On Thursday, October 24, 2019 at 8 PM, Green Kill presents a great night of musical performnce, featuring Book of Clouds, Sandy Ewen and Elka Bong. 10 dollars at the door or you may reserve tickets using the green “Order Tickets” button. Seating is limited to 45. Soft Drinks and imported snacks are available at Ozubar. BYOB.
About Book of Clouds
Chilling noise comes seeping through our stereo speakers as we descend upon the first glimpses of sound contained in “Prélude,” the opening track in Book of Clouds’ new albumLivre De Nuages Vol 1, and as we press on, it slowly evolves into an abstract melody that we simply can’t escape from in the five songs that follow. Using the term “song” seems a little out of place when describing what Book of Clouds has assembled for us in this set of live recordings, as there is neither structure nor rhythm to any of the music that we discover in the whole of the LP. That said, the textural pulse of these tracks is almost certain to leave you in a daze by the time you finish listening to this awesomely experimental record.
If there’s a story to be told in this album, it isn’t one that is delivered unto us by conventional means at all whatsoever. It’s conveyed to us purely through the guitar noise that effervescently glows in “Chapitre 3” the midsection of its predecessor. If you live for ambient textures, this is an LP that you should consider required listening in 2019, as its robust foundation is formed out of the gritty acrylic tension that is created when two polarizing agents of sound meet head-on in a battle of the bulging basslines. Ian C. Bouras and Federico Balducci aren’t trying to be Lennon and McCartney in Book of Clouds; actually, they’re in fact striving to create something much more instinctual and primitive than any other pop musicians have before.
YOU TUBE: https://www.youtube.com/watch?v=qTyth9i_8S4
The master mix here is angelic but tightly wound in every one of these tracks, making it really easy for us to embrace every understated nuance in the bass, middle and treble without ever encountering a cloudy, unlistenable patch of sonic dribble. I can’t imagine what it would be like to see Book of Clouds in a small, insular club; while they’re far from Sunn (O))), their quaking heaviness is probably the most memorable component of any given performance. It certainly had a lasting impact on me after listening to “Chapitre 4” and “Chapitre 5” at full volume recently – an experiment that I would only recommend to listeners with a trained ear for sharply-appointed, droning ambient dirges.
Livre De Nuages Vol 1 is, without a doubt, the most stirring piece of music that I have had the pleasure of listening to all year long, and that’s no small statement to make when you consider the vast amount of organic talent that has emerged from the underground in this first quarter of 2019. Book of Clouds aren’t restricted by the commercial interests of pop music, and they definitely could care less about what the mainstream model for melodies consists of; their mission is centered on developing the most incredible improvisations that two individuals can muster with effects pedals and a guitar, and I must say, what they accomplish in this record is nothing short of stunning. There’s no scarcity of good music due out this year, but I highly recommend giving this album some of your time this month – I have a gut-feeling that you won’t regret it.
About Sandy Ewen
Sandy Ewen is a sound artist, visual artist and architect who has recently relocated to NYC from Houston, TX. Ewen’s audio practice focuses on extended guitar techniques, improvisation, graphic scores and interdisciplinary collaboration. Her unique approach to guitar incorporates a wide array of implements – railroad spikes, sidewalk chalk, threaded bolts, steel wool and other items become an arsenal of abstraction. Ewen has worked extensively with film makers, dancers, poets and musicians to create films, audio recording, sound interventions and performance art. Ewen’s musical collaborations include trio Etched in the Eye, duo with Tom Carter called Spiderwebs, the trio Garden medium, and ongoing collaborations with percussionist Weasel Walter and bassist Damon Smith. For nearly ten years, Ewen has been the leader of an all-female large ensemble. The ensemble conceptualizes and performs sound and performance art, utilizing graphic and text based scores and improvisational constraints. The ensemble performed with an amplified bathtub at Diverse Works in 2016, and performed a suite of installation-specific compositions for Francis Alÿs’ Fabiola Project at the Menil. Sandy has spent much of 2017 touring, performing solo sets and in collaboration with Steve Jansen (tapes and electronics) and Maria Chavez (turntables) around Europe. In years past, Ewen has performed alongside Roscoe Mitchell, Keith Rowe, Lydia Lunch and many others, and has performed and recorded with Jaap Blonk, Henry Kaiser and more. In 2014 she performed at San Francisco’s 13th Annual Outsound New Music Summit, and she has made several appearances at Austin’s annual No Idea Festival.
Born in Toronto, Canada in 1985, Sandy Ewen received a Bachelor of Architecture from the University of Texas at Austin in 2008. Since then she has resided in Houston, TX where she pursues musical and visual projects and her architecture license. Ewen has released several albums, including a duo with guitarist Tom Carter, a trio with bassist Damon Smith & drummer Weasel Walter, and a rock album with Austin’s Weird Weeds. Ewen’s visual work is closely tied to her work in sound; she uses both mediums to explore texture, composition and materials.
Ewen’s microcollages, enlarged through projection and digital printing, are an exploration of material and technique. Using a unique process pioneered by the artist, natural materials and polymers are torn, liquefied, scorched, melted, cut, and fused. When enlarged, the microscopic nuances of these manipulations are manifested in exquisite detail. Ewen has presented prints of her work at 14 Pews (2012), Spacetaker/Fresh Arts (2012), Khon’s (2013) & Galeria Regina (2014).
As an improviser in both art and music, Ewen sees herself as guiding materials and space rather than executing a preconceived composition. “I like to explore mediums and materials and tease out their essence,” says Ewen. “Working with slide projections has focused my eye on the subtitles of natural processes of decay and transformation. Through my work, I am asking questions of the materials rather than dictating answers.”
About Elka Bong
About Green Kill
Green Kill is a multi-use performance space dedicated to a diverse and growing creative community. Green Kill’s mission is to create artistic opportunities through peer to peer organization of talented and dedicated visual, performing and literary artists.
Find out how you can support green kill here: https://greenkill.org/2019/07/12/please-support-green-kill/
Green Kill is a handicapped accessible exhibition performance Space located at 229 Greenkill Avenue, Kingston, New York, 12401, email@example.com, open Tuesday to Saturday from 3 pm to 9 pm, closed on national holidays. The phone number is 1(347)689-2323. For the event schedule please visit http://greenkill.org/2017/04/24/green-kill-activities/. Exhibition viewing hours are Tuesday-Saturday, 3-5 PM or you may make a special appointment by contacting firstname.lastname@example.org or phoning 347-689-2323.