Organ Spectacular | Tuesday, November 9, 7:30 p.m.
Eric Glick Rieman's Felis Catus Ensemble
Zeid Hangelberg's Pink Sock Cinema
Thursday, April 14, 2010
$5 - $15 Sliding Scale
Popcorn and films included!
In a not too distant past, all of San Francisco was littered with organs. Not just the churches here, but the places opposite the worship holes. Superstition and holy magic was countered by film music, 40s-60s muzak-pop, and improvised mood mayhem. Hedonistic bars catering to drinkers had 'em, movie houses like The Orpheum, The Fox Theater and The York (there were many more) galvanized ears with 'em. Even the Civic Center had a main organ set up at one end of the space for events that had the regular who's who of this cities best organist hired out to play on it (including Anton LaVey). This town was crawling with organs!
Some of these heavy hitters who stalked the old days when the king of instruments was let into any place of nascent boisterousness or entertainment are familiar with organ music collectors: Margie Brandon, Anton LaVey, Larry Vannucci, Bill Langford, Barron Smith, Jim Murray, Jack Malmsten, Tiny James, Alice Blue, Don Andersen, Jim Murray, Bill McCoy, Robert Heilbuth, Baghdaddy Dari, Frank Stitt, Everett Nourse, The Caperone, Coleen Stella, and many more. Handfuls of this gaggle of eclectic finger flickering folks recorded lps that you could find cheap in the 70s and 80s through the thrift store bins. If your bird entrails and tea leaves point to the aura of the moon's id on blue mondays you can also find it somewhere in a free box walking through the mission or the haight or online...
Now the instrument has been led mostly out to suburban pizza nests, and to the sanitorium of churches in the work of exacting tabourets of small ideas to crowds of baaing sheep in archaic hymn-song.
The Organ Spectacular shows have been held at underground dens since 1997 and are surfacing into the ground zero of The Lab on 16th st. The following have prepared semi-improvised opulence, clanglorious classics and a smattering of blotpolished battletech electronics to settle over the keys. Also there will be films to accompany and POPCORN!
Kanoko Nishi is an improviser/pianist/koto player currently based in the SF/Bay Area. She performs and influenced by varieties of music ranging from classical Japanese music on koto, to early 20th century Classical compositions for piano, more contemporary compositions and freely improvised noise music, both in solo contexts and in collaborations with other musicians, as well as dancers, poets, and visual artists.
The Horseflesh is obsessed with the synthesis of sound between effects pedals,tapes,alcohol and broken instruments. More concerned with rocking the status quo then mingling with them. They have been exploring the aura of sound for quite some time now,with no end in sight.
Eric Glick Rieman is an experimentalist composer and improviser living and working in Berkeley, California. He composes New Music (contemporary Classical) for solo instruments and ensembles, and improvises and composes on prepared Rhodes electric pianos, acoustic piano, and other instruments. I've redesigned one of my Rhodes electric pianos to better suit my needs as an improviser and composer. He also composes electroacoustic music, and sometimes songs as well as music for film. Rieman received an M.F.A. from Mills College in Oakland, CA, in Electronic Music and Recording Media in 2001. His first solo prepared Rhodes release, "Ten to the Googolplex," was published on Accretions recordings in that year. At Mills he was privileged to study with Fred Frith, Pauline Oliveros, Maggi Payne, Eliane Radigue, Alvin Curran, Chris Brown, J. D. Parran, Douglas Ewart, Steed Cowart, and John Bischoff. In 2002, he produced and played on a improvised quartet recording called "DalabaFrithGlickRiemanKihlstedt" with Lesli Dalaba (trumpet), Fred Frith (guitar), and Carla Kihlstedt (violin). It was released in 2003 on Accretions recordings. In 2004, he produced and performed on a trio recording called "Lung Tree," which was released on Chris Cutler's ReR recordings in 2005. The trio was Lesli Dalaba (trumpet), Stuart Dempster (trombone), and myself on prepared Rhodes, piano, and modular synthesizer. In early May 2008 the Mills College Contemporary Performance Ensemble performed my piece, "Ghost House, N.M. (Anachronistic Acronym) in their Spring concert. He has been a member of this ensemble since 1999, and this is the third time they've performed one of my pieces. He also performed his score, "Helix Aspersa III" on the May 2009 CPE concert at Mills. He curates the Biosonicist Salon series, which is an ongoing series dedicated to the intersecting areas of Biology and the Sound Arts. From 2004 - 2008, he was a member of www. Thingamajigs. org, an organization dedicated to the promotion of instrument builders and/or composers who use alternate tunings in their work. In 2005 and 2006 he co-curated the 8th and 9th annual Music for People and Thingamajigs Festival in Oakland, CA.
In addition to the above, Zeid is also an unaccomplished multiinstrumentalist, providing the world a palatable disgrace to the artforms of keyboard, guitar, theremin, ukulele, harmonica, percussion, and electronics.
Born at a US military-base in Akranes, Iceland in the Spring of 1927, Zeid Hangelberg's early life was tragically cut to a halt by a freak mower accident. Spring 1976, a young, freshly-birthed infant is found wrapped in tinfoil on the Northeast side of Maralgia, California, a now abandoned surburban village in San Benito County. Declared dead by medical examiners, the infant corpse somehow wound up in the hands of Eynga B. Alzabatzia, about whom very little was known other than that she was the region's leading authority on bookshelves. Utilizing a combination of a telephone and a can of laichi (which is a form of soapberry) the child was revitalized, found to actually be only sleeping, a common doctorial mistake of 1970s Maralgia. But the child was given the name "Zeid Hangelberg" in reverence of the 17th century Maralgian Duke who had single-handedly restored equality to serfdom.
With "Pink Sock Cinema" Zeid hopes to create a rift (or simply void) within the minds of those present, to confuse into submission and to affect, in a sense, a biological shift within the mechanisms of his audience, hopefully resulting in nullification of unneeded or detrimental though-forms and a bolstering of their unconscious, creational aspects. Mashing found and self-produced footage together within a gestalt of mechanical fluid we will weave three tales of dubious authenticity and narrated via pipe organ and tape recorder.