- Aaron Tyler Osborne / ELECTROGONG • ELECTROGONG • eurorack synthesis and gong speaker system with elements of electroacoustic percussion • Gongs are speakers • 15
- SWO (Savino Go, Will Judd, Olive Harlan) • Baritone Saxophone, Live Electronics, Live Video • 12
- Daniel Karcher • Unstable Alloy • concerto for no-input mixing board • 15
- Indicative of Drumming • Drums and lektronix • Or such • 20
- Total: 62 mins
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ELECTROGONG
eurorack synthesis and gong speaker system with elements of electroacoustic percussion
Aaron Tyler Osborne / ELECTROGONG
Utilizing modern implementations of technology developed in the 1930’s, gongs and transducers are used to transmit the sounds of improvised ambient music. Sounds are generated using input from a constantly changing array of eurorack synthesis devices and electroacoustic percussion.
ELECTROGONG is a solo project created by Kansas City based multi-instrumentalist Aaron Osborne. Ambient atmospheres are created using a combination of 1930’s gong speaker technology, modern modular synthesis and electroacoustic percussion.
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SWOnumberonemarmotsaretheheavyweightchampionsofthesquirrelfamily
Baritone Saxophone, Live Electronics, Live Video
SWO (Savino Go, Will Judd, Olive Harlan)
SWO is the name of a multimedia artist collective comprised of Savino Go, Will Judd, and Olive Harlan. “SWO #1 (Marmots are the heavyweight champs of the squirrel family)” is an approximately 12 minute long, multimedia guided improvisation. Technically, this improvisation involves a combination of live video feedback, live performance of an Ableton Live set, audio feedback between a Baritone Saxophone and a guitar amp, screen recording of Ableton Live, and live and fixed A/V playback. The goal of the improvisation is to draw connections between abstract pieces of impersonal internet culture by using these pieces as a medium to explore experimental noise and video.
SWO ((S)arge (W)armot (O)nsemble) is the name of a multimedia, improvisatory artist collective comprised of Savino Go, Will Judd, and Olive Harlan. Through collaboration and improvisation, SWO seeks to establish connections between abstract, impersonal forms of internet content by using such content as a medium for artistic experimentation. The goal of SWO is not to be meticulous, or necessarily even to infuse media with a pre-determined sense of meaning; rather SWO works aim to reflect the lived experience of internet culture and community, artistic or meaningless, in order to become a catalyst that drives personal, artistic discovery. SWO has worked with Ross Karre, Heather Mease, and Josh Augusten.
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Unstable Alloy
concerto for no-input mixing board
Daniel Karcher
I hate concertos. I find the act of glorifying a single performer in the midst of large ensemble somewhat distasteful. That might not always be the musical purpose of the genre (solos often just sound cool), but concertos are consistently advertised to audiences goers as featuring a singularly special person. And I think music should build up communities, not individuals. But despite this stance, Unstable Alloy is the closest thing I’ve written to a concerto, featuring a no-input mixing board that is accompanied by an electronic orchestra. The work is improvisational in nature, with the backing track adding contrapuntal opportunities and solidifying the overall form. There is even a cadenza and contrasting thematic statements, formal elements that I hope add a bit of order in an otherwise purely chaotic texture. But in other ways, the work inverts the elements of a classical concerto, substituting a soloist seen as completely in control of their instrument for the chaotic feedback loop of a no-input mixing board that is impossible to fully control.
Daniel Karcher is a composer and educator residing in Georgia. Both his electronic and acoustic music can vary drastically from piece to piece, but often contains experimental elements, spatial textures, and a fondness for long-term gestural development. He earned his doctorate from the University of Georgia and has earned previous degrees from the University of Miami and Oberlin Conservatory. As an artist, he views his role as that of an explorer, discovering new patterns of ideas, sonic frontiers, and atmospheric landscapes to then share with listeners. Aside from composing, his musical interests include discussing aesthetics, playing viola among friends, and analyzing video game soundtracks, text scores, and indeterminate music.
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Drums and lektronix
Or such
Indicative of Drumming
Indicative of Drumming thrives on improvisation and active listening, repurposing nostalgic audio artifacts into electro-acoustic sound collages that tread the line between parody and pastiche. By appropriating screens, speakers, silicon, and social media—indeed, the very weapons of capitalist mass distraction—I create sonic art that catalyzes critical examination of a society pushing us toward more consumption and less reflection. Through this approach, I aim to uncover glimpses of meaning, self-reflection, insight, and joy.My music is improvised so it’s is about listening… I listen for ways to up-cycle audio artifacts into electro-acoustic sound collages which tread the line between parody and pastiche; hoping to unearth a tiny bit of meaning, self reflection, insight, fun and aesthetic pleasure along the way.
I create sounds using a combination of acoustic/analog/digital tools. My laptop holds a pseudo-cultural nostalgic junk-pile of sounds that were tattooed onto my brain during childhood (tv themes, commercial jingles, vocal snippets, etc) mixed with slightly less nostalgic sounds from my early creative work. At times I “play” the electronics by using analog-to-digital interfaces and at times the electronics play themselves using various algorithmic processes which I have created to suit my tastes. The algorithms add an aleatoric element to which I must react in the moment, lending the music improvisational unpredictability and excitement.