I am pleased to announce another crow with no mouth promotions show in Minneapolis.
On August 6th, 2011, there will be two sets of music – Fraufraulein, the duo project of Anne Guthrie and Billy Gomberg, and a solo set by Nathan McLaughlin. I discovered these three musicians in the last couple of years through the usual skein of linked curiosity, serendipity and, in the case of McLaughlin, this site [McLaughlin contacted me, expressing interest in a Minneapolis performance].
Anne and Billy have a working duo called Fraufraulein, integrating field recordings, electronics, French horn and sundry other sound sources. I came to know Anne and Billy’s work when Richard Kamerman sent me a couple of Delicate Sen releases on his Copy For Your Records imprint; Delicate Sen is a fantastic trio comprised of Kamerman, Guthrie and Gomberg. At nearly the same time, someone sent me a copy of Gomberg’s solo release Comme, lush song-forms shaped from real-time software/Juno-synth improvisations. Across these three projects it is evident Gomberg has developed diverse, even divergent areas of music – at times pitch-based, moored by soft pulses, reminiscent of Supersilent or Steinbruchel; in the duo and trio settings, he is focused almost totally on fitting and folding discreet electronic textures and timbres into the mix. Gomberg is refreshingly unensnared by style/genre biases, and these three projects are evidence that his omnivore’s approach to sound does not result in diminishing returns.
Guthrie I discovered through her stunning release on Engraved Glass, Standing sitting, three location recordings subtly limned with sine tones and a nearly invisible contextualization that sneaks up and reveals itself upon repeated listens. Guthrie the improvising French horn player I encountered first in Delicate Sen [in which at times, contrary to what you might imagine would be the case when a French horn is embedded with two electronicists, Guthrie’s is the least delicate voice]. Trained as both a composer and an improviser, and like Gomberg, genuinely indifferent to the limitations of genre-adherence, Guthrie can put the French horn through Bill Dixonesque paces, or float warm, sustained tones over the crackle and jangle of her compatriots.
It is refreshing in ways you must hear to understand that Gomberg and Guthrie interface as they do, in terms of both their instrumentation and their brio; nothing studied or dry where Fraufraulein are concerned – the duo bounces and zings sounds across the space between them, sounding intimate and intent on keeping things fresh.
Nathan McLaughlin’s reel-to-reel and synth-based creations, Echolocations # 2, 3 & 5, own moments of authentic beauty and mystery – some of his loops sound like chopped and screwed ambient music, some like a less dire Jason Lescalleet. Though the Echolocation series is, according to McLaughlin, of a specific time and approach to melodic development now in his rear-view mirror, I asked him to bring the reel-to-reel work to this concert. I am pleased as hell McLaughlin will make the trip here, as he rarely plays out.
As the date approaches, I will provide venue details.
New music by Fraufraulein on the stellar net label, Homophoni
Title from a Virginia Woolf diary.