Details:
On Wednesday, June 26th we proudly presented electro-acoustic sound collage artist S*Glass (NYC), experimental music project Mumber Toes (CMH), and Reon Moebius’ solo project Seagull Died on Impact (CMH). Performance took place at the Old First Presbyterian Church.
About the artists:
Numerous practices make up the electro-acoustic sound collages created by S*Glass. He combines tape music, electronic processing, voice, found sound, and chance operations. Every show uses a different batch of curated audio, mixed live, while the self-produced studio albums are more refined assemblages. The playing of non-musical objects is sometimes incorporated (dental floss, aluminum foil, wind-up toys, metal lunch box, cabbage). Self-shot video is screened during sets, which is mostly textures made with multiple layers that slowly wobble out of sync, jump cuts, and a smattering of primitive animation. The overall effect is one of surreal disorientation.
S*Glass is a founder of Bren’t Lewiis Ensemble (a large non-musical music group begun in the early 1980s), and Glands of External Secretion (a duo with rock musician Barbara Manning since the early ’90s). From the late ’80s until 2004, he was the main driver behind Bananafish. Since 2017, he’s performed as a solo artist and completed U.S. tours of the West Coast, New England, part of the South and Midwest, England and Scotland, a handful of places in Canada. This past October he toured Australia and New Zealand for three weeks; coming up in April is 10 days in the Southwest.
He’s released music and sound on his label Butte County Free Music Society, and has also collaborated with an international array of others such as Dylan Nyoukis (Scotland) Anla Courtis of Reynols (Argentina), Noel Meek (New Zealand), Bryan Day (US), Andrew Zukerman (Canada), Cody Brant (US), and Orchid Spangiafora (US). Other labels include Chocolate Monk (UK), Siltbreeze (Philadelphia), Spleencoffin (Baltimore), Blue Spectrum (UK), l’Esprit de l’Escalier (US), Krim Kram (Ireland), Independent Woman (New Zealand), Beartown (UK), Ikuisuus (Finland), Tanzprocesz (France), I Dischi Del Barone (Sweden), Coherent States (Greece), Feeding Tube (Massachusetts), VHF (Virginia), Opax (Italy), Ultra Eczema (Belgium), Dinzu Artefacts (Los Angeles), and Starlight Furniture Co. (San Francisco).
A riddle wrapped in a mystery inside an enigma is thee The Mumber Toes, also called Karen Eliot, and seen to hir subjects as the Wing’d Master ov Thee UnEnding Beginning and TheE Timeless End Times. SHe has been producing all varieties of unholy racket for nearly half a century utlizing everything from battery-powered sex toys and sheet metal to synthesizers. SHe has spent time in the trenches with ensembles including Second Family Band, Davenport, Hintergedanken, Superjack! and all too many more. Recordings have been issued on myriad labels including 23 Productions, Brave Mysteries, Mansfield Deathtrap Re-Recordings, Skulls Of Heaven and hir own Backbacon Records imprint.
Reon Moebius is a self taught multi-instrumentalist and co-founder of the independent internet record label Argali Records, which he co-operates with Nathan James Carter since 2009. As a transplant to Columbus: Reon Moebius has been actively working on both recorded material for his main-stay band projects (Collector Of Dust/Seagull Died On Impact), and loosely involved in performing at various special events and venues within Franklin County since moving in 2017. Seagull Died On Impact, Reon’s second outfit, was created to fill in for solo live performances to loosen pressure on the limitations imposed on his first band project due to lack of immediate collaborators and bandmates. Centered around thunderous synthesizer bass drones, ritualistic drum machine programming, Reon’s solo electric violin playing is given a vast yet intimate space to soar across: inspired by the taut, hypnotic minimalism of the seminal New York industrial duo Suicide & Canadian avant garde violinist Nash The Slash. In a live setting, this project is meant to bring the intense ‘wall of sound’ approach of the flagship outfit into a more direct and visceral manner.