Tonight (Friday, January 6, 2012) DKO is performing our first concert of the year. We’ll play two sets at Acadia, 329 Cedar Ave S., Minneapolis, MN 55454. This little gem of a venue has one of the best beer selections in the city. There’s no cover and all ages are welcome. Here’s another segment from our December 16, 2011 performance at the Kitty Cat Klub. This one starts out with some Pro-One arpeggios then moves into Rhodes playing with a solo at 4:43 and then a Pro-One solo at about 9:25.
This video illustrates the amazing sound art of Christine Sun Kim. Rather than explain it, or give away any details, please watch the video. You will thank me afterward!
I’m currently preparing a performance for my graduate critique seminar on October 4, 2011. As I have been working on the piece, tentatively titled Forgotten Channels, I have been capturing little chunks of interesting sound. Here’s an example of something I decided to preserve from a recent practice session.
On June 4, 2011 the Battle of Everyouth was staged and performed outside of the Minneapolis Institute of Art (MIA). I performed improvisational music non-stop for three hours with Luke Anderson (electronics), Jon Davis (bass, bass clarinet), and Graham O’Brien (drums, percussion). This video documentation is accompanied by bit and pieces from the board mix during the event. My instrumentation included the Rhodes electric piano, Sequential Circuits Pro-One, Electro-Harmonix Memory Man Delay, and Korg Monotron.
This arpeggio includes stacked Roland D-50 and Roland MKS-80 sounds, plus some mad, metallic, nightmarish, knob tweaking that I did on the MKS-80. For me the piece invokes a vision of unsuspecting creatures going about their business, unaware of a predatory horror that lurks in their midst.
I accidentally created this pack of cyber wolves on the Super Jupiter. I was dialing in sounds while watching the oscilloscope and getting all sorts of crunchy delights when all of a sudden I was hearing these eerie howls. Fortunately I was recording all along, so afterward I edited it down to the best bits and uploaded it for your enjoyment.
This 1:52 minute segment of improvisation from the DGK performance at Try This 2 on March 25, 2011 contains drums by Tim Glenn, Soprano Sax by Jon Davis, and jumble sale of gear played by yours truly. These instrument include, in order of appearance, the Sequential Circuits Pro-One, followed by the Korg Monotron, my handmade Sonodrome Posc, and my Max for Live, granular synth, Grain Machine. Prior to this performance I had been limiting my palette of textures to the Rhodes and the Pro-One, but for this performance I thought I would try including the Monotron, Posc, and Grain Machine in order to draw from a few more atonal colors.
Here’s the second in a series of stacked polyphonic synthesizer experiments. Once again I used the Roland D-50 and the Roland MKS-80. The percussive sound that fades in and out was made by by the D-50, and the evolving synth texture came from the Super Jupiter while manipulating parameters with the Bitstream 3X. My goal is to eventually have control over D-50 with the BS3X as well.
On March 13, 2011, my trio DGK (Jon Davis on bass, Tim Glenn on drums, and John Keston on Rhodes and Pro-One) performed at the Honey Lounge in Minneapolis, Minnesota in collaboration with an esteemed line-up of colleagues. Through the night people came and went, so in the upcoming parts of this series I’ll name the individuals involved. For the beginning of the evening it was DGK with Martin Dosh on additional drums, and Juno Alpha 1, Scott Fultz on electric guitar and soprano saxophone, Andrew Broder on electric guitar, Rajiah Johnson on flute, and Brandon Wozniak on tenor saxophone. The record is a bit chatty at times, but that’s to be expected with bootleg recordings. You never know, you just might stumble across a bizarre conversation buried in the mix.
DGK and Friends Part 1 (36:16)
