Last night was the final night of the 29th edition of the Seattle Improvised Music Festival at the Chapel Performance Space in the Wallingford neighborhood of Seattle WA. I headed to Wallingford earlier than I did yesterday as recent Vancouver transplant Joda Clémant had come down to see the Bonnie Jones/Andrea Neumann duo again (and planned to followed them Dead-Head style to Portland). Snow had been threatening all day and it was a cold, bleak trip featuring missed busses and other low comedy. I met up with Joda at the Chapel and as we walked the couple of blocks to 45th where the restaurants and such are a very light snow began to fall. After vegetarian Thai and beers in Wallingford we returned to the venue and it had clearly snowed throughout dinner and we were trudging through a half inch or so with no sign of the snow ceasing. We made it to seats at the front left about two minutes before the first set.
The duo of Bonnie Jones and Andrea Neumann was what I (and Joda for that matter) were there to see. Happily they’d placed them in the lead off position which means they would a) have an actual soundcheck and b) I’d be able to take off at any point afterwards as I knew the snow was going to mess things up. As I noted yesterday I’ve seen Andrea and Bonnie in various combinations but had only heard their duo from their CD green just as I could see on Erstwhile Records. They were setup on a single table Bonnie with her collection of electronics and various objects at the end of the table stage left. Behind the table on the stage right end Andrea was setup with her autoharp, mixer, preparations and other electronics and objects. There was short introductions and then they came out to play.
Andrea Neumann & Bonnie Jones
The set began with Bonnie picking up pedals and connecting them together while Andrea sorted through her preparations and began to work the autoharp. What followed was a engaging approximately thirty minute continuous improvisation. It was quite a diverse set that flowed though a variety of techniques and approaches to the duo’s instruments revealing a wide array of interpenetrating sounds. Andrea early on used eBow on the strings of the zither creating a very pure tone, agited the strings with little metal mallets creating a wash of sounds which she then muted with a rubber object (looked like a sandpaper holder but could be ink printing related), brought out a fan which she hovered over the strings exciting the pickups, a return to the eBow toward the end and even some plucked out notes. Bonnie as noted began with putting her kit together in a deliberate, sound generating fashion eventually moving on to manipulating her open circuits. In front of their table was red plastic keg cup which turned out to have a speaker in it, which Bonnie picked up and manipulated during the set. At one point she picked up her little singing bowls and bells and dropped them on the floor, picking them up and dropping them again. She also did further percussive work with the cable ends that she uses on the exposed circuits of her pedals. Later in the set she moved the cup out into the audience and returned to more aggressive static outbursts from the pedals now emerging from the speakers behind the duo and the cup out among the seats. Two times during the set she played vocal samples, the first of what sounded like a teenage girl recounting something like a dream or from a diary or perhaps a report to an authority figure; flat, unaffected and tense. The second was much more heavily processed and it was a choir, or chanting but with enough reverb and echo and maybe multracked that it was more of a wash. This more solemn sample was playing at the end which was a sort of deconstruction with Bonnie vigorously moving things about and Andrea creating a more wall of sound with feedback and such. A strong ending with the contrast between this seemingly less focused playing and this created sound with it’s pointing toward the profound.
A really excellent set all around and I’m really glad I braved the weather to see it. In many ways these two work with sounds that have become quite standard material in this particular tiny corner of the improv world. Many of the techniques and processes used could be heavily associated with various musicians and isolated moments would be difficult to ascribe to a particular individual. But it just goes to show that what this music is about is not actually the material, it is the intentionality behind these sounds, the choices that are made, both beforehand and in the moment. There is an understanding of structure, that even if little of that is worked out beforehand, but that intuitively knows that you can move between events in a certain way, relaying upon a compatible partner to do the same and that it is the interpenetration of this disparate events, that are assembled in the heads of the audience that really creates the music.
Gust Burns, Jacob Zimmerman and Joe Morris
Joe Morris/Jacob Zimmerman/Gust Burns It had continued to snow and I’d planned to just head out after the duo but based on the previous night I knew there would be another set without much of a break and then a short intermission before the third. So I figured I’d just check out the second group and head out at the break. Less disruptive and I could make farewells on my way out. So this set was guitar/alto sax/piano (respectively) and was much more free improv of the the older school. Based on Joe’s performance the day before this wasn’t a surprise and while Gust often works in more experimental areas I’ve seen him several times in these more traditional free improv type ensembles. Jacob Zimmerman was new to me but apparently he is a local boy having come from Seattle Garfield High which is famous for it’s jazz programs. I really don’t have the vocabulary to talk about this kind of music – it really has never been my thing and while I’ve seen a number of examples I don’t really have much to say about it. It went on way to long – five individual pieces adding up to nearly an hour of performance. Which is quite unheard of at these shows – last night for instance all three sets was about an hour and half. The most interesting playing was from Gust I thought who generally does a kind Cecil Taylor-ish type playing in these settings. But quite often tonight he would play super quietly which at least the first time he did it brought the playing of his compatriots way down, becoming much softer and less aggressive. But overall with the length and such I found this set tiring and so headed home afterwards missing the third set of Matt Ingalls, Greg Campbell and Paul Kikuchi.
There was a pretty good spread of snow out there now, perhaps as much as two inches. I talked a bit with Joda at the entrance to the Chapel and it turned out that the venue that Bonnie and Andrea were going to play in Portland had suffered from burst pipes and the show was canceled. They were looking to line up a house show or something, but from what I’ve seen PDX seems pretty shutdown. Eventually I made my farewells and walked to the bus. The bus kept being delayed (I could see this on the fantastic One Bus Away app) so I kept walking between stops. Eventually I was at a stop in the U-District where I had a couple of options to catch busses up Capitol Hill and I just waited it out. Eventually got on one that made it about 2/3rds of the way up the hill and then encountered a virtual bus graveyard – a steep section that had buses parked all along it and toward the top a jackknifed bus completely blocking the road. Ended up walking home from there on the icy roads. Lot’s of walking in the cold and snow but I think it was all worth it.
Last weekend was the 29th edition of the Seattle Improvised Music Festival held as it has been for years now at the Chapel Performance Space in the Wallingford Neighborhood of Seattle WA. This year among others they invited Bonnie Jones and Andrea Neumann whose work I’ve enjoyed for quite some time. Bonnie of course plays in the excellent duo English with Joe Foster and Andrea has been a stalwart of the Berlin scene performing on numerous great albums. They’ve been playing as this duo for some time now and of course put out the excellent green just as I could see on Erstwhile Records. So even though it’s been so cold and it constantly threatens to snow I made out Wallingford to see them perform. They played days two and three of the festival, their duo on the third day and in combinations with Seattle based improvisors on the second.
Joe was playing a hollow body electric guitar run through a simple amp with minimal (or no) effects. He played three short improvisations, generally favoring a pretty continuous stream of sound with a mix of melodic and more abstract elements. The first was sort of harmonic Fahey-ish bits interspersed with Bailey-esque angular bits. The second piece, which I found the most interesting, was based around continuously strumming a few strings which generated a really un-guitar-like metallic high pitched effect. This he moderated by chording high on the neck and the interactions of this created some odd tones and lingering overtones. The last piece seemed to be the longest and it again explored more melodic territory. It seemed pretty wandering and not much of it really stuck in my mind except the ending which was with a harmonic that seemed to surprise Joe a bit and which he immediately recognized as a sign to end. A nice ending to a set that was very well done for what it was, though what it was isn’t necessarily my thing.
Andrea on autoharp, electronics, Gust on seemingly on turntable. I have to admit I was expecting a duo of Gust on piano and Andrea on her custom piano guts. But perhaps that would have been to obvious? This turned out to be pretty interesting and riskier I think. The sounds were rather cut up with piano samples from Gust (perhaps a record of himself?), a chopped up and frequently cut-off speaker, perhaps a recorded lecture, (couldn’t tell if who was doing this, Gust I suspect) with Andrea initially tapping on the heavily amplified strings which generated a compellingly rich ponging sound. She later worked feedback in various forms, plucked out a little melody on the strings toward the end placed a contact mic on her throat and mixed in some sub-voclizations. At various times throughout the piece there were silences but I have to say these came across as rather forced. The noise floor from Andrea’s setup is pretty high and when you go from that to silence you either let that hum play out or fade it down. She did the later and that I think is what came across as pushing the sounds around. I tend to think it’s best to let it ride but I know there are those who feel that gives a floor upon which the improvisor can rest. Always choices.
Bonnie Jones/Jonathan Way/Naomi Siegel
This trio featured Bonnie Jones playing her usual open circuits but she also has added a small laptop, contact mic’s and percussion elements to her setup. Jonathan Way, of Seattle Phonographers Union fame (and whom I played with in EyeMusic) seemed to be processing field recordings. He stuff was soft and subtle, often sounding as washes or wind and faint environments. Naomi Siegel, whom I don’t recall having seen before, played trombone with and without mutes and recordings via her smart phone. The ensemble did two fairly short pieces. The first featured Bonnie on open circuits most of the time, though she also did some contact mic work. There was this rather tribal-ish percussive bit at one point that could have been Bonnie playing from her laptop though it certainly could have been a field recording from Jonathan. Jonathan primarily seemed to work with processed field recordings, winds and washes and pretty subtle ambient stuff. There was some overlap between his and Bonnies’s sounds at times which nicely layered and merged together and I didn’t expend much energy separating them. Naomi primarily worked with extended techniques on her trombone mostly in the static-y, sputtery realm but she also would drop in these melodic phrases almost like a jazz quotation. At least once she held her smart phone up to her mic and played some recorded sounds of what sounded like crowds, or conversation of some sort. In the main I found she didn’t quite fit with the electronic duo, though sometimes the more abstract and subtle trombone bits mixed in nicely.
Their second piece began with Bonnie playing percussive stuff with two cable ends, banging on the frame of her chair and the table and eventually hitting little bells and metal bowls on her table. Jonathan layered in some wind sounding washes and via her smartphone Naomi dropped in distant vocal samples. This piece was more episodic with silences and near silences between it’s several “movements”. After the initial percussive intro, Bonnie moved open circuits and Naomi returned to the trombone. Later she did more percussive work, tapping around the body of the ‘bone. The piece concluded with a wash of sound that gradually increased in volume and intensity with radio from Bonnie and sputtery trombone from Naomi. Jonathan increased the volume of his wash of sound until they all dropped out and he quickly faded his sound out a moment later. This piece varied a bit in structure and elements from the first, which did have a bit of testing each out to it. While still a bit mixed I definitely enjoyed this one and it was a good ending to this night.
This year the Seattle Improvised Music Festival brought in Taku Sugimoto from Japan. Regular readers of this blog will know that I’ve been a long time follower of Sugimoto’s work though certainly have not followed him everywhere he’s gone. Regardless of the end product, the journey has always been fascinating and it’s always been worthwhile to keep up with his current activities. I’ve managed to see nearly all of the musicians in the small modern improv scene that has dominated my interests over the last decade but Taku Sugimoto has always managed to slip out of my grasp. So I was particularly pleased that SIMF brought him by this year.
Taku Sugimoto wasn’t the only non-Pacific Northwester that SIMF brought in this year, and they did do sixteen sets over four days all told. I’ve really moved into a space where I try to not over consume music, both in buying of physical objects but also in how much I hear. I’ve come to find it a lot more valuable to let music that I find really compelling to sink in, to not immediately overwhelm it with another piece. So I only saw nine of those sixteen sets and even that was too much in my mind. Each night that I went I’d come home and put up a short report onto Google+ of the Sugimoto set from that night. I’m going to collect those here, perhaps slightly expanded and with a couple more photos. I should not that the lighting was low and overall my photos were fairly bad.
Mark Collins, Mara Sedlins, Taku Sugimoto, John Teske
Thursday February 9th, apart from being my birthday, was also the second night of SIMF 2012 and the first of three nights with sets featuring Taku Sugimoto. On this night we had a world premier Taku Sugimoto composition: Two Contrabasses, Viola and Guitar. The performers were Mark Collins and John Teske handling the contrabasses, Mara Sedlins playing the viola and Taku Sugimoto handling the guitar. I really enjoyed the piece, it was mostly long bowed tones from the strings and Sugimoto cycling through eBow, muted plucked strings, chords and then open plucked single notes. Dynamics were low throughout and stayed in a single register giving it a kind of Feldman-ish feel. The string players almost always seemed to bow in one direction which I assume was for a particular timing or sound. The slow, soft bowing the the occasionally dry percussive elements of Sugimoto’s playing also made me think of Jacob Ullman’s A Catalog of Sounds. Good piece, afterwards I had to leave without seeing the next two sets as I wanted to let this one settle through me.
Taku Sugimoto and John Teske
Friday February 10th featured a solo performance by Taku Sugimoto. This was of course going to be interesting as Sugimoto solo has gone anywhere from him continuously playing scales, to playing only a handful of notes over the duration. Tonight though he stuck with his recent practice of sticking to composition and performed Michael Pisaro’s Melody, Silence. This was a nice piece like most of Pisaro’s compositions. It was made up of single plucked tones that were sometimes allowed to fully decay, other times strung into simple near melodies. These different modes of operation cycled and between then they were interspersed with short segments on the eBow. There wasn’t a ton of silence, the longest sections when he’d pick up the eBow. In that regard it reminded me more of how John Cage would use silences in the number pieces which were mainly short (though still longer than you’d normally find in a “classical” piece) and seem more about allowing each sound to be allowed to breathe. Taku’s touch on the guitar is really quite good, he’d gently pluck the strings giving a rich, full tone that was really compelling in and of itself. The hollow body guitar he uses has a particularly nice sound for what he does. The piece wasn’t too long, I’d say maybe twenty minutes and it definitely kept me captivated throughout.
Taku Sugimoto performs Michael Pisaro’s Melody, Silence
Saturday February 12th was the final night of the festival and the only night that Taku Sugimoto engaged in improvisation playing in a quartet with Gust Burns, Jeph Jerman and Tyler Wilcox. As they were setting up Taku put stools on either side of the rear stage with (at least on my side) a wine bottle on it. He poured out a glass of this wine into a styrofoam cup. On stage Jeph scatted about his collection of items: a small zither, some mallets, a radio, small speakers, rocks and twigs. Gust opened the lid of the grand piano but had none of his usual dowels (perhaps he is post-dowel now). Tyler simply had a chair and his sopranino sax. Wilson Shook came on stage to announce the group and that the lights would be turned off.
Jeph Jerman, Gust Burns and Tyler Wilcox
The group played in the near darkness with only the exit signs and the light through the chapel stained glass windows coming in. Playing in the darkness seems to always lead to even more hushed music than normal and it was very low dynamics throughout. Jeph rattled things and tapped on the floor, Tyler emitted very quiet mostly short tones and Gust held back for quite a while. Taku wandered around and shined lights on things. At first seemingly just on the crowd but then on a mic stand with his hat on it. Later he had a shoe on the mic stand. Jeph placed an eBow on his zither and let it run for some time, first high, then low then high again. Tyler would match this for brief intervals creating sections of beating tones that was quite nice. Gust began playing single notes, fairly high and usually damped fairly quickly. Taku walked to my side of the stage and place a blinking green light that was shaped like a glow stick into the bottle of wine. At this point a regular beeping sound began, but if this was something of Taku’s or one of Jeph’s little toys I don’t know. It beeped for a while as Taku was behind the rear stage curtain playing with a white light.
Wine bottle, stool
Taku also had a red light in his belt and eventually he made his way to the opposite side of the stage and set it up (presumably also in a bottle). So on either side of the stage a red and green light was blinking away. Jeph finally removed the ebow and seem to focus more on rustling sounds and wobbling rocks. Gust was still just playing the occasional single note, now more mid-range. Tyler was doing a bit more hissing sounds at this point. Taku shined his light on the back of the heads of the audience a bit but then made his way to the back where he returned to the show on the mic stand. He placed his flashlight in another mic stand and proceeded to manipulate the shoe for a bit, slow lowering it and then rotating it. This was cast as a huge shadow on the screen that is behind the stage curtain. This was the climax so to speak and after he cut that light I think he only projected lights once more for a short time. The musicians were slowly winding down as well, though of course it had never gotten more intense then the eBowed zither. At the end they just sat in the dark for a bit making no sounds. Eventually Tyler said thanks and it was done.
Great performance, I really enjoyed it. While the theatrical stuff was really engaging what I think made it completely compelling was that there was great music throughout.
(edit: 05.03.10: replaced the album cover art with better images that Michael sent me: thanks Michael!)
This year I only went to two days of the 2010 Seattle Improvised Music Festival, but one of those days was completely revelatory. The night featured Michael Johnsen from Pennsylvania, whom was described only as playing “electronic devices of his construction”. In my musical exploration subverted, invented, re-purposed, etc electronics has been of high interest to me and considering that there seems to be a certain reticence toward electronics from the SIMF programmers this piqued my interest. Web searching didn’t reveal much: an album of duo material (2) where he seemed to not play much of these self-made electronics and this intriguing blurb from John Berndt’s Odd Instruments page:
Michael Johnsen lives in Pittsburgh and thinks near or beyond the edge of the routine organization of cognition – a true outsider. His work with original electronics, acoustic instruments, unusual film methods, language, and other media, reveals a brilliant mind that confronts phenomena with relatively little of the inherited worldview but with a tremendous amount of poetry. The entrance to Michael’s work is a withdrawal from “meaning” and a focus on aspects of perception and communication that are usually excluded – the rich universe of thoughts we habitually ignore but which are ultimately as palpable as anything else.
But it was this blurb from the label of his aforementioned duo album that made me sit up and take notice:
The first CD by one of the great minds of North American Experimental music, recorded live at High Zero 2003. Michael Johnson is both heir to the crown of David Tudor (for his incredible investigagtions into live performance of non-linear analog brains of his own creation) and also one of the most distinctive and brilliant improvisors on saw, reed, and other varied gambits.
Name checking Tudor will always garner my interest, though rarely is it justified. But a couple of YouTube Videos showcasing his solo electronics proved the comparisons were not without merit.
Watch this short clip of Johnsen performing at Chicago’s Lampo to see what I mean:
Fully intrigued now I made my way to Seattle’s Chapel Performance space on Februrary 19th 2010. When I walked into the hall, Johnsen was still on stage tweaking and adjusting his epic collection of homemade boxes and their corresponding rats nest of connections. He was running a radio broadcast through the setup and it was being heavily gated, creating this chopped up effect, turning the staid broadcast into a completely captivating bit of experimentation. The show had four sets, three with Johnsen, the first of which he performed with local improvisers on the musical saw. While a quite interesting saw performance (it featured little of the beautiful long wavering tones usually associated with the saw) I was dying to see his collection of bespoke electronics in action. I shortly got my chance as the second set was a solo electronics performance.
This sort of abstract electronics performance is hard to describe and especially if one wants to avoid merely creating a catalog of sounds and events. Suffice it to say this performance, which was about twenty-five minutes in length, was very much in the vein of Tudor’s solo electronics work such as Toneburst, Phonemes, Untitled. In fact I’d say that Johnsen’s language wasn’t too much evolved from in Tudors but the performance was all his. To me this has been a missing piece in Tudor’s legacy: if he was creating new instruments, new performance practices and a new form of composition then there has to be others utilizing these tools and practices. There has of course been the Composers Inside Electronics and a few others like Matt Rogalsky who I’d put in this vein but Johnsen is the first I’ve seen who really seemed to try to pick up where Tudor left off. Making his own instruments is certainly a vital aspect; I think a lot of Live Electronics types have tended toward exploring other aspects and not explored this area (as an aside this I think is becoming an increasing vital area as there are a lot more handmade, boutique and original electronics being made and used at this point). Anyway this performance was fantastic: chaotic, disruptive, highly varied, loud at times, spacious at others, it was incredible music and probably the most amazing thing I’ve seen as part of SIMF.
The final set of the night Johnsen played with a couple more local improvisers of which he played the first half on electronics and the second half on saw. This was interesting to see how he’d use his wild and unpredictable setup with other musicians and in fact it worked quite well. He clearly highly restricted what it was doing, in effect utilizing a subset of the whole. He focused on working with radios letting the devices process the thin sounds of static. Every so often he’d let much louder disruptions through, which I thought was great as it kept things varied and broke through what could have been a rather staid performance. When he switched to saw, it was interesting as before, but a lot of energy was lost and I felt a bit superfluous after the first half. Still nice to see the electronics in collaboration.
Afterwards I got a chance to talk to Michael a bit and this was also quite interesting. We mostly talked about Tudor and his legacy and at one point I commentated that it seems like there has been somewhat of an increase in interest in Tudor and exploring some of his ideas and techniques of late. To this he replied (and I’m paraphrasing here) that while Tudor was alive there really wasn’t a lot of space for others to explore this territory and his passing has in effect open this up. This I think makes sense, but also I think the aforementioned interest in diy, hand made, boutique, original electronics had led people back to the source. He was selling three 3″ cd-rs of his solo material, the only source for his solo work as far as I know. I of course picked up all three of these. Each of these 3″ documented a live performance, two from 2009 and one from 2009. They each had a handmade cover, simply two pieces of very fragile paper with a an image on one and text on the other. All three of these utilize a similar suite of sounds and thus have the character of their creator, but as each setup is unique each performance has its own character and sound.
The earliest release from July 27th 2007 was an excerpt from a 45 minute recording and is titled: Live electronic sound made by the tuning & spatial manipulation of two closely spaced portable AM radios having loopstick antennae, the resulting signal undergoing mild output processing, primarily filtering & gating. This piece, whose title describes the process so exacting, seems like it was close to that performance I describe above where he played with the other improvisers. Using two radios, held close together to cause interference, he could adjust the waves of static by moving them and minutely adjusting their tuning. His collection of devices would be left to run on their own, patched in this case to gate and filter the sounds. Sort of like what I saw when I walked in during soundcheck, with the heavily chopped up radio, but in this case without any recognizable speech. It begins with these popping in squeaks, bursts of static, that odd sound made by tuning off a channel, and the occasional almost recognizable bit of radio. Of course readers of this blog will think of Keith Rowe and his brilliant use of the radio but let me tell you this is a completely unique approach to this device. I love Keith’s radio work and its hard to find others using it in a way that distinguishes itself from his technique and Johnsen’s use is definitely one of them. Even the occasional bits that would qualify as “grabs” feel so different, so random that it only reminds you how different and wonderful this is.
The second release, Live Electronic sound recorded 19 Sep 2007 is more typical to the performance I saw, with a stream of little sounds, analog squeaks and bleats, but also lots of space in this one. The beginning of the piece is a cornucopia, of little sounds given plenty of room to breathe, many of them very quiet. The dynamic range of his electronics is impressive as it goes from this barely audible bubbling sounds to ear splitting blasts of over driven electronics. I love the use of space in this piece and the variety, to me this shows an individual response to Tudor’s performance practice as the pacing is clearly all Johnsen’s own. This piece has a real deliberate, exploratory, introverted nature to it as he works these mostly soft textures, manipulating them into different aspects of themselves.
The most recent disc was recorded a year (to the day!) of the show I saw, Live Electronic sound recorded 19 Feb 2009. It begins with a percussive sound, still electronics but sounding like the manipulation of heavy object capture by contact mics. Along with this is this occasional squawk and fizz of electronics, reminding you that this is live electronics. One bit of this recording is super sparse, with sounds almost like those generated by rubbing balloons. Something amongst these soft squeaks and groans was pretty amusing, generating some soft but audible chuckles from the audience. Reminding us again of the limitations of recordings of live music. This recording felt the most like the solo set I saw on this night: a wilder, with incredible dynamic range featuring extreme loud bits and barely audible sections, but also a bit more tentative, more exploratory. There is a lot of space in this music, a feature that I like a lot, letting the sounds be themselves, fully recognized and allowed to stand on their own, but with plenty of variety and texture that can be missed if it is all space. This one probably had my favorite collection of sounds, often fizzing away, chopped up, and incredibly well paced and structured.
One theme that runs through much of our conversation is the idea of pure investigation, a strong curiosity for sounds and events. The appreciation of art does not need to be regulated to gallery walls, but could occur at any point, in any situation. This is an apt description of the sounds emitting from Michael’s large stash of homemade/handmade electronic boxes, filters, etc. Each set is unique. Each venue provides a different set of acoustics to play off, a different number of bodies for the sound to travel through, a number of street sounds ready for response. For those of you who have seen Michael perform, there surely exists a quest for something unheard, a quest that is not without humor, but is surely without pretension.(4)
Upon acquiring these discs I did some more googling around and found this semi-review of the first two discs here as well as information on acquiring them directly from Johnsen. It seems that Metamkine stocks them (though probably more of a sure bet to contact Johnsen directly) and Vital Weekly did a so called “review” of these (though it hardly sounds like they were listened to much, but I suppose thats par for the course for that product). Needless to say I think these are well worth tracking down and anyone who reads this blog will certainly want to hear them. Michael’s email address can be found at that aforementioned review or contact me and I’ll hook you up with it as I’m not comfortable posting it. In closing let me just extend a hearty thanks to the SIMF for bring Michael to Seattle and introducing me to a new, vital voice working right in the area I’m most interested in these days.
This video reminds me the most of his Seattle show, with a bit more chaos and noise: