Georges Aperghis’ enthusiastic “Retrouvailles” are pieces that we’ve wanted to perform for years. The program also features two Aperture Duo commissions: a world premiere by Sarah Gibson and a commission by Nicholas Deyoe from 2015. These two commissions give a window into our wide ranging interests as a duo, as they are very contrasting in sound and style.
From whistles to claps, beautiful lyricism to deafening scratches, we aim to create programs that challenge the assumptions of what a violin and viola duo can sound like. This will show be no exception!
You’ll be premiering Sarah Gibson’s piece, tiny, tangled world at the concert. What has your experience been like with this new work?
Whether it’s performing, teaching, or composing, working with Sarah is always a joy for us. As a composer, Sarah has a perfect balance of clear ideas and flexibility. We got to workshop new sounds, different notation options and extended techniques from the very beginning stages. We have loved seeing it evolve each step of the way!
When Sarah gave us the final draft, we were thrilled to see how virtuosic and unique it is from our other rep. She even included a specific extended technique that was new to us! Her title, tiny, tangled world, has been in place from the beginning sketches, and it has been intriguing to see the work really come to fit the title perfectly.
How often have you worked with LA composers Sarah Gibson and Nicholas Deyoe in the past? Can you tell us a little about these experiences?
With Sarah, we have performed as colleagues, performed her works in other ensembles, and worked with and performed her composition students’ works. Tiny, tangled world is the first piece Aperture has worked on solely with Sarah.
With Nick, we have performed a little bit together, and we’ve played many of his works with different groups in LA. We recently got to work with his students at CalArts on new works, and we recorded 1560 for his most recent album, for Duane. 1560 was one of our first commissions and we can’t wait to play it again at the end of this month.
Besides being colleagues, both Sarah and Nick are good friends of ours and we jump on any opportunity to collaborate with them.
Any upcoming performances or projects you’d like to talk about?
In April, Aperture Duo is ensemble in residence with the Black House SoCal New Music Workshop at UC Irvine. We’re very excited to work with the selected composers and musicians there, it’s going to be a wonderfully creative workshop! In May we’ll be in residence in Northern California at Las Positas College and in June we’ll be performing at Bread and Salt in San Diego, where we’ll be premiering a new work by Courtney Bryan. It’s going to be a great spring! More information can be found on our website.
If there were any doubts that the LA new-music scene is in the midst of a surfeit of musical and aesthetic diversity, Synchromy and HOCKET’s evening of music, titled Crusoe, on November 5 should certainly quell them. The playing, centering on Sarah Gibson and Thomas Kotcheff of the piano duo HOCKET, and later adding a larger ensemble, was truly exceptional: precise, expressive, virtuosic where needed, yet playful, even comedic where possible.
The concert’s first half was comprised of four compositions for piano-four-hands by four local, living LA composers.
Alexander Elliott Miller’s Clock Smasher made for a striking and auspicious beginning. As its title might suggest, the opening motif, in four hands in ascent, burst open a vivid sonic palette that would traverse and transmogrify in interesting and musically satisfying ways.
In his program note Miller makes mention of the “… polyrhythms, many of which do have a sort of ‘tick-tock’ quality, like a room full of out-of-sync clocks.” This is most certainly accurate but it only begins to suggest the variety and vitality of harmonic and gestural realms it creates and explores. Clock Smasher teases us at first with a metronomic, pulsed music which evolves into something ominously hovering, then interrupted by syncopated rhythms infused with quasi-jazz harmonies. Even the mention of the “J Word” is sometimes frowned upon – personally, I don’t frown upon it – but regardless of what that might suggest to you, this is certainly not a jazz composition. But that isn’t to say that it doesn’t flirt with tonality, some very lovely melodies and, at times, even hints at something Bill Evans might have mused about at the keyboard. This music, as Miller’s notes suggest, does subvert its own idiomatic tendencies with those irregular rhythms, to my ear something of a this-is-definitely-NOT-jazz insistence, which then somehow, artfully evolves into a spacious, airy coda, punctuated by big, long and spacious chords. A poignant, striking work.
The next piece on the program was Marc Evans’ One Wandering Night. This piece was for a slightly varied configuration of HOCKET in that Ms. Gibson remained on the piano while Mr. Kotcheff moved to an electric keyboard and they were augmented by the addition of two melodicas (played by the composer and Nick Norton).
Fun fact: I went to a Joe Jackson concert when I was a kid, probably around 1980. He whipped out a melodica and declared it “The Instrument of the Future!” Perhaps he was right. I do hear a lot of melodica at new music concerts these days.
Evans’ piece was inspired by Bartok and that came through clearly enough. There is always the danger of being on the wrong side of the line separating homage from uninspired imitation. Fortunately, One Wandering Night falls decidedly on the right side of that line. While the melodicas played a sort of wheezing Eastern European Bartokian ostinato, definitely and pleasantly reminiscent of Bartok’s own take on modal folk melody, the piano and electric keyboard sputtered and interjected their own contrasting bits. I found this particularly satisfying as it reminded me, on a simple level, of Bartok’s own 2-handed piano trickery, where the two hands remain, stubbornly, in their own domain (key, mode, register) despite any discord that stubborn autonomy might produce. And on a more complex level, it reminded me of one of my very favorite pieces of music, Messiaen’s jardin du sommeil d’amour, a movement from his Turangalîla-Symphonie. While the melodic and harmonic technique is quite different in Messiaen’s masterpiece, a similar bifurcation and their disorienting affect is in play.
And playful it is. As the piece progresses, the tempo of the melodicas’ pumping melody increases and the interjections become more intense until, like a tired Hungarian hiker on the banks of the Danube, all four instruments slow down until they reach total repose. I must admit to being completely unfamiliary with Evans’ work but if this piece is at all representative of his musical sensibilities, then I definitely want to hear more.
Nick Norton told us from the stage that his Mirror Smasher was a number of things. He said it was “minimalisty” (and as such, “easy to write”), loud, and a work in progress. This piece was, again, for the four deft hands of HOCKET, and in fact even the pitch material itself was produced and ordered by them. The unordered (or, to quote the program, “played about a zillion different ways, as if looking at it in a broken mirror”) pitch set is:
H O C K E T = B G C D E F#
Yet again, HOCKET played beautifully. The piece begins with a clear tonal center, pulsing along as “minimalisty” pieces often do. But not long into the playing, a pre-recorded track of electronic sounds makes its presence known.
Norton’s choice of electronic sounds – both their timbre and idiomatic qualities – were a highlight for me. The combination of the smooth, hypnotic four-handed piano combined with the somewhat Kraftwerky buzzes, gently evolving into higher pitched electronic sounds reminiscent of some of the organ work in Einstein on the Beach really made for a powerful electro-acoustic marriage.
About halfway into Mirror Smasher the volume cranks up significantly. (The composer warned us of this before the performance. There will be no lawsuits.) If there was a hint of Einstein before the knob was turned, now the Einsteinian character felt married to something more like Heavy Metal, even Rock Opera. (Norton’s program note says that the title is a nod to Alex Miller’s Clock Smasher but I couldn’t help wonder if it might, even subconsciously, have any connection to The Who’s Do I Smash The Mirror, from Tommy. OK, probably not, but still…) OK, Rock Opera is misleading at best, demeaning at worst. But Mirror Smasher’s loud second half is formidable, powerful, and I could easily imagine it, as the composer suggested, being extended into a much longer Minimalist work. While different in pitched/melodic material, it reminded me, in a very good way, of Lou Reed’s Metal Machine Music in its powerful, gyrating and relentless sonic attack.
The program’s first half concluded with Jason Barabba’s The Distance of the Moon. The piece takes its title from a story in Italo Calvino’s Cosmicomics of the same name. Calvino’s work is a collection of clever, fanciful tales, sometimes mischievous, sometimes romantic and nostalgic, often subverting our expectations if not the laws of nature as we’ve come to understand them. Calvino’s Distance of the Moon is a story about the moon, which, once upon a time, existed but a hop away from the Earth, but is now gradually moving farther and farther away. As the two spheres continue to distance themselves from each other, the inhabitants abandon the moon for the Earth. All but one of them, who decides to remain, forever, stranded alone on the moon.
Barabba’s musical interpretation of the story is itself a clever, fanciful tale. But unlike the rather light quality of the short story, it is a significant, weighty work. This is not to say that it isn’t imbued with moments of lightness – it is! – but it is not a mere bagatelle, but rather a significant musical and pianistic undertaking. Distance of the Moon was originally composed for a single pianist (presumably the two-handed kind) but as such it was almost impossible to play. I can all too easily believe this. Even in its two-person version, it is quite challenging.
Stylistically, it manages to explore a number of moods and idiomatic gestures yet still most definitely feel like a coherent, unified work. Moments of romantic, almost tonal passages intermingle deftly with strong, almost Schoenbergian dissonances. Lugubrious night music passages transition into stumbling, irregular rhythms with almost-BeBop melodic lines.
In the end, analogous to the story on which its based, Distance makes us feel the separation, the yearning, the tension hoping, however in vain, for a resolution. It ends, fragile and sparse, in a delicate and beautiful diad. Two notes at either end of the piano keyboard. A deep work, and one that I suspect would definitely reward repeat hearings and analysis.
Then came an intermission. If this had been a meal, I would have felt not full but satisfied. This was a chunk of concert that delivered four works of diverse character yet not, as a whole, illogically incongruent. But wait, there’s more…
The second half began with Mayke Nas’ DiGiT #2. (For the curious, I don’t think there’s a DiGiT #1.) For those who don’t know (I didn’t), Ms. Nas is a Dutch composer, born in 1972. I don’t know how her work wound up on this program but it was a perfect palette cleanser. DiGiT is, to my ear, entirely devoid of a single specified pitch for any of the four hands, or four forearms, or two foreheads that activate the piano keys. It is, to be clear, a humorous bit of performance, perhaps a commentary on what we consider to be “high art.” It also allows a piano duo to highlight a different take on virtuosity.
DiGiT centers itself around a variation of our childhood schoolyard hand jive or clapping game that involves an intricate collaborative clapping between two people (usually young girls), while simultaneously singing a rhyme. (Shimmy Shimmy Cocoa Pop! was the one the Black girls bussed into my Queens elementary school taught me). DiGiT, however, is inspired by another favorite, Oh Little Playmate. It is not only a charming work – one that HOCKET obviously enjoyed immensely – but even a virtuosic one, albeit in a very different way. Piano keys are only played in clusters, but other sounds arise from the intricate interplay of the two pianists’ strikes against the palms, arms, and thighs of themselves and each other. The rhythms are at times satisfyingly smooth, even evoking soft shoe dance moves in their elegance and grace. It’s very much a performance piece, and, if you like, you can see an older performance of it (not by HOCKET, but by eighth blackbird, here:
The concert itself was billed under the title of CRUSOE. The grand finale, so to speak, was Frederic Rzewski’s composition of that name. Rzewski, born in 1938, is seen as a somewhat enigmatic figure of the 20th century avant-garde, someone who studied with “Uptown” and Princeton figures (Babbitt, et al.) yet whose own musical output butterflied effortlessly among genres widely, from serialism to minimalism. His works are coherent and easy to describe in and of themselves. But to describe what a “Rzewski piece” might be is near impossible.
As for Crusoe, where to begin? First of all, it was a delight! Which is not to say that it was necessarily such a delight on the page, but Synchromy upped the dose for our viewing pleasure. The stage was adorned with a backdrop of a deserted island, inflatable palm trees and beach balls. A large ensemble adorned themselves a la Castaway, with everything from light headgear to a stuffed parrot on a shoulder to, in the case of one player (Mr. Norton, on guitar) a full-on shark suit! It was most definitely an aesthetic choice, not one dictated by the score, and I found it to be a wise one which bore much (tropical?) fruit.
Crusoe employs a performing force of unspecified instruments, requires its players to sing and chant various lines about Robinson Crusoe, play percussion instruments, and do other things that might make a Musicians Union bristle. The vocal sections are interspersed among bright, quite lovely pointillistic instrumental episodes. As such, Crusoe is reminiscent at times of some of Harry Partch’s better works, albeit without the microtonal schema.
After various chants, instrumental interludes, spilling of doubloons, breaking of branches, dusting off of hands, tinkling of toy pianos, swords whirred as they are raised in the air, heads patted, feet stomped, the Narrator (sung by Justine Aronson) comes forth to chant the last line. At which point she is pelted by the ensemble with beach balls. The End! (I won’t call the Union if you don’t.)
As I said, Rzewski is enigmatic. And Crusoe is no less an enigma. Did this performance, and this piece, provide any insight into the tale of Robinson Crusoe? No, not really. Did it give me a sense of what Rzewski’s compositional voice was? Well, kinda sorta, inasmuch as only one of his pieces might. But more importantly, it was a perfect end to Synchromy’s ambitious concert, a perfect counterweight to an already diverse and profound selection of our community’s musical wealth.
On November 21, HOCKET will be presenting a FREE concert of new commissions at the Brand Library & Art Center in Glendale, CA (concert information available at www.HOCKET.org). Leading up to the performance, HOCKET will be interviewing the four commissioned composers of this concert and discussing their newly written works. Here is HOCKET’s interview with Emily Cooley where they discuss her piece Phoria.
Tell us about Phoria.
It’s a single-movement piece that is about seven minutes long and commissioned by you guys, HOCKET, who are great friends and colleagues of mine. It contains a little nugget of musical material that has appeared in several of my recent pieces. You can hear it most clearly at the end of the piece, when it’s repeated over and over by Sarah on the piano 1 part. The whole piece basically grew out of that singsong-y, music-box-like melody. But the way it appears in the piece, I ended up putting everything else first – every variation on that little idea occurs before the original idea, which is only heard towards the end. So in a sense, the events of the piece reveal what the piece is actually about.
“Phoria” is when two eyes are unable to look at the same object. How is this represented in your piece?
That’s the technical definition of the word, and it plays out in my piece in the sense that the two players are often doing slightly different things. The musical material they play is related, but in an unbalanced, off-kilter way; during the fast music in the middle of the piece, they’re literally playing in two different keys. But beyond the word “phoria” as a noun, I was also thinking of it as a suffix – as in the words “euphoria” and “dysphoria.” To me, different moments in my piece embody each of those words. There is some joy, but also some deep unease. And at the end of the piece, maybe some sadness at the fact that joy is often inhibited by unease. A lot of my work has to do with language and identity, and with trying to musically express some of the emotions surrounding those things.
How does writing for piano-four hands differ from writing for solo piano or any other chamber ensemble at that?
This was my first piece for piano-four hands, and actually my first piece in a while that involves piano at all. I had been writing mostly for strings, so it was fun to dive back into keyboard writing. Obviously there are some technical challenges, in the sense that the keyboard can get pretty crowded with four hands on it. You guys helped me work through some of that by finding really ingenious ways to avoid hand collisions in what I had written – so I was very lucky in this collaboration.
We spent time together in residence at the Avaloch Farm Music Institute workshopping and putting this piece together. Can you talk about our collaborative process and how it affected the piece.
I loved our time together at Avaloch – what a perfect working environment! It allowed us to workshop and experiment with the really fine details of the piece. I remember us doing a ton of work with pedaling – not the first element of the music a listener might notice, but in four-hands writing and in this piece I think it was really critical. You guys had so many useful things to suggest and contribute, and I loved that all of us in the room were both composers and pianists (although I’m a very bad pianist).
You, Alex Weiser, and Ryan Harper are three of the five composers of Kettle Corn New Music. How do these colleagues inspire your music and is there a unifying element to the music you guys compose?
I don’t think there’s one unifying element to our music, although I know we all have some common influences. I think we all produce very distinct music from one another. The great thing about Kettle Corn New Music is that although we’re primarily a presenting organization, we’re also all composers and we have certain common perspectives. As the youngest in the group, I feel as though I’ve literally come of age, musically, with the other members of Kettle Corn by my side. Alex and I have been trading music and giving each other feedback for almost 7 years now. It’s incredibly rewarding. We have such vastly different musical tastes and sensibilities, and yet we’re able to help each other too.
I just saw a preview for the new movie adaptation of Into The Woods, and have been meaning to post something by composer and pianist Sarah Gibson (the other half of HOCKET) for a while, and it reminded me of this piece.
She’s actually got a little bit of Sondheim and Bernstein in her sound (more so in her piece Celebrity, also available on her SoundCloud page, definitely worth listening to), and it serves her well.
More info on Sarah at http://www.sarahgibson-music.com.
A little over a week ago I got an event invitation on Facebook for something called “Mama Fish & The Sun” at a warehouse space in east Hollywood/Los Feliz. I saw that my friends Maggie Hasspacher and Laura Kramer were on the program, so thought it was worth checking out. Well guess what? We’ve got a new concert series, LA, and it sounds like it’s going to be a rad one. Composer Jordan Nelson, who’s running the show, had time to answer a few questions below. The inaugural concert is tonight. Details are here.
Perhaps I’m out of the loop, but this is the first time I’ve heard of New Music’s New Home. Is this a new series? And what prompted you to start it?
This is indeed a brand new series! The idea has been in the works, though, for a couple of years: The series has grown out of the fact that I’ve been coming into contact with a number of really interesting, uniquely-minded and ambitious musicians and composers who share a desire to find new ways of interacting with their audience, be it by finding and/or creating a new kind of venue or, even more, a different style of ‘concert’. The underlying and recurring theme, though, was that there is the really exciting set of performers and creators who want a new outlet for their work.
New Music’s New Home seeks to go one step further—the intention is to not only cultivate these new and different performance opportunities, but, also, with each NMNH, to expand the range of venues and types of performance events in which new music is heard. Therefore, the series will be especially focused on premiering and prompting new projects, which we will then install in, well, really any ‘venue’ that our imagination can get behind.
On the website and poster (which is great, by the way) for this Friday’s show, you’ve got some details about the pieces by Laura Kramer and Sarah Gibson, but nothing about your own. What will we be hearing from you?
The concert this Friday, ‘Mama Fish & The Sun’, is going to feature two pieces of mine, both of which will be performed by guitarist extraodinaire Jack Cimo. I wrote a set of pieces for solo classical guitar for Jack in 2008 entitled ‘Sun Songs’. As part of his set on Friday night, Jack is going to play the third of the three pieces, ‘The Vapor As It Flew In Fleeces Tinged With Violet’. Additionally, Jack is going to be be joined by the fantastic soprano Angie Engelbart in order to perform ‘Around the Throne the Thunder Rolls’. The piece is actually the most recent of my pieces for guitar, and therefore it seems fitting to pair it with my first piece for the instrument, ‘Sun Songs’.
NMNH purports to produce events that are designed to take advantage of their unique venue and audience. How will this concert be taking advantage of the space at Yeaheavy?
We have a really wonderful opportunity present with our collaboration with and installation at Yeaheavy, and ‘Mama Fish & The Sun’ is definitely going take advantage of it! One of the most exciting aspects of the collaboration is that, currently, the walls of the venue are showcasing a number of works by a quartet of really interesting and playful visual artists. The paintings and illustrations, I think, will offer an interesting counterpart to the music, adding to the audience’s experience. Furthermore, as the event will include downtime in which everyone can converse, move around the space, as well as get a refill from our wine and beer bar, I think the artwork will provide a fun conversation piece.
‘Mama Fish & The Sun’ is the culmination of a collaborative approach to the conception of the ‘performance’. Conceived together with Yeaheavy, ‘Mama Sun…’ has taken into account the lighting, the seating, the staging, and the costuming. Our hope and intent is that the event will augment the music and the performances with an additional layer of concept and theme. Ultimately, though, we’re just excited to explore the sum of our ideas and creativity!
It’s cool to see a series focused on collaboration. What else do you have in store, or in mind, for us in the future?
Excellent question. At this point, there are two NMNH events in the works, both tentatively slated for 2013. The first will be centered around a single instrument: the piano, which will be absent from ‘Mama Fish…’. The concert will feature works for solo piano, small chamber ensembles that include piano, and also some electroacoustic music for piano, including a collaboration between myself and composer/pianist Sarah Gibson.
Additionally, there is a second NMNH in the works which will be primarily about electronic music. The event has already begun conscripting a variety of styles of music-by-computer, including a music-concrete-style, abstract sound installation to a turn-on-the-strobe-light, dance-electronica set; a wide range!
Anything else you’d like to add?
Well, if anyone would like more information on the event, please feel free to email New Music’s New Home at firstname.lastname@example.org. Also, more information on Yeaheavy can be found at their website, www.yeaheavy.com. Finally, you can find more details about ‘Mama Fish & The Sun’ by clicking the ‘Mama Fish…’ poster on the homepage of my own website, www.jordannelsonmusic.com.
Thanks so much for the interest in New Music’s New Home! Looking forward to seeing you at ‘Mama Fish.…’
Thanks, see you tonight!