Quiet City #32

Quiet City #32

ADMISSION: $12 advance $15 door
BUY TICKETS (Advance tickets will be available till Wednesday March 15, 11:59pm)
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The thirty-second edition of this series features performances by:
⊚ Crawling Human
⊚ John Chantler (Stockholm)
⊚ Loscil
⊚ Rosen (UK)
⊚ Smalltime Magic (Sydney/Vancouver)

Quiet City is a series of deep-listening concerts in Vancouver, focused on live performances of experimental, electronic and improvised music in a comfortable and intimate setting. Quiet City was established in 2010 and is curated by Constantine Katsiris.

■ CRAWLING HUMAN ■
https://crawlinghuman.bandcamp.com/

They dug and dug, and so
their day went past, their night.
And they did not praise God,
who, so they heard, wanted all this,
who, so they heard, witnessed all this.
They dug and heard nothing more;
they did not grow wise, invented no song,
devised for themselves no sort of language.
They dug.

■ JOHN CHANTLER ■
http://inventingzero.net/

John Chantler is a musician working with synthesizers, electronics and sometimes pipe organs to explore his own personalised compositional and improvisational strategies — working with and against the specific systems inherent in his chosen tools. His most recent LP — Which Way To Leave? (ROOM40) — charts an unpredictable, highly dynamic course through distorted washes of masses harmonics and passages of spare, alien beauty. This follows Still Light, Outside (1703 Skivbolaget) — an extended suite that combines passages of stark minimalism centred at the bodily invasive extremes of the pipe organ’s register with striking explosions of colour; massed chords shot through with heavy distortion and electronics that operate according to their own dream logic. Originally from Australia he spent a decade in London before moving to Sweden where he also directs a small festival for ‘other music’ in Stockholm called Edition. The Second Edition took place in February 2017.

■ LOSCIL ■
http://www.loscil.ca/

Loscil is the project of Vancouver-based composer Scott Morgan. Morgan’s background in the local independent music scene was as a drummer and guitarist, and his academic composition studies at Simon Fraser University culminated in the creation of Loscil in the late 1990’s. With Loscil, Morgan explores the marriage of electronic production and acoustic instrumentation to create “…stark landscapes that are evocative, earthly, anything but abstract, and so much more than merely ‘ambient’.” (The Quietus, UK).

Loscil has released music through esteemed labels such as Kranky and Ghostly International, among many others. He has produced numerous remixes and collaborated with musicians such as Rachel Grimes, Christina Vantzou, Destroyer, and Kelly Wyse. He has composed for film and appeared in bold documentaries such as The Corporation, Scared Sacred, and Damnation. He has created bespoke music for dance and video games such as Hundreds and Osmos and has performed worldwide including at renowned festivals such as Mutek, Decibel, and Big Ears.

■ ROSEN ■
http://rachaelrosenltded.com/

Rachael Melanson is an transmedia artist from the UK who plays with the fissure between author/reader and online/offline environments, she explores the fluidity of this space, acting as a connective tissue that binds and blurs the divides between. She also performs under the alias, Rosen, and has produced event based works that have been presented at the likes of New Forms Festival (Canada), TARP Audio Visual Poetry Festival (Lithuania), The Audio Foundation and The Physics Room (New Zealand), VOIDOID Archive and the ICA (UK).

■ SMALLTIME MAGIC ■
http://alexandraspence.net/smalltime-magic-1

Smalltime Magic is a sound art duo made up of musicians / playmates Alanna Ho and Alexandra Spence. They present audiovisual performances and installations that explore the idea of ‘play’ as an entrypoint into the world of sound and technology, often featuring toys and unusual sound sources. Now correspondence-based between Vancouver and Sydney, their work examines sound in relation to notions of place, memory and daily experience. They are influenced by the notion that all knowledge begins in experience; their performances and installations invite the audience to engage with their surroundings through the acts of listening, moving and exploring. The work of smalltime magic favours subtlety, and quietude; delicate sounds that ebb and flow, objects that vibrate, spaces that resonate. Carefully constructed aural layers gradually move and develop, inviting contemplative interaction and active thought.