Three Premiere Duos brought to you by Black Editions and The Unwrinkled Ear Concert Series:
Noel Meek (electronics) / Elaine Carey (electronics) – DUO
Elaine Carey (electronics) / Christian Asplund (viola) – DUO
Christian Asplund (viola) / Noel Meek (electronics) – DUO
Friday, September 29, 2017
Coaxial 1815 S. Main St.
Los Angeles 90015
Doors at 8:30pm
Music at 9:00pm
$10/ ($5 for previous performers in series)
Noel Meek is a Wellington, New Zealand based weird sound maker. He runs the superb label, End of the Alphabet Records, and organises gigs and festivals in New Zealand. His heavy electronic gorges will satisfy your tailspin.
Elaine Carey plays a mean set of gestural DIY electronics that is best experienced with your forehead. She is known in Los Angeles for her booming wildness in noise duo telecaves (with Juliette Amoroso). You may also recognize her from a previous Unwrinkled Ear concert, or from one of her ongoing collaborations with bright musical storms like Carlos Giffoni (as Rogue Squares), John Perreira and Ariel Rosenberg (as Preferred Pronouns), Gabie Strong, Carla Bozulich and Devin Sarno. Past collaborators include avant garde guitarist Ben Miller, Bill Nace, Mitchell Brown, Xiu Xiu, and psych rock outfit Pink Mountaintops.
Christian Asplund is a Canadian-American composer-performer (on viola, harmonium, piano, electronics) based in Utah, where he is a professor at Brigham Young University. He cofounded Seattle Experimental Opera, which has produced seven of his operas. He has performed with such musicians as Christian Wolff, Eyvind Kang, Larry Polansky, Daniel Good, Francois Houle, Michael Bisio, Robert Reigle, Tom Baker, Greg Campbell, Jessica Lurie, Amy Denio, Gino Robair, and Phil Gelb in a variety of venues and recordings in the U.S., Canada, Europe, and Australia. His scores are published by Frog Peak Music. He appears on CDs on Tzadik, Present Sounds, Sparkling Beatnik, Maritime Fist Gleeclub, and Comprovise Records.
His book on Christian Wolff, coauthored with Michael Hicks, is forthcoming on University of Illinois Press. He is an associate editor at Perspectives of New Music.
Of his music, Stuart Dempster has said, “Asplund, in his well-crafted compositions, delightfully teases us on those slippery slopes between composition and improvisation,” while a jazz reviewer has said Asplund’s music “walks a squiggly line that passes through jazz…, free improv, rock, funk and a whole spectrum of ‘modern classical’ styles, including minimalism, serialism and a handful of other ‘isms’…”