[Local events] PDX New Music: Tuesday 3/13, 8:00 pm

David Abel passages at rdrop.com
Tue Mar 6 22:22:00 PST 2007

from Brandon Conway:

Its Pdxnewmusic time again already!

Next Tuesday (3/13) at 8:00 pm
(13th and NW Glisan -- upstairs.)

Check out some fine music by:

John Niekrasz and Ben Kates (Thicket)
Drums and Sax Improv


Matt Hannafin and Brian Moran (Shunyata)
Percussion and Electronics

Plus -- maybe we'll do a group improv/score.

See you next week. (tell your friends)



THICKET (also called the Opening Revolution of 1918 or the August
Revolution of 1918) is a term describing a series of pointed
rebellions and uprisings which started on August 12, 1918 against both
The Staid Order and The Movement of Expectations. THICKET was
prominent for the remainder of that century and continues to this day.
The revolution broke out during the Fifth All-Nation Congress of the
Sublime, at which the anti-regulation speeches of Anarchists and the
Left Sublimist-Revolutionaries received no support from the
overwhelming majority of pro-tedium delegates. Defeated at the
Congress, the Anarchists and Left S.R.s pursued their aim of
sabotaging the Treaty of Sonic-Tedium and dragging striated sound into
percusso-melodic assemblage by assassinating the regulatory Ambassador
in a small basement in Portland, OR on August 12, 1918. This resulted,
both directly and indirectly, in the THICKET revolution. The main
rebel force was a detachment commanded by B. Kates and J. Niekrasz,
two men sympathetic to the Left S.R. and members of The Free. About
1,800 revolutionaries took part in the insurrection, bombarding The
Expected with artillery and seizing the telephone exchange and
telegraph office. During the many years that they remained in control
there, they sent out several manifestos, bulletins and telegrams in
the name of the Left S.R. Central Committee declaring that THICKET had
taken over power and that their action had been welcomed by the whole

Brian Moran (electronics), Matt Hannafin (percussion)

Brian Moran and Matt Hannafin began performing as a duo in 2004 to 
explore the Buddhist concept of shunyata (emptiness) within the context 
of contemporary non-idiomatic improvisation. Their approach can be 
compared to natural erosion: a slow sculpting of the auditory landscape 
by alternately incorporating, enveloping, and acquiescing to the 
performance space's ambient sound. In the end, the space is transformed 
by the music that went before, though nothing of it remains.

“In shunyata there is neither movement nor non-movement nor both 
movement and non-movement nor something other than movement and 
non-movement. Reality embraces all, includes all, and transcends all.”

Electronics player Brian Moran has been working in New York since 1981, 
beginning with experimental dance and expanding out to performance art, 
live video/sound, improvisation, DJing, punk, and contemporary theater. 
His career as a psychiatric nurse and his fascination with energy work 
and body psychology have informed both his movement works, with their 
body quirks and obsessive gestures, and his music, which channels the 
tics of Tourette's Syndrome, the rituals of the autistic, the 
obsessiveness of the addict, and the subtleties of life deviance. His 
collaborators have included artists as diverse as Lydia Lunch, Ikue 
Mori, the live video group NNeng, and the Yoshiko Chuma and Stephanie 
Skura dance companies. Currently, his approach to musical performance 
employs a variety of circuit-bent electronics, analog synthesizers, 
field recordings, and processing devices.

Matt Hannafin is a New York-born, newly Portland-based percussionist 
active in both free improvisation and Iranian classical and traditional 
music. He studied Iranian tombak (classical goblet drum) with master 
Kavous Shirzadian, Arabic and Indian percussion with Jamey Haddad and 
Glen Velez, African and Afro-Caribbean percussion with John Amira and 
Magette Fall, and voice with composer La Monte Young and master singer 
Pandit Pran Nath. He’s performed at venues as diverse as the United 
Nations General Assembly Hall, the New England Conservatory, and CBGBs, 
with collaborators as varied as Turkish multi-instrumentalist Omar Faruk 
Tekbilek and Borbetomagus guitarist Donald Miller. For improvisation, 
his approach blends the techniques and timbres of eastern and western 
percussion with sonorities and ideas borrowed from nature, electronic 
music, and the urban-industrial soundscape. www.myspace.com/matthannafin


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