The Experimental Education Series has returned for 2019! The EES is a quarterly concert series with accompanying workshops designed to illuminate the often opaque genre of experimental music while simultaneously amplifying the voices of female and non-binary composers in experimental music.
Saturday, April 27th NEPHILA and VASCULAE w/ local support from C Olivia Valenza, Eli Smith
The Jazz Gallery Center for the Arts (926 E Center St) CONCERT at 8:00 // WORKSHOP WITH NEPHILA at 4:00 All Ages FREE!!! (donations encouraged)
ABOUT THE FEATURED ARTISTS: Through Nephila, Los Angeles based artist Shannon Kennedy combines her work as a string player, sculptor and theater designer into performance pieces that center around her sonic sculptures. With them, she weaves sound environments and narratives that depict connections between the natural world and the human psyche.
Vasculae is the solo moniker for Jonathan Borges. Newly completed material, the first in over a year following a long battle with various creative blocks, introduces a dark ambient element to the ongoing focus of placing harsh noise in different contextual environments. Voice recordings are filtered beyond recognition in the hope that their original intent transfers to the listener.
As a duo, Kennedy and Borges perform as Pedestrian Desposit (who play Milwaukee the night before).
"Experimental noise doesn’t get a lot of attention from the world at large, but the genre — if that’s really the right word to use — harbors a vast ecosystem of obsessive gear-heads, studious academics, sonic misanthropes and theatrical freakazoids. Pedestrian Deposit borrows from many of these camps, but specialize in a high-contrast sound all their own. They’re disciplined but volatile, subtle but sadomasochistic, well-practiced but in thrall of ear-splitting iconoclasm. They don’t perform often, which makes sense considering how draining their live shows can be. At their most recent local gig, held nearly a year ago at the downtown DIY space Handbag Factory, Borges blasted the audience with squealing power electronics while Kennedy turned herself into a human stringed instrument, scraping a bow across an amplified metal wire, with one end fastened to a collar around her neck and the other coiled tightly around her arm. The performance was spellbinding. It was also painful, leaving bloody lacerations on Kennedy’s skin and pushing her muscles to the limit." -LA Weekly
