[Microsound-announce] Wed, Oct 12 English, Skaters, Tom Carter, Matt Davignon in San Francisco

Matt Davignon mattdavignon at sbcglobal.net
Mon Oct 10 13:59:03 EDT 2005

Wednesday, Oct 12 2005 9:00 PM
Hotel Utah
500 Fourth Street @Bryant
San Francisco

English (from Korea!)
Tom Carter (of Charlambides)
Matt Davignon

English is: 
Joseph Foster - trumpet, digital delay pedal,
Bonnie B. Jones - digital delay pedal, microphones
Joe Foster came to Seoul in 2002 from Portland,
Oregon, where he had been playing for a million years
with JP Jenkins, Bryan Eubanks, Peevish, Super Unity
and everybody else in that bubbling musical
underbelly. Joe Foster plays trumpet, electronics, and
non-instruments. Bonnie Jones was born in South Korea
in 1977 and until recently her work has focused
largely on text and performance. However, a recent
trip back to Korea introduced her to the digital delay
pedal and circuit bending. For the last year she has
been collaborating with Korean musicians. Bonnie B.
Jones plays digital delay pedal, flute, microphones.

The Skaters - 
Thaumaturgy writes "keening vocals, embedded drones,
electronic whine, intermittent tattoos of one-handed
percussion, slashes of autoharp, and other
unidentifiable voices that work in tandem to produce
synesthesiac arrest. ...a disturbing
pseudo-ethnographic foray straight out of Lovecraft.
Are the Skaters worshippers of the Fungi from Yuggoth?
At the very least they ingested it before recording
this track, where drums, autoharp, and other
instruments play out a pageant of possession over a
sickly tapestry of screams and chants.” 

Tom Carter (I don't know much about him. He's from a
band called the Charlambides, and online research
suggests he builds psych/noise/pseudo-minimalist sets
out of lap steel guitar.)
Matt Davignon is an experimental musician living in
Oakland, California. Since 1993, he has developed his
own unique style of music, which focuses largely on
textures, arrhythmic patterns and musical
imperfections. Since 2004, he has been working almost
exclusively with a drum machine, run through a series
of effects and samplers. Drawing from what he's
learned in his previous work in sound collage, field
recordings, found objects and prepared instruments, he
creates an organic array of drones, gurgles and
frantic passages.

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