Archive for experimental music

Emily Lacy and Carmina Escobar, “The Voice Precedes the Word,” Bronson Caves, June 13, 2016

Posted in reviews and commentary, video footage with tags , , , , , on June 15, 2016 by Carol Cheh

Hey y’all what’s up. Been a while since I wrote in here. Yesterday I made my way up to our Bronson Caves to catch Emily Lacy and Carmina Escobar doing an experimental vocal recital. It was site-specific, in the most beautiful and sensuous way; the two of them felt their way up from the floors and walls of the caves, uttering small sounds that seemed to emit from the rock and earth around them, slowly and steadily building in frequency and volume and then moving from separate tunnels toward each other and improvising and bouncing off each other and gaining momentum and weaving in and out of one another until finally they crescendoed together, their voices bouncing off one other like sonar bats and ascending into the skyline, thick and ragged and free. Few performances have taken me to into another state of mind and I am happy to say that this one did. Enjoy the final five minutes in the video above! xo Carol

The Voice Precedes the Word was part of Dogstar 12, an annual festival of experimental music around LA.

Dawn Kasper, Karen Adelman, Tara Jane ONeil, Alejandra Herrera, and Marilyn Arsem, Free Clinic #2, curated by The Action Bureau, Human Resources, October 13, 2011

Posted in reviews and commentary with tags , on October 24, 2011 by Carol Cheh

The above image captures one of my favorite things in Free Clinic #2, a suite of three performances by women artists curated by The Action Bureau. It’s the “score” that Karen Adelman worked from as she improvised primal screaming noises to accompany the ongoing OCD hoarding adventures of Dawn Kasper, while musician Tara Jane ONeil worked a drum set, a noise machine, and various objects.

In a sharp departure from her recent series focusing on popular song, Adelman channeled Diamanda Galás and Yoko Ono as she ventured fearlessly into the world of operatic noise. The work, titled Meditations in a Fucked Up Emergency, began powerfully in the dark with Adelman letting out several prolonged shrieks from the outer rungs of hell to announce the start of the piece. ONeil devised mysterious percussive and ambient noises in the background as Adelman continued her wordless sonic venturing, reaching for booming highs as well as moody, irregular lows.

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