Sunday 2 October 2016, 8pm
“Tom Carter has demonstrated an uncanny ability to push his guitar playing to unearthly limits, while still retaining a spare simplicity that, while unusual and unorthodox, never ceases to remain completely engaging and steeped in majestic beauty.” – Tiny Mix Tapes
“As American psychedelic music goes, Tom Carter is a modern titan… Carter has long shown the transcendence of exploration, of taking a familiar form farther than one assumed possible.” – The Out Door, Pitchfork
Tom Carter's electric guitar work weaves strands of melody, drone, fuzz, and charged silence into intricately detailed instant compositions. He lives in New York City.
Best known for his work with iconoclastic acid-folk improvisers Charalambides (which he co-founded with Christina Carter in 1991), Tom Carter has focused on solo performances and recordings since 2012. His 2015 double LP on Three Lobed Records Long Time Underground is the final installment of a trilogy begun in 2009 with The Dance From Which All Dances Come and continued with 2014's Numinal Entry. Long Time Underground was selected as the number-one experimental album of 2015 by The Out Door/ Pitchfork.
Tom Carter frequently collaborates with other musicians. His regular projects include a duo with No Neck Blues Band co-founder Pat Murano, free-rock improvisers Eleven Twenty-Nine (Carter, Marc Orleans, and Michael Evans), Spiderwebs (with Houston guitarist Sandy Ewen), Sarin Smoke (with Peter Swanson), Badgerlore (with Rob Fisk, Ben Chasny, and others), and various ensembles with Bay Area sound artist and composer Robert Horton. Other fellow travelers have included Gate, Loren Connors, Jandek, Bardo Pond, Tom Surgal, Thurston Moore, Steve Gunn, Dredd Foole, Pip Proud, Tim Barnes, Aaron Rosenblum, Dora Bleu, Sam Shalabi, Marcia Bassett, Christian Kiefer, Paul Flaherty, Tetuzi Akiyama, Shawn David McMillen, Inca Ore, Starving Weirdos, Ensemble Economique, Helena Espvall, Robert Millis, and Matt Valentine, among many others.
Ka Baird is most well known as one of the founding and continuing members of the long running avant psych project Spires That In The Sunset Rise. Since relocating to Brooklyn in November 2014, Baird has set off in numerous directions apart from Spires with many new collaborations as well as honing in on her solo work. On her debut solo release under the moniker Sapropelic Pyncic, "See Sun Think Shadow" is 8 tracks of piano improvisations performed on a Steinway Grand in December of 2011 in a church in her hometown of Decatur, Illinois. These improvisations have a raw focus that premiere Baird’s piano background as well as her very own style of punctuation, spacing and repetition. Her approach brings to mind the playful, spacious qualities of Emahoy Tsegué-Maryam Guèbrou, the unrestraint of Cecil Taylor, the rolling arpeggiations of Alice Coltrane, and the ghostliness of Arvo Pärt. "See Sun Think Shadow" was released as a limited edition of 200 copies pressed on yellow vinyl through the Brooklyn label and magazine Perfect Wave and released on October 6, 2015.
For this performance, NYC based multimedia artist Camilla Padgitt-Coles who will be adding projections to Baird's piano set. http://www.ivymeadows.net/bio-contact/
Jon Collin is the proprietor of Winebox Press – a UK company that makes some of the most incredible hand-wrought cassette packages ever... Winebox also puts out certain releases in "trade" editions, and Collin's High Peak Selections LP is one of the first. Acoustic string improvs of great abstraction, clanger and depth, recalling a certain vibe that Loren Connors once called his own, although there's no aping here. Lots of dizzy inventions of clustered strings that manage to maintain a certain melodic beauty for all their weirdness. There are even bits of wobbled slide and sustain that recall Fahey at his loosest. Totally boss. (Byron Coley, Arthur Magazine)
“This spine-tingling album by Jon Collin is six-string primitivism taken to a whole other level of wildness and intuition.” – Derek Walmsley, The Wire
“Across the four tracks on his second LP, Jon Collin reiterates his interest in mining the emotional potential of the guitar, utilising a vast grasp of the capabilities of the instrument... His grasp on the relationship between the resonant qualities of the hollow-bodied guitar and the wails of feedback and reverberation produced by the amplifier is extraordinary.” – Matt Krefting, The Wire