DANIEL LIPPEL, POPEBAMA, & JONATHAN SIMS ON NYSOUNDCIRCUIT 10.1

SATURDAY, november 12, 7:00pm EST
loft393, NEW YORK, NEW YORK

NYsoundCircuit 10.1: “LOFT PRESENCE” brings you an evening exploration of intricate and colorful guitar sounds, enticing happenings of light and geometry, and new horizons of electroacoustic music. For NYsoundCircuit 10.1 the formidable guitarist DANIEL LIPPEL will headline the evening, alternating sets with the experimental duo POPEBAMA while the visual work of JONATHAN SIMS will be experienced. Interspersed throughout the evening will be driving DJ sets by CASA DE GALINDO. Daniel Lippel will perform a collection of contemporary music for guitar by Nils Vigeland, Vineet Shende, and Taylor Brook in various tunings and temperaments that highlights the instrument's capacity to reflect a variety of aesthetics with poetic subtlety. Popebama presents a hallmark adventure in fast-transitioning sound stacks, with a DIY flare and general overwhelming-ness. Staged in a series of stations, piled with small instruments and electronics, stage mixers, stands of varying height, and miles of cabling, the duo will present four boundary-pushing works by its core composer-performers Erin Rogers and Dennis Sullivan, alongside a powerful work from New York-based composer, Seong Ae Kim. Visual artist Jonathan Sims will present “Presence”, which can be described as “a work in light that explores the geometry of our feelings within tie and the present moment”.

Tickets

Advanced tickets are $15, student; $20, simple; $25, general (includes 1 complimentary drink); $45, VIP admission with complimentary hospitality - are on sale now at www.eventbrite.com/e/nysoundcircuit-101-loft-presence-tickets-441135336667. Mark your calendars, set reminders, and join us for the “LOFT PRESENCE” at NYsoundCircuit 10.1.

NYsoundCircuit 10.1: “LOFT PRESENCE” is on Saturday, November 12, 2022, 7:00pm EST at LOFT393, 393 Broadway, 2nd Floor, New York, NY 10013. Doors open at 7:00pm, performances begin at 7:30pm. Advanced tickets may be purchased at www.eventbrite.com/e/nysoundcircuit-101-loft-presence-tickets-441135336667. Tickets at the door: $20, student; $25, simple; $30, general (includes 1 drink); $50, VIP admission with complimentary hospitality.

About the artists…

Daniel Lippel: Guitarist Daniel Lippel, called an “exciting soloist” (New York Times) has a multi-faceted career as a soloist, chamber musician, collaborator, and recording artist. Recent recital highlights include Cleveland International Guitar Festival, Le Poisson Rouge (NYC), Sinus Ton Festival (Germany), the National University of Colombia in Bogota, and the Triangle and New York Classical Guitar Societies. As a contemporary chamber musician, he has been a member of the International Contemporary Ensemble since 2005 and counter)induction since 2019, and played as a guest with many other ensembles, including St. Paul Chamber Orchestra, New York New Music Ensemble, Wet Ink Ensemble, and Ensemble Dal Niente, performing at such venues as the Mostly Mozart Festival, Ojai Festival, Ottawa Chamber Festival, Macau Festival (China), and Kunst Universitaet Graz (Austria). He is the co-founder, owner, and director of New Focus Recordings, performing and producing on several of its albums, as well as appearing on recordings on other labels including Kairos, Sony Classical Japan, Bridge, Tzadik, Wergo, and New World.

Popebama is a New York-based experimental duo that focuses on exciting performances of unconventional works. Described as “Noisily Virtuosic” (—clevelandclassical.com), this “Slippery duo” (—New Yorker), of Erin Rogers and Dennis Sullivan specialize in text, electronics, high-energy instrumental writing, and freshly-squeezed sounds, creating work both individually and collaboratively. Popebama has been featured at the Elbphilharmonie (Hamburg), The Stone/New School, NYmusikk Bergen (Norway), Edmonton Fringe Festival (Canada), Splendor (Amsterdam), Le Poisson Rouge (NYC), Diabolical Records (Salt Lake City), ReSound Festival (Cleveland), and KM28 (Berlin) with guest appearances at Splice Festival, UMass Amherst, The Walden School, NASA Biennial, Hochschule für Musik Freiburg, Peabody Conservatory and “Open Call” at The ShedNY. Popebama’s debut album Nation Building (2020) is available from Gold Bolus Recordings.

Jonathan Sims is a New York City based visual artist. Born in Austin, Texas, he began his practice with painting, but has since moved into sculpture, projection installations, print and curation. His visual arts practice is characterized by geometric abstractions and light. A consistent premise underlying his work is that a modern human’s relationship with the very ancient past is mirrored in their relationship with the distant future. Since 2016, Sims has participated in a number of residencies, including Wassaic Project, the Visible Futures Lab at SVA, ChaNorth, Aros Art Museum in Aarhus, Denmark, and the Listhús Residency in Iceland. Sims has also curated three major group art exhibitions, two of which focus on light art in dark spaces: Solstice in 2019 at Flux Factory, and SPACE:LIGHT at Plaxall in 2020.

Casa de Galindo: After soaking up sounds from New York nightlife and coming from a classical background, Gilbert Galindo made his nightlife-mark as electronic music artist CASA DE GALINDO. Adept at spinning underground and tribal house, to dance pop hits with an electric, rhythmic, and classic flair, Galindo regularly DJs at The Stonewall Inn, Thirst Bar, and REBAR among other clubs, bars, and private dance parties across NYC. His latest track, “Nightmare” (Casa de Galindo Galaxy Mix) with Grammy-nominated vocalist J.R. Price is now out on all streaming services.

Program notes…

"Mouth Organ" (2020) by Popebama

No notes

"Maintenance Hum" (2022) by Dennis Sullivan

Maintenance Hum is an intentional organization of unintentional and unavoidable sonic events. The amplification of the tenor saxophone and percussion highlights more of the instrument "doing its job" as opposed to the aural product of the action (though this is also unavoidable). A series of over driven, self oscillating distortion pedals provide a layer of multiphonic noise to act as an adhesive between sometimes disparate sound worlds. Maintenance Hum is equal parts product and byproduct of instrumental sound. —Dennis Sullivan

"Paisanos Semos" (1984) by Tania León (b. 1943)

Pulitzer prize winner Tania Leon's Paisanos Semos, translating as "We's Hillbillies" combines Latin American rhythms with a modernist pitch vocabulary, unfolding in a unique form which is highly sectional before driving to a climactic rhythmic passage and a reflective coda.

Portrait II for Guitar and Electronics (Toccata) by Diego Tedesco (b. 1974)

Argentine composer Diego Tedesco was a protegé of Mario Davidovsky, and while the vocabulary we hear in his Portrait #2 for Guitar and Electronics is more gestural than Davidovsky's very transparent writing, the influence of Tedesco's late mentor is heard in the structural discipline and interaction between live instrument and electronics.

"House Music" (2020) by Nils Vigeland (b. 1950)

Written early in during the 2020 lockdown for an online performance by Dan Lippel, Nils Vigeland's three movement House Music is emblematic of Vigeland's interest in exploring the guitar's unique resonant capabilities and establishing a web of contrapuntal relationships on the instrument.

"Mazyrinth" (2022) by Seong Ae Kim

"According to the recent research, 74% of AAPI women reported having personally experienced racism or discrimination and 10,905 hate incidents targeting AAPI have been reported since beginning of the pandemic. The majority of incidents targeted women and 16 percent involved physical assault. Living in an asian woman's body in 2022 feels like being in a maze that has no way out, we are being hunted down like prey. How do we even process these horrific stories that happen around us? How can we move on with this enormous knot of grief and anxiety?

From maze to labyrinth; though the grief process feels like going down an unending spiral, often revisiting that tragic path is the only way to rediscover the new meaning of a trauma. Sometimes we take a step back to regain strength, in order to take two steps forward to re-member ourselves within ourselves and within our community to fight for justice. —Seong Ae Kim"

from "Wheels for 19 EDO" guitar (2021) by Taylor Brook (b. 1985)

Taylor Brook's Wheels for 19 EDO guitar explores the unique subtleties of this tuning and alternate fretting system through cross-string voicings that highlight the exotic intervals that result in a scale in which the enharmonic equivalence of equal tempered half steps of 100c each is replaced with 19 discrete notes, all 63 cents apart (i.e. F# and Gflat are two separate notes in 19 EDO).

from "Suite in Raag Marva" (2010/2021) by Vineet Shende (b. 1973)

Indian-American composer Vineet Shende's Suite in Raag Marva blends elements of Hindusthani music and contemporary Western composition, using an alternate tuning and extended techniques to evoke the tactile, textural world of the sitar and tabla.The two movements presented here are structured around the exploratory prelude, "Alap," and the percussion featured section, "Peshkar."

"Basket Case" (2021) by Erin Rogers

During a Popebama road trip, it became apparent through the constant dashboard drumming, that Dennis Sullivan knew the drum fills to nearly every 90's hit that landed on our randomized playlist. The fills in Green Day's Basket Case (Dookie, 1994) are rhythmically simple, yet played at top speed present such a perfectly crisp noise, that the song deserves a 30-year anniversary tribute. Paired with 0-Coast semi-mod desktop synth, freeze and ring modulation pedals, a peaked-out vocal mic, and a catalog of soprano multiphonics, Basket Case encounters and embraces its next-generation self. —Erin Rogers

from Partita #3 by Douglas Boyce (b. 1970)

Douglas Boyce's music engages with early music and historical tradition as a filter through which we hear contemporary material. His Partita #3 for guitar oscillates between intensely inward material and constellations of activity, closing with a Renaissance inflected passage that reveals material.

"Low Light for 19 EDO" guitar and electronics (2022) by David Crowell (b. 1978)

David Crowell's Low Light is a lyrical work that revels in the color of certain intervals in the 19 EDO tuning. Divided into an opening section of solo guitar music and a second section that adds subtle, ambient live electronic processing of the live guitar signal, Low Light establishes a sensual space facilitated by its sensitive approach to microtonality.

"Shard" (1997) by Elliott Carter (1908-2012)

Carter's Shard, written for David Starobin, is a condensed masterclass in his late compositional style, combining quicksilver tempo modulations, polyrhythms illuminated by accents and clever timbral counterpoint, and chromatic harmony framed around the All-trichord hexachord to produce a virtuosic showpiece that is as bracing for the listener as the player.

"Presence", visual light installation, Jonathan Sims

"A work in light that explores the geometry of our feelings within time and the present moment."

NYsoundCircuit 10.1: LOFT PRESENCE
Saturday, November 12, 2022, 7:30pm (Doors open 7:00pm)
LOFT393
393 Broadway, 2nd Floor
New York, NY 10013
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Advance Tickets ($15/$20/$25/$45)
Door Tickets ($20/$25/$30/$50)