As SASSAS enters the final weekend of our annual fund drive, I want to thank everyone who’s given so far. We have $6,800 to raise in order to reach our fund drive goal of $10,000! Please donate today.
Why does SASSAS continue to be one of the leading experimental music organizations in Los Angeles?
SASSAS pays artists a guaranteed fee for all sound. and soundSpark concerts. Artists receive $100…
July soundShoppe was intense and sustained, going nonstop the entire time and weaving through all sorts of moods and atmospheres. Case Hudson, a soundShoppe regular was using a guitar with effects. He was trying out a Mystic pedal, which I think he said was a blend of sustain and distortion. David Hendrey as combining the output from his keyboard with mixer feedback. Mike Meanstreetz from the Whereas Collective was exploring percussion. Bernd Buerklin moved…
It’s been a long time coming but I’m holding a copy of V1.1 of SASSAS Records with tracks by Aaron Dilloway and Extended Organ (Mike Kelley, Paul McCarthy, Fredrik Nilsen, Joe Potts, Tom Recchion) and a cover by Dave Muller! It looks and sounds amazing. Dave’s cover was inspired by Aaron’s track – titled Union of the Snakes.
Copies of V1.1 will be available at Dave Muller’s Three Day Weekend celebrating Bastille Day July 14-18 at Blum & Poe. The…
Another great soundShoppe thanks to Case Hudson, Max Zimmerman and Christopher Walker. It was pretty electronic. Case had a really nice compact array of circuit bent and off the shelf stuff including an elegant and mysterious wooden box and Christopher was playing some mini Korg boxes. Max had a guitar and a few pedals but had no problem trading interesting sounds with the two other great improvisers. Funny, the ensemble was minimal as far…
soundShoppe January 2015: Wild Don Lewis and Erin Worra duet 2015 came in with a bang. After a holiday hiatus soundShoppe returned with a well attended and somewhat raucous session fueled by the irrepressible energy of the musicians associated with the Vernon based WHEREAS collective.Sax wielding Erin Worra (PRESENT) blasted through some amazing horn duets with soundShoppe alumni Wild Don Lewis (Small Drone Orchestra) while other collective members drove the wall of…
November’s soundShoppe was hosted by musician and photographer Wild Don Lewis, who was also kind enough to write this month’s Potts Report.
THOUGHTS ON IMPROVISATION AS EXPERIENCED THROUGH SOUNDSHOPPE
Sometimes I play with the music, and sometimes I go against it. Sometimes going against it brings the overall sound to a whole new level, an unexpected area that can be quite exciting.
It seems that nothing can go wrong. I can throw anything into the mix, and it will…
The October soundShoppe hosted a small but intense ensemble. Evan Surak (Laconic Chamber) showed up with one of those great little MiniBrute synthesizers I keep lusting after, plus Moogerfooger pedals, a Eurorack modular synth, and the Animoog soft-synth. Jack (Dominique Pratt) had a Moog and a guitar and the two of them really drove the session. Don Lewis (Small…
In 2009, I spent two months in Alaska interviewing and working with this year’s Pulitzer Prize winner for music, John Luther Adams, for my 2010 documentary “The Reach Of Resonance.” John has been exploring the sonic geography of Alaska through birdsong, Alaska Native language and drumming, and the geophysical phenomena of the land and sky. At the time, he was composing “Inuksuit,” a piece for nine to ninety-nine percussionists that has the audience literally hike through the piece, as musicians…
First things first, to all the soundShoppers and sound. followers who reached out to pull SASSAS from the financial abyss this summer let me say, you had our back and now you have our undying gratitude.
September soundShoppe was outstanding, with lots of “boys with toys.” There seemed to be a duo thing happening this month. From The Mercury Seven there was Ken Lee and Christopher Echols. Ken had an array of instruments including a Pigtronix…
1. The members of Southern California Sound Ecology (SCSE) come from a range of different musical perspectives and backgrounds, from noise to “slow sound” (which is related to lowercase)….how did you come together to form SCSE? How do the different approaches inform the group as a whole?
Jorge Martin: It could be that each member (past, present, future) of the ensemble has their own historical perspective of how the SCSE formed, but I credit Glenn Bach for its start…