Tag Archives: Ostracon

Experimental Music Mondays with Ten72, Ostracon, Terr the Om, and Davis-Glenn-Keston

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The Experimental Music Mondays series at the Kitty Cat Klub concludes this Monday, August 30 with a familiar lineup and newcomer Ten72 (Nils Westdal). Regulars Ostracon (John Keston and Graham O’Brien) and Terr the Om (Nathan Brende) are playing as well as my new unnamed trio Davis-Glenn-Keston. It is shaping up to be a fun and delightful evening of experimental music. Music will start by 9:30pm and go until 1:00am. Entry is free. Stop by and let us know what you think of this event.

This is the last chance to experience this series. For now there are no plans to continue the night at another venue, but depending on Monday’s turnout it may be taken under consideration. Thanks to all the people who have helped support this event, including Tom Rimarcik, Ryan Olcott, Graham O’Brien, and Nathan Brende, not to mention all the patrons who appreciated the work presented by the artists involved.

Ostracon Debut Limited Run on Cassette

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Ostracon and Unearthed Music have decided to release the Ostracon debut on cassette tape for promos and a short run for sale at shows and online. The as-yet-untitled release includes around 47 minutes of instrumental duets between myself on electronics (mostly layers of melodies produced by the GMS) and Graham O’Brien on drums. We recorded in the historically preserved Studio A of the former Flyte Tyme studios of Jimmy Jam and Terry Lewis fame. I’ll have more details soon, but expect the cassette to be available by the middle of September just before our performance at the In / Out Festival of Digital Performance in New York City.

The immediate response I get from most of the people I have told is, why cassette? I have to admit to being heavily laden with nostalgia for this format. As a kid (and into adulthood), I taped jam sessions, records and CDs constantly, especially my own LP collection. I was acutely aware of how quickly the quality of vinyl records could degrade. Cassettes are small enough to fit in your pocket, or bring a dozen of them on a road trip. You can throw one out a window, pop it in the deck and provided it didn’t get run over by a truck it will sound the same. I melted records in hot car interiors, had them scratched and broken by myself, friends, or siblings, and wore them out from over playing. Now I realize that tape in the long term is even more ephemeral than vinyl. So, again, why release a modern recording on cassette tape?

Since making the decision I have noticed that it’s not as rare of an idea as I thought. There is definitely a movement back toward this barely antiquated format. I don’t have any meaningful reasons for choosing tape, but I know that I’m not the only one to have nostalgia for it. This might be a good excuse for others to get out their cassette player of choice and listen to some old favorites they haven’t digitized yet. Remember packing your tape before recording, or tightening the reel with a pencil? I’ll probably throw in a card with a download code for those without a cassette deck, but what are your thoughts? Would you love to get you hands on a cassette of new music, or would you seek out a downloadable alternative?

Ostracon at In Out Festival, September 2010

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Ostracon Video from Unearthed Music on Vimeo.

My project Ostracon (John Keston and Graham O’Brien) has been selected to perform at the In/Out Digital Performance Festival in New York this September, 2010. The schedule hasn’t been finalized yet, but we’ll be playing either on the 17th or 18th of the month at the Tank Theater, 354 West 45th Street, New York, NY 10036. Last year’s lineup included Monome creator, tehn (Brian Crabtree), and Peter Kirn of Creative Digital Music. From the In/Out Festival website.

In/Out is an annual festival that features leading performers, developers, artists, and tinkerers of the digital design community in hopes bridging the gap between the forum based world and the stage. The festival seeks to bring digitally driven performances into the limelight with two full days of workshops and performances.

This video is a live studio piece shot by Ai student Josh Clos, and recorded at Ai Minnesota by John Keston and Graham O’Brien. It’s representative of the music that we are generating during our live performances. For more checkout the Ostracon tag here on ACB, or visit our bio on Unearthed Music.

The Somethin’ Else Electronic Music Potluck

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This Friday, June 11, 2010 is the first in a series of events put on by Jon Davis called The Somethin’ Else. This instance is subtitled Odd Couples and features duets that have one artist producing electronics with a second, in contrast, mostly acoustic player. The performers include the following:

Jon Davis & Elaine Evans
Brett Bullion & Chris Smalley (Burnsville)
Steve Goldstein & Scott Fultz
Tim Glenn & Jeremy Ylvisaker (Siamese Bug)
John Keston & Graham O’Brien (Ostracon)
Adam J To & Dejen Tesfagiorgis

The event is located at the Stevens Square Center for the Arts, 1905 3rd Ave S., Minneapolis, MN (above the 3rd Ave. Market). The music starts at 7pm and goes until 10pm. All ages are welcome. A $5.00 cover is optional if you bring food or drink to share. It’s a potluck!

I’m excited to be performing at the show with my project Ostracon (John Keston on electronics and Graham O’Brien on drums) at 7:30pm. Expect to hear some angular GMS layers combined with Graham’s on-the-verge-of-chaotic drumming.

Experimental Music Mondays Part 4

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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.”