September 7: Jason E Anderson & RM Francis

Gift Tapes/DRAFT Presents:

Jason E Anderson & RM Francis

Saturday, September 7, 2019
Chapel Performance Space
4649 Sunnyside Ave. N, Seattle (50th & Sunnyside in Wallingford)
8pm, $5-15 sliding scale
FB event page / Press images

Gift Tapes/DRAFT presents Jason E Anderson and RM Francis at the Chapel Performance Space, in association with the Wayward Music Series, with support from Seattle’s Office of Arts and Culture. Jason E Anderson will present a new composition called CORM (Consequence of Recursive Memory). RM Francis will present new computer synthesis work to open the evening. All proceeds from this performance will be donated to friend and fellow musician Norm Chambers to assist him with medical expenses.

*Anderson will also deliver a one hour workshop/demonstration at Patchwerks at 3pm prior to this event. He will discuss his new composition and share some strategies he’s devised to control modular synths with SuperCollider.

Jason E Anderson is an artist now living in the Inland Empire of the Pacific Northwest, having left Seattle in 2018 to live among the Palouse farmlands just outside of Pullman WA. His work includes performance, recordings, film/video, installation, music for dance, producing and publishing. Anderson performs and records music under his own name and in performance art/film collaboration LIMITS with dancer Corrie Befort. In 2001, he began performing in Seattle’s free improv/experimental music circles and in 2008 he co-founded improv synth duo Brother Raven with Jamie Potter, leading to his active involvement in the synth music scene running experimental music label Gift Tapes/DRAFT. In performance, Anderson employs systems that generate sound and patterns that are subject to manual manipulation. His occasional use of voice/text, particularly in the context of LIMITS, has augmented his use of abstract sound with extra-musical information to address concepts and context within the auditory realm. See: Jason E Anderson, LIMITS, Gift Tapes/DRAFT, Mesh Collaborative, Brother Raven, Space Habitat, Spare Death Icon, and Harpoon Pole Vault.

Consequence of Recursive Memory is a composition for voice/computer, comprised of prepared texts spoken by the performer in dialogue with a computer as a framework to observe recursion within human memory. The computer ‘listens’ to text spoken by the performer, which uses statistical analysis to model increasingly complex responses articulated by means of rudimentary sound synthesis. The system is biased to stimulate conceptual links between the textual content and technological process, but obfuscates speech intelligibility and pacing to equalize this information with the electronic sound.

*CORM and this performance is made possible with support from the Office of Arts and Culture, City of Seattle.

RM Francis is an artist working with computer-generated sound via performance, recording, and installation. His work has been presented throughout North America at numerous festivals, including Debacle (Seattle), 2 Day (Portland), Diffusion (Baltimore), and Human Festival (Philadelphia). His Hyperplastic Other project is a series of works utilizing chocolate, video, performance, and sound to dramatize alternative models of subjectivity. Francis was also a member of Mesh Collaborative, a computer music ensemble employing network architecture to explore novel modes of distributed authorship and human-computer collaboration. He lives in Seattle, where he is also active as a concert organizer. See: https://rmfrancis.net

Anderson’s CORM and this performance is made possible in part from support from Seattle’s Office of Arts and Culture and the Wayward Music Series.

DRAFT site upgrade. JEA ‘Truth’ ships today!

Today we just launched a redesign for sister label DRAFT’s main page! Our site is now mobile-friendly. It is built on bootstrap, using the HTML5/CSS3 spec, with a bit of JS and jQuery to help things out. We’ve simplified the design to address load times and addressed issues with our audio player. Please give us feedback and/or let us know if something isn’t working right!

Also, today is the day that Jason E Anderson’s Truth cassette ships! We still have copies available.

New DRAFT tape: Jason E Anderson ‘Truth’

Jason E AndersonTruth

DRAFT D021 / TAPE / Edition of 100

DRAFT is pleased to announce its first release in three years by offering Jason E Anderson‘s Truth, a 60 minute live performance released on tape. Performed and recorded live on February 11, 2017 at Jack Straw Studios in Seattle with Ian Halloran reading text from Metaphors We Live By (Lakoff/Johnson, 1980), Truth was initially conceived for Sonarchy Radio/KEXP.

The release of Truth marks Anderson’s first solo appearance for DRAFT. His prior recorded work under his given name has appeared on his own defunct label Make Jet Silent, Börft and Discriminate Music. Truth is Anderson’s most recent solo recording involving voice and synthesis, a common thread found within his work over the last 5 years. Truth was created using a computer running supercollider to send control voltages to a modular synthesizer from an audio interface, while Ian Halloran read from ‘Chapter 24: Truth’ of Metaphors We Live By into a microphone routed to a preamp and ring modulator within the synth. The work’s progression relies entirely on the interaction between semi-random patterns and Anderson’s manual shaping of sounds and cueing of patterns. The music consists entirely of modulated oscillators navigating the stereo field, punctuated by irregular fragments of text that vary in intelligibility.

JEA: supercollider, motu828, 5U/MU analog modular synthesizer, cp-251
Ian Halloran: voice
Doug Haire: recording/mastering engineer
Art/design by JEA.
Artist website: jasoneanderson.net

Available DRAFT releases can be purchased at https://draftrecords.com
Truth will ship November 7th.

GIFT/DRAFT’s second 2017 performance, March 18

Gift Tapes logo Gift Tapes / DRAFTpresents:
Matt Carlson, Jeff Witscher, Jason E Anderson

Matt Carlson. Photo: Valerie Calano

Our second show of 2017 could prove to be one of this series’ least ‘accessible’ presentations, but that didn’t seem to deter people; there were many new faces and really large turnout!  I was extremely happy about this, as the quad setup and video projection made this one of my more complex setups at the Chapel.

Jason E Anderson. Video: Emily Pothast

After announcing the performance, I began my set (Jason E Anderson), mostly hidden behind a ridiculous amount of hardware hear, which was driven by a computer running Supercollider programmed to generate control voltages to automate a modular synth and send MIDI notes to Roland MKS-70 (which is the Twin Peaks synth in a box).  I won’t speak to how this was received, but it wasn’t as much of a train wreck as I thought it’d be!

Jeff Witscher’s performance probably hit the hardest, pushing the volume to the limits of what the space will allow.  His set contained both 100% synthetic tones and enhanced field recordings/foley sounds edging towards the artificial, played back via computer. What struck me the most was his use of space–dynamic gestures made of noisy textures and clean tones, but punctuated with varying moments of silence.  His accompanying video was very much coming out of Witscher’s visual repertoire: a sort of autobiographical view into his world through a collage of symbols captured to video from a phone… an odd blend of comedic and beautiful.

Matt Carlson. Video: Emily Pothast

Matt Carlson’s performance was a bewildering assault of a seemingly unlimited set of modular synth patches, punctuated by word fragments and presented in 4-channel quad surround sound.  This was synthetic maximalism taken to the next level.  Carlson performed his piece using a mic and a sampling keyboard setup (NI Kontakt, computer, midi keyboard), mapping each key to a massive array of custom modular synth patches and voice recordings.  Each of these sounds were then assigned to different locations throughout the speaker array.  Sounds glided and jumped from one place to the next, occasionally colliding in such a way that sentences seemed to form around you. It was impressive to listen to such large assortment of sounds and witness how they could form a specific logic together.

A special shoutout to: James Watkins for again running video and lights, to Robert (RM) Francis for managing the door and merch, to Steve Peters/Wayward Music Series for making the show possible, and to audience for pitching in on the cleanup!

MATT CARLSON, JEFF WITSCHER, JASON E ANDERSON

Gift Tapes/DRAFT Presents:
MATT CARLSON, JEFF WITSCHER, JASON E ANDERSON
March 18, 2017
Chapel Performance Space
4649 Sunnyside Ave. N, Seattle
8pm
$5-15 sliding scale

MORE INFO/SOUNDS:
HTTP://WWW.GIFTTAPES.COM/GT-PRESENTS/
FACEBOOK EVENT PAGE:
HTTPS://WWW.FACEBOOK.COM/EVENTS/129760860846677/

  

Gift Tapes/DRAFT presents a night of experimental electronic music featuring Matt Carlson, Jeff Witscher, and Jason E Anderson – for the second installment of its 2017 program at the Chapel Performance Space, in association with the Wayward Music Series. Making his first Seattle appearance since the release of The View from Nowhere (Shelter Press), Portland’s Matt Carlson will perform a 4-channel piece for modular, synth and voice. Jeff Witscher (Rene Hell) will perform a computer music composition set to video. Local sound artist and Gift Tapes/DRAFT head Jason E Anderson will perform computer-controlled synthesizer.

MATT CARLSON
Matt Carlson is an electronic music composer from Portland, Oregon. He works with analog modular synthesis, voice, computer, field recordings, and improvisation to construct dense clouds of surrealistic electroacoustic sound phenomena. His most recent work includes “The View from Nowhere”, a text-sound LP for the French label Shelter Press, and “Aakash”, a collaborative LP with vocalist Michael Stirling and guitarist Doug Theriault. He also performs with bass clarinetist Jonathan Sielaff as Thrill Jockey artists Golden Retriever.
https://soundcloud.com/matt-carlson

JEFF WITSCHER
Jeff Witscher was born in 1983 in Long Beach, California and currently manages his own cleaning company Vincent’s Expert Cleaners in Portland, Or. He has recorded under a few different names, Rene Hell perhaps being the most known. He is an avid chess player & spends most of his time working, cleaning & reading. He focuses on sound composition utilizing his computer attempting strong narratives with accompanying videos for his live performances. He’s currently working on Cob Music & reclaiming his position atop fantasy basketball. Recent solo recordings include Bifurcating a Resounding No!, 2014; Meclu, 2013; Vanilla Call Option, 2013.
https://soundcloud.com/rnpetalgaz

JASON E ANDERSON
Jason E Anderson is an artist from Seattle whose work includes performance, recorded works, video, installation, and music for dance. He creates sound using synthesis, acoustic recordings, programming and text. His work emerges from the traditions of experimental music and sound art. Anderson performs and records music under his own name, as Spare Death Icon, and in performance art / music / film hybrid LIMITS with dancer / choreographer Corrie Befort. He is an active performer, an organizer/producer of performance events in the Pacific Northwest, and he publishes the recorded work of his contemporaries on his experimental music record labels Gift Tapes and DRAFT. Anderson’s recorded work can be found on these labels, as well as Locust, Digitalis, Aguirre (Belgium), SicSic (Germany), Börft (Sweden) and many others.
http://pathoftheelk.com/
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2017 Performers: Million Mists, Jonathan Sielaff, Norm Chambers, Matt Carlson, Jason E Anderson, Seth Nehil, RM Francis, Cameron Shafii, Jarrad Powell, Pulse Emitter, Seattle Phonographers Union, Mesh Collaborative