Saturday February 3rd 8pm $10 suggested donation
Ian Power is a composer living in Baltimore. He earned his PhD with Chaya Czernowin at Harvard University, and has developed a notational style that gives the performer control over pacing and managing her own endurance while remaining deterministic in its rhythm and aesthetic effect, designed to produce gestures that the musicians can play independently and confidently, and which an audience perceives as uncanny yet warm. Power's music has been described by the New York Times as having "resolute ooze and elemental graininess," and by the late Pauline Oliveros as a "tough act to follow." He also writes on music, performs Turkish music on the oud, and was recently named Assistant Professor and Director of Integrated Arts at the University of Baltimore.
Liz Meredith is a violist, violinist, and visual artist from
Baltimore, MD. Her music explores intersections between acoustic chamber music, instrumental improvisation, electro-acoustic composition, and ambient music. Liz’s recent projects include a solo album, The Disposition of Vibrant Forms, a 5 LP set in collaboration
with John Somers, and work as an artist/designer for boutique effects pedal company Vaux Flores. In addition to performing her own music, Liz has premiered new works by emerging composers, and has contributed her sound to recordings by Monica Lionheart, Microkingdom, and has performed at many diverse venues including Signal Flow Festival, Mills College; High Zero Festival (Baltimore, MD); several performances at the Baltimore Museum of Art; and The Stone (New York City, NY).
“Liz Meredith is a gorgeous plunge into a plaintive mood, a place
where rising and falling electronic textures and drawn-out viola lines
cast soothing shadow plays on the brain.” – Baltimore City Paper
Tim Wisniewski is a musician and film archivist from Baltimore,
Maryland. His most active solo project at present is Comfort Link,
which explores the detritus of mid-century living room hi-fi culture
through tape manipulation and found sound. Wisniewski also runs the
record label Spleencoffin, established 2003 in Baltimore.
Travis Johns used to begin his bio by stating that he did something
specific and happens to be based out of a particular place in the
western hemisphere. For instance, is a performer of experimental
electronic music based out of Ithaca, New York, as is currently the
case. However, after nearly two decades of doing the experimental arts
thing, he's come to realize that beginning a bio in such a way can be
a little confusing and misleading - especially considering that in
those two decades he's lived in six states and two countries and his
work has included such mediums as printmaking, environmental art,
sound design, traditional composition, installation and so on, and so
on, and so on. Sometimes he openly envies folks such as Peter
Brötzmann or Masami Akita - and not simply due to their sonic output,
but because they can be clearly codified. Case in point - improviser,
Germany. Noise musician, Japan. You get the drift. It could be
possible that he's yet to receive such classification, or through
diversification, has managed to avoid such a fate. Whether this is a
good thing or not has yet to be determined. Either way, he hopes you
enjoy the sonic offering he intends to provide this evening, most
likely to be performed on a laptop computer.