Great expectations awaited the return of the Orchestra dell’Accademia Nazionale di Santa Cecilia, not having performed in the US since 1969.
In March 2016, the newly-founded curatorial platform Blank Forms hosted their first event, a seminar on composer Maryanne Amacher’s investigations of the “psychoacoustic dimensions of human perception.”
The art room at Springfield High School (Springfield, Illinois) circa 1983 was a safe zone within the scheduled days and regulated mobility of public school life, at least for a young art-punk wannabe.
John Cage’s Europeras 1 and 2 were scheduled to premiere at the Frankfurt Opera House on November 15, 1987. Three days before opening night an unemployed, former East German resident broke into the building, looking for food, and ended up setting a fire that gutted the place.
Priests, the D.C.-based foursome consisting of vocalist Katie Alice Greer, guitarist G.L. Jaguar, drummer Daniele Daniele, and bassist Taylor Mulitz, defy easy categorization. The band’s compelling, incendiary stagecraft was on full display at Basilica Hudson’s SoundStage (with Merchandise’s Carson Cox filling in for Taylor Mulitz on bass), a weekend of innovative and experimental music, visual art, and spoken word, plunked down in the county seat of Columbia County.
Upon the release of Talibam!’s (keyboardist Matthew Mottel and drummer Kevin Shea) two new recordings on ESP, HARD VIBE and Endgame Of The Anthropocene, and their incredible record release party at Holo this fall—which included Battle Trance’s Matt Nelson on sax and pianist Ron Stabinsky, who both appear on HARD VIBE—I decided to both interview and intervene as the two sat down to discuss their origins and various projects; attempting to levitate Vice magazine into the East River, AtlantASS, their ongoing interest in ecology; and their overall Dadaist serious fun and antics.