John Wiese
Thursday, January 5, 2012
8pm
$6-12 sliding scale

 

Chris Dixon bass
Jesse Jackson guitar
Loachfillet drums
Kim West vocals


The Lab is pleased to present John Wiese in residence to realize a new iteration of his piece ‘Battery Instruments’. Battery Instruments first iteration was an installation at HSP in Christchurch, New Zealand that utilized source material generated by four musicians working with traditional rock instrumentation: voice, guitar, bass, and drums.

For the culminating performance at The Lab, John Wiese will be working collaboratively with a group of Bay Area musicians that includes Kim West on vocals,  Jesse Jackson on guitar, Chris Dixon on bass, and Loachfillet on drums. This will be the first live performance of Wiese’s score for Battery Instruments.

John Wiese (b. 1977) is an artist and composer living in Los Angeles, California. He works primarily in recorded and performed sound with a focus on installation and multi-channel diffusions, as well as scoring for large ensembles. He has toured extensively throughout the world, covering the US, UK, Europe, Scandinavia, Japan, Australia, and New Zealand. He is also a founding member of the concrète grindcore band Sissy Spacek.
http://www.john-wiese.com/

“John Wiese has one of the most distinctive solo voices in noise music — his moment-to-moment compositional logic and unique deployment of stereo panning are unmistakable.” — The Wire

“... everything Wiese has done right for the past decade: Collagist tendencies meet drone hyper-abilities, assaulting glitches and glissandos come buried between near silence and hair-raising volume, beauty refracted through sonic brutality ...” — Pitchfork

“Wiese’s sensitivity to timbre and his logic in sandwiching sounds are top notch; there’s a cleanliness and clarity in even the most decimated masses of half-digested static and the swirling tones that surround them. Wiese works in sound that, at times, is practically threedimensional, and through stereo panning and architecture of sound, he’s capable of impressively immersive sonic environments, especially considering the hectic pace that much of his work has a tendency to take ... proves that noise isn’t purely the realm of the talentless hack with an ear for discord, and though it’s indiscernible in any truly tangible way, there’s certainly a method to Wiese’s madness, and an art to his crafting and arranging of sound.” — Fakejazz