Experimental Music Mondays Part 4

Part four of the Experimental Music Mondays series begins at 9:00pm on May 31, 2010 at the Kitty Cat Klub in Minneapolis with Heizerbaum & Panderton featuring Andrea Steudel from MinneapolisArtOnWheels.org, with sound artist Luke Heizerbaum (actually I don’t think that’s his real last name, but let’s go with it). Expect to see some fascinating projections including images from a microscope of a vinyl record as it spins on a turntable.

Next up is Ostracon (John Keston on electronics and Graham O’Brien on drums). We perform generative, improvisational compositions using the GMS (Gestural Music Sequencer), that converts video input into musical phrases. “Keston captures, layers, loops and processes melodic segments in real-time out of the stream of notes created by his gestural input, tailored with probability distribution algorithms. O’Brien accompanies these angular, electronic structures, with dynamic playing that, at times, verges on the chaotic. More about Ostracon can be found at audiocookbook.org and unearthedmusic.com.”

Closing the evening is Twenty Thirteen, “a trio, made up of Chris Robin Cox (Junkyard Empire, Minneapolis Free Music Society) playing electric trombone, Bryan Berry playing guitar through tons of effects and loops, and Kahlil Brewington laying down bad ass funky drums. The music is ambient, yet groovy as hell, and incorporates influences as diverse Portishead, Bitches Brew era Miles Davis, and classic hip-hop, drum n’ bass, and dub beats. It’s like nothing you have ever seen live. The band sometimes performs with a fourth member: a television, which sits facing away from the band, and channels can be changed by audience members; the band providing the soundtrack for a television they do not watch. It’s a bit of a social experiment.”

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About John CS Keston

John CS Keston is an award winning transdisciplinary artist reimagining how music, video art, and computer science intersect. His work both questions and embraces his backgrounds in music technology, software development, and improvisation leading him toward unconventional compositions that convey a spirit of discovery and exploration through the use of graphic scores, chance and generative techniques, analog and digital synthesis, experimental sound design, signal processing, and acoustic piano. Performers are empowered to use their phonomnesis, or sonic imaginations, while contributing to his collaborative work. Originally from the United Kingdom, John currently resides in Minneapolis, Minnesota where he is a professor of Digital Media Arts at the University of St Thomas. He founded the sound design resource, AudioCookbook.org, where you will find articles and documentation about his projects and research. John has spoken, performed, or exhibited original work at New Interfaces for Musical Expression (NIME 2022), the International Computer Music Conference (ICMC 2022), the International Digital Media Arts Conference (iDMAa 2022), International Sound in Science Technology and the Arts (ISSTA 2017-2019), Northern Spark (2011-2017), the Weisman Art Museum, the Montreal Jazz Festival, the Walker Art Center, the Minnesota Institute of Art, the Eyeo Festival, INST-INT, Echofluxx (Prague), and Moogfest. He produced and performed in the piece Instant Cinema: Teleportation Platform X, a featured project at Northern Spark 2013. He composed and performed the music for In Habit: Life in Patterns (2012) and Words to Dead Lips (2011) in collaboration with the dance company Aniccha Arts. In 2017 he was commissioned by the Walker Art Center to compose music for former Merce Cunningham dancers during the Common Time performance series. His music appears in The Jeffrey Dahmer Files (2012) and he composed the music for the short Familiar Pavement (2015). He has appeared on more than a dozen albums including two solo albums on UnearthedMusic.com.

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