On the evening of Friday, June 3rd, we are delighted to present multidisciplinary artist Michael Masaru Flora (CA), experimental electroacoustic musician/instrument inventor Greg O’Drobinak (IN), electronic experimental music duo EnD (DET), and experimental saxophonist/composer Zack Kouns (CMH). Doors 7:00pm, show begins at 7:30pm sharp. $9.25 prepaid ($8 + $1.25 TicketTailor processing fee), $10 per ticket at the door.
Covid protocols: All attendees are strongly encouraged wear a mask regardless of vaccination status. We will provide masks at the door. We kindly request that audience members refrain from bringing food and drinks into the space.
Our Frequency Fridays 2021-2022 season is supported by the Greater Columbus Arts Council, the Ohio Arts Council, the Columbus Foundation, and the SBA.
About the artists:
Michael Masaru Flora is a multidisciplinary artist currently living and working in California. Working within the intersections of art, science, music, and mathematics, he is interested in the emergent phenomena that occurs through non-deterministic and autopoietic processes. Informed by architecture, systems, perceptual psychology, visual art, and computer music, his works often take the form of large scale installation and performance. His work has been presented in School of Design Nanjing University of Arts (China), Shanxi University School of Fine Arts (China), Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA), Luggage Store Gallery (San Francisco), Orange County Center for Contemporary Art (CA), St Cloud State University (MN), Alfred University (NY) as well as clubs, galleries, theaters, warehouses, and universities internationally.
Greg O’Drobinak is a musician, phonographer, composer and engineer. He has performed with the FROG gamelan ensemble, the Chicago Scratch Orchestra, Chicago Phonography, the World Listening Project, Dissecting Norton and the NON Opera. His dexterity with realtime sound transformation and diffusion has been highlighted in such works as Timeports, a surround sound piece for processed didjeridoo, John Eaton’s microtonal piece Sor Juana’s Dream and Greg’s composition Batik Isen for computer and carillon performed at Rockefeller Chapel. His compositions for the NON Opera have been designed with infrasonic underlayments designed to evoke specific psychological states in the audience via his Acoustic Canons. His NON Opera instrumentation included the Acoustic Mirror of the World, a tactile platform Greg designed to stimulate one’s body with low-frequency audio from selected field recordings. Greg’s field recordings have been featured in concerts at the MCA in Chicago, the opera Dissecting Norton, the Cage Variations V and in the program he produced for framework radio, Worlds Unheard. Greg also designs, and performs with, a number of unique electro-acoustic invented instruments constructed from found materials. These instruments are often heavily processed to enhance the abstract qualities of their sound.
EnD (pronounced Eee En Dee) is an experiment in chaos. EnD’s mission has been one of constant change. Always seeking out new tools, both sonically and visually, EnD strives to give the audience a new experience every time. Improvisation is the key to keeping it fresh. No two shows are ever the same. Even the projected visuals are played randomly. Pure chaos. EnD is Eddie Jackson, using his ever evolving collection of noise toys and mixing board known as Soundlab, and Damon Palyka using his baritone and 12 string guitars run through his elaborate pedal board and hand built effects unit known as ZOD.
Undoubtedly one of the busiest and most insightful individuals in the realm of contemporary outsider art, Zack Kouns carries out activities as a bandleader, performer, author, researcher, prankster, and composer, creating what he calls Modern Liturgical, Hermetic Hillbilly and Chamber Bluegrass. He utilizes tenor and alto saxophone, harmonium, electronics, duduk, violin, vocals, and many other instruments. Due in no small part to the wide assortment of tools with which he develops his songs, the musical stylings between each body of Kouns’ work vary considerably. The thematic and lyrical content of Kouns’ forays into his self-developed genres draws from many distinct sources, allowing him to create concept albums teeming with metaphor and allegory. Numerous esoteric subjects, chiefly religion, mythology, ancient history and romantic philosophy, manifest themselves across the spectrum of his creative output.