Friday, September 23, 2016

Interview with Daniel Malinsky


"Daniel Malinsky is an improviser and composer from Pittsburgh in the United States. His work is improvised electro-acoustic music, with varying instrumentation but in recent years his ultra-minimal performances have been comprised of audio feedback, electro-magnetic interference (from mobile telephones or other electronic devices), and amplified object manipulation" (blurb swiped from Cafe Oto). He'll be improvising with Matt Aelmore, Stephen Boyle, and Eric Weidenhof as part of Crucible Sound #20 on Saturday, October 1st at Wood Street Galleries. 

You've been very busy since your last appearance at Crucible Sound almost 2 years ago. Can you tell us about your Japanese and European tours?

I had a very nice time performing in Japan and exploring that beautiful country (it was my first time there). I played in Fukuoka, Kobe, Osaka, Kyoto, Yokohama, and Tokyo, collaborating with folks like Masafumi Ezaki, Yuma Takeshita, Yuji Ishihara, Tetuzi Akiyama, and Toshimaru Nakamura. All of these people are innovative and amazing artists, and it was really a privilege to work with them. It was especially interesting since there was with some people somewhat of a language barrier (I don't speak Japanese, unfortunately) and so in a few cases the bulk of our communication occurred while playing. Toshi Nakamaru has been an inspiration to me ever since I was just getting into electroacoustic improvised music, and playing with him was a special honor — I was very nervous. He was also instrumental in organizing the tour and I am really thankful for that. Everybody I met there was also really nice and friendly, I had a lot of fun. It was nice to see a bunch of great performances on nights I was or wasn't playing. I saw some creative stuff that spanned the gamut of noise, improvised music, electroacoustic improv, jazz, weirdo rock, and folk, plus mixtures of these things and styles hard to classify. Some of the performances which most surprised me and made me uncomfortable (in a good way) were ones that combined folk or pop or "straight ahead" jazz with electroacoustic music in ways I had never seen in the USA. It was obvious that Japanese musicians are continuing to push the boundaries of innovative art. On top of all this, I managed to visit places (venues, record labels/stores, etc) that I had only read about but which played an important role in the history of Japanese experimental music, so that was really cool for me.

In Europe I played a handful of shows -- in London, Prague, Berlin, and Munich -- in between attending some conferences and visiting friends, so it was a low-key and spread out kind of "tour." All the shows were good experiences (though I blew out my mixer in London -- forgot about the voltage difference on the power grid!). I had an especially nice time in Prague, which is a beautiful city where I saw a nice mix of experimental music and film/media art. In addition to playing a solo set there, I collaborated with Laura Luna and Michal Kindernay which was a really good experience. In Munich the show was great, but I also had a nice time playing baseball with some new friends, in the park where Oktoberfest happens. I felt a bit of pressure because I was coming from a country where baseball is the national pastime and I am terrible at sports. Luckily, I managed to do ok.

Any examples of those performances which surprised you?

I can't think of the group names right now, but for example I saw Yuma Takeshita perform with a band that was playing something akin to indie folk or folky indie rock (say, in the style of Galaxy 500 or something). Yuma plays "electro-bass" which is a self-made bass guitar with oscillators and various noise-making electronics built into the body. So, on top of reverberant guitar strumming there were electronic clicks, sine waves, low frequency oscillations, etc. Those strange sounds were not superfluous, and they did not come off as gimmicky or weird for-the-sake-of-weird. They combined with the other sounds to make for a strange and creative kind of harmony.


Can you describe the music you were performing on these tours?
The materials I perform with vary, but on both of these tours I was amplifying the electromagnetic interference of mobile phones with a guitar pickup. I have a small collection of old (donated) phones which are not connected to service, but they keep searching for signal and thus interfere with the magnet in the pickup, which is transformed into audible crackling and fuzz and clicking. I manipulate this signal a little bit, just with the EQ on my mixer. I also use the mixer to create feedback (in a "no-input mixing board" style), mostly quiet and high-pitched pure tones. In addition to this, in Japan I was amplifying the surface of a snare drum, and scratching/scraping/poking/rubbing it with various objects. In Europe I was mostly using a cymbal in place of the drum. But various components of this setup changed from show to show. Something nice about taking the cell phones on tour is that they behave quite differently in different places, I guess because the operating standards of cell towers and cellular network infrastructure differ country-to-country.

That's interesting, I hadn't considered the notion of site-specificity when it comes to physical phenomena like interference. Did this result in any unexpected moments or cause you to improvise in new ways? 

Setup from DM's performance in Tokyo
Some of the sounds coming out of my phone setup were quite different than what I had come to expect based on recent performances in the US. (I seem to remember things being especially different in Germany.) This was nice, as it provided new material to work with, especially since I often prefer to let the phones and other electronic components do their thing for long stretches of time without intervening. When I don't know how my equipment will behave ahead of time, I get to focus on listening, rather than preoccupying myself with producing a certain outcome. I like to experiment in the moment, learn how the constructed "system" (of electronics, speakers, wires, space) behaves in the course of a performance. Then the structure of the resulting piece of music is a reflection of my learning process. This is why it is also nice to use borrowed equipment. Some years ago, when I was playing mostly with microphone feedback -- something very site-specific since feedback behaviors would depend strongly on the room, the condition of the equipment being used, the spacing between microphones and speakers which was never exactly replicated -- "learning" the behavior of a system and putting that on display as performance was very important to me. That has been less central in recent performances, but I'm happy to get back into it.

What you're saying about listening reminds me of a line from Michael Johnsen's bio: "His work is characterized by a relative lack of ideas per se, and an intense focus on observation, the way a shepherd watches sheep." This deemphasis of the artist's role as idea generator and embrace of an almost journalistic approach is compelling. I wonder how this plays out when you're collaborating with other musicians, though. How/does your approach to observation change when you've got multiple human actors involved? 

That's a tough question, and my own views about it are far from settled. One of way of thinking about it just considers those other human actors as part of the "system" — they determine by their actions some major part of how the whole performance sounds just like features of my electronic components and instruments and performance space influence the sound of a solo piece. So, I try to listen carefully, to think more about what's going on around me and where the other players might be going than "what's my next move." I'll admit that I'm not always successful, this is something I'm working on.

In Japan I was traveling with a good friend who is not himself a big fan of this kind of improvised music, but he is an astute listener. He mentioned at some point after a concert that some improvised performances seemed to him to exude a kind of masculinity. When I asked him what he meant he said that some players came across as dominating — they kind of flex their musical muscles and determine for others where the music will go, what the presiding aesthetic will be like, maybe by being loud or persistent or uncompromising or by using certain kinds of sounds that compel other players to react instead of contribute as equals. (I'm paraphrasing here.) I think there is a lot of truth to this, and if we intend to have truly egalitarian improvising experiences we have to be vigilant. We like to think that improvising which is "free" (i.e., not structured by the forms and expectations of jazz and other genres) is non-hierarchical, but just as in politics dismantling hierarchies is not sufficient to ensure equality, so it is in improvised music. There are always power differentials and social dynamics; even when there is no prevailing order or structure explicitly elevating somebody and putting somebody else down, domination and marginalization can arise in subtle ways. So, I like to think about which practices (if any) can really ensure that all the people playing do contribute to the artistic product as equals.



More information about Daniel Malinsky's music is available at dmalinsky.info

Friday, September 9, 2016

Fall 2016 lineup

Excited to announce that Crucible Sound is back this fall at Wood Street Galleries

crucible sound fall 2016 lineup


Monday, October 5, 2015

Crucible Sound #19: Thursday, October 8th, 2015

Crucible Sound #19
Thursday, October 8th, 2015

Ricardo Iamuuri - guitar, vocals, electronics
https://iamuuri.bandcamp.com/

Neil Newton - guitar
(AM Faces)
http://www.music.pitt.edu/faculty/newton

Justin Riddle - percussion, tapes
(DeLeon, My Brightest Diamond)
As usual, the musicians will improvise in ad-hoc groups.

Doors at 8:00
Music starts at 8:30, ends by 11:00 (3 sets)
$7 suggested donation

on Facebook

Sunday, July 26, 2015

Crucible Sound #18: Thursday, August 13th, 2015

Crucible Sound #18
Thursday, August 13th, 2015

Jason Belcher - trombone, trumpet
(Full Circle Time Machine)
https://soundcloud.com/belchercomp

Ben Grubb - alto saxophone, invented instruments
(Lungs Face Feet)

Jim Storch - percussion, objects
(Burnout Warcry)
https://burnoutwarcry.wordpress.com/

Eric Weidenhof
https://soundcloud.com/ericweidenhof

As usual, the musicians will improvise in ad-hoc groups.

Doors at 8:00
Music starts at 8:30, ends by 11:00 (3 sets)
$7 suggested donation

on Facebook

Monday, July 6, 2015

Crucible Sound #17: Thursday, July 9th, 2015

Crucible Sound #17
Thursday, July 9th, 2015

Aaron Brooks - guitar
(Nite Vapor)
https://aaronbrooks.bandcamp.com/

Kris Gruda - guitar
https://adurgsirk.bandcamp.com/

Chris McCune - drums
(Dendritic Arbor, McCune/Trimm duo)
https://dendriticarbors.bandcamp.com/

Brian Riordan - electronics
http://www.brianriordanmusic.com/

Jeff Weston - bass
http://www.jeffwestonmusic.com/

As usual, the musicians will improvise in ad-hoc groups.

Doors at 8:00
Music starts at 8:30, ends by 11:00 (3 sets)
$7 suggested donation

on Facebook

Friday, June 5, 2015

Interview with Aaron Zarzutzki

photo by Graham Stephenson via faceplace 
Aaron Zarzutzki describes himself as "an improviser of various sorts." From his home base in Chicago, he investigates "misuse and perversion of objects and systems...virtuosity, volatility, futility, and capability are thought of." He'll be visiting Pittsburgh to perform at Crucible Sound #16 on Thursday, June 11th at Modernformations. 

The long-running Myopic Improvised/Experimental Music Series in Chicago is one of the inspirations for Crucible Sound here in Pittsburgh. Can you talk a little about the series and your involvement? 

En route to Chicago from Florida 10 years ago, I played a gig in Atlanta and bassist Pat Lawrence mentioned the series to me. My first day living in Chicago was a Monday so I checked it out. Shortly after that, Fred Lonberg-Holm and Brian Labycz roped me in as a host. The series was founded over 20 years ago by Weasel Walter. The shows are aimed to be like a workshop for the musicians as they are encouraged to play in first time groupings often with others they might not normally play with. Percussionist Julian Kirshner is currently the other organizer. The series has hosted players ranging from Jim O'Rouke to some dirty dude off the street.

Can you talk about some of your recent collaborations? 

I've got a new project with guitarist Jacob Kart that has been fun. Guitar and synthesizer duos with attention towards harmony. It feels great to actually play notes now and then.

Ben Bennett and I were booked to play in a quartet with Wilson Shook and Ryan Jewell back in 2009, but my trip to Seattle got bumped to a different month. Ben and I finally played in 2012 as a totally acoustic duo. Last year we played in a trio with Fred Lonberg-Holm which was one of my favorite sets I've ever played. Ben just stopped through Chicago and Fred wasn't around so we did a couple days of recording as a duo. I'm still trying to wrap my head around the material that resulted from the recording. Lots of overlapping timbres, but the main aspect of the music might be stochastic and gesture-free processes versus more gestural events. A lot of moments might sound like a field recording, but mutate into something that is definitely two people hacking away in a room while keeping the same timbral elements. Very excited to see where the duo is headed.

I don't really know how to discuss playing with Graham (Stephenson). I met him when I was a long-haired teenager at a Lescalleet show. It took us a long time to finally play together and now we do it often. Playing with Graham always feels very low-key and casual.



The Green Pasture Happiness was one of the greatest improv trios of all time and criminally under-documented. Danfan (Daniel Fandiño) lives in Jersey now and Brian (Labycz)'s efforts have shifted towards house and techno musics, so tGPH lies in a state of dormancy. We do have unreleased material with Guillermo Gregorio, Jim Baker, and Frank Rosaly which will hopefully surface someday before the reunion concerts.



Nick Hoffman is one of my favorite people on and off the court. When he was last living in Illinois, he was out in Schaumburg so we didn't get together regularly, but we still managed to do some weird weekend tours. Sometimes as a duo, but we did trios with Mattin and Takahiro Kawaguchi in Normal, Illinois of all places. The most recent things Nick and I have done together are rock music. His Pilgrim Talk imprint released my "best of the hightone years" tape and I played in drums in a disastrous tour for his black-metal-sans-distortion-and-screaming-meets-garage band Back Magic. Their last album "Chorus Line to Hell" is really something special.




How about your solo pursuits: what have you been focusing on lately? 

A few years ago I had a computer failure that lost two solo projects. An acoustic and field recording based "softcore" for Ghost and Son and an all synthesizer based "relentless love" for Copy For Your Records. The last track off the latter was saved and now I'm about to make the rest of the record inspired by the lost one.

Can you talk about how you choose your weapons? I know historically you've invested a fair bit of time and energy into creating or modifying your own instruments and processes, like: no-output turntable, homemade electronics, and the setup you described to me recently that involved tattoo coils and mechanical feedback. For Crucible Sound, you're going to be playing synthesizer. Conceptually, what has pulled you down these different paths? Do you see them as separate modes, or as related threads? 

I've been working with electronic instead of acoustic setups lately because people seemed too interested with the objects I was using instead of the sounds they were making. I don't really see my different instruments as being different paths. It all stems from the same curiosity. When I got my first guitar I had to mess with the tuning pegs and see what was under the pickguard. If I'm walking down the street and something catches my eye, I have to pick it up, flick it, shake it, see what sounds could come out of it. I don't really consciously develop these ways of playing, I just mess around all day and see what sticks.



Aaron's most recent release is "No Dice" with Graham Stephenson on Hideous Replica

Wednesday, June 3, 2015

Crucible Sound #16: June 11th, 2015

Crucible Sound #16
Thursday, June 11th, 2015

Aaron Zarzutzki - synthesizer
"Aaron Zarzutzki is a improviser of various sorts. He works primarily with misuse and perversion of objects and systems. Virtuosity, volatility, futility, and capability are thought of. Zarzutzki currently lives, works, and plays in Chicago." Aaron has collaborated with many artists including: Nick Hoffman, Brent Gutzeit, Joshua Manchester, Kevin Drumm, Fred Lonberg-Holm, Takahiro Kawaguchi, among many others. He is a member of Green Pasture Happiness alongside Brian Labycz and Daniel Fandiño. His most recent release is "No Dice" with Graham Stephenson on Hideous Replica.
http://erstwhilerecords.com/catalog/EA003.html
http://www.discogs.com/artist/765116-Aaron-Zarzutzki

Margaret Cox - electronics, objects
http://www.contrib.andrew.cmu.edu/~mc94/marzipan/HELLO.html
http://cruciblesound.blogspot.com/2013/04/interview-with-margaret-cox.html

Anthony Levin-Decanini - card readers, tabletop guitar, tapes
(Lead Pall, Consultant, Binges)
https://soundcloud.com/adecanini

RJ Myato - electronics, guitar, etc.
(Wiretappers, Consultant)
http://killcollectorculture.bandcamp.com/

As usual, the musicians will improvise in ad-hoc groups.

Doors at 8:00
Music starts at 8:30, ends by 11:00 (3 sets)
$7 suggested donation

on Facebook