Last week, I stumbled upon the Aphonia Recordings site.
Discovering yet another local label with a fully stocked roster
reminded me of the “six-month rule” I learned from Doug
Haire.
In 2002, Haire, producer of KEXP’s Sonarchy, told me how he
kept his weekly radio show stocked with a fresh stream of musical
experimenters: “Every six months, a new crop of musicians appears on
the scene. I don’t know where they come from. Suddenly they’re here.”
Thus the six-month rule.
Started earlier this year, Aphonia Recordings aims to, in the words
of label owner Ben Robertson, “encourage the release, promotion,
and exposure of experimental, electroacoustic, microtonal, and strange
pop music.”
At a time when many small labels retain an “artist roster” of one,
i.e., the label owner, it’s refreshing to see such a motley
assemblage—Aphonia has about 20 artists—under a single
aegis.
Slated for the label showcase: the droning analog textures of
KRGA; a solo set from cellist Derek M. Johnson, a veteran
of many local ensembles (including the Tacoma Symphony) with an abiding
interest in wiry polyphony; and Myello, who layers nasal synth
tones in looped, almost kitsch-pop rhythms. Label honcho Robertson
plays a set too, as “the Precambrian,” with Aphonia cofounder
Andrew Senna. I’m curious to hear how Robertson’s penchant for
swarming, complex timbres meshes with Senna’s skewed folkie
sensibility.
Cannily, Aphonia enlisted a mainstay of the Seattle avant scene,
Amy Denio. Usually heard on saxophone or accordion, here Denio
contributes a set for solo voice and electronics. When she finds the
room’s resonant frequency, the walls (and your ears) will seem to
bend.
Catch the Aphonia Recordings Showcase Fri Oct 26 (Gallery 1412,
1412 18th Ave, 322-1533), 8 pm, free, but donations accepted.
Thurs 10/25
OREN AMBARCHI
Straddling the hazy territory between ambient and avant, Ambarchi
can deliquesce a single plucked string into a dreamy, meditative space.
Guitarist Sir Richard Bishop opens and “prog country metal specialists”
Wah Wah Exit Wound close the show. The Rendezvous, 2322 Second Ave,
441-5823, 10 pm, $10.
Fri 10/26
GARETH DAVIS
Here’s a feast of ferocious, post-classical music for solo clarinet.
Davis, a veteran of several outstanding European ensembles, tackles
Luciano Berio’s formidable Sequenza IXc for bass clarinet,
“Soft” by Franco Donatoni, and “Let me die before I wake…” by one of
the finest Italian composers born after World War II, Salvatore
Sciarrino. Also on the program, a transcription of Eric Dolphy’s “God
Bless the Child,” Tiodhlac II by UW composer
Joël-François Durand, and more. Brechemin Auditorium,
UW campus, 685-8384, 7:30 pm, $10.
JEAN-MICHEL PILC TRIO
Rising young drummer Ari Hoenig powers this under-the-radar jazz
piano trio. I like how Pilc, a former rocket scientist, makes the
swooning melody of “Satin Doll” on New Dreams (Dreyfus Jazz)
bloop and bleep, only to toss out ribbons of notes that unfurl into an
easy groove. Part of the Earshot Jazz Festival. Also Sat Oct 27.
Tula’s, 2214 Second Ave, 443-4221, 8:30 pm, $16/$18.
Sat 10/27
TUDOR CHOIR
Alas, this fine choir discontinued their concert season last spring.
The Tudors return for a one-off, hour-long concert presenting the
“Western Wind” mass and other works by John Taverner (ca.
1490—1545). St. James Cathedral, 804 Ninth Ave, 382-4874, 8
pm, $20 suggested donation, students and seniors pay as able.
Sun 10/28
ONYX CHAMBER PLAYERS
In his chamber music, Brahms sparkles and surges with energy often
absent from his symphonies. For this early evening concert, the OCP
sally through the Piano Trio No. 2 in C major, op. 87 and the
Piano Quartet No. 1 in G minor, op. 25. Town Hall, 1119
Eighth Ave, 652-4255, 5 pm, $10—$18.
Tues 10/30
MALCOLM GOLDSTEIN
One of the great experimental violinists and a master improviser,
Goldstein’s violin sings, howls, sprouts static, and soars. When
duetting with his own voice, he creates a turbulent surface of
fragmented texts and tones. Fourth-floor Chapel Performance Space,
Good Shepherd Center, 4649 Sunnyside Ave N, 8 pm, $5—$15 sliding
scale donation.
Wed 10/31
HALLOWEEN CONCERT
Back in the 1970s, Halloween meant hordes of kids going door to door
amassing bags and bags of sugar-laden loot. Mostly I remember the
weirdos: stoners doling out tightly wrapped bags of nickels and pennies
in lieu of already-eaten munchies; well-meaning but hated hippie
parents passing out apples, bricklike bran cookies, and useless
sundries like miniature tubes of toothpaste; and most of all, the
neighborhood nut who scared the big kids by blasting creepy
sound-effects records from his stereo at 16 rpm. Nowadays hardly any
kids venture out to collect candy, so I’ll probably go hear organist
Carole Terry and her students stir up spooky organ classics.
Walker-Ames Room in Kane Hall, UW Campus, 543-1201, 7:30 pm,
$10.
