may 2nd
9pm
@artswatch [2337 frankfort ave louisville ky]
Thaniel ion lee [ <A HREF="
http://www.iuma.com/IUMA/Bands/tionlee/">http://www.iuma.com/IUMA/Bands/tionlee/</A> ] w/ keenan lawler
[ <A HREF="www.konstant.com">www.konstant.com</A> ] and aurthor kalow
thaniel ion lee
i have been involved in the experimental art scene for almost 4 years, i have
worked with a variety of people [keenan lawler, steve good, joee conroy, and
members of ayin], these works have consisted of everything from performance
art that involved improvising a painting while keenan lawler improvised the
music, a off again on again free noise band that involved members of ayin, and
strict concrete music pieces that involved improvisers.
i have self released one out of print cdr ‘in the context of shadows’ has a
cdr out on resident art media records, and a three way split cdr out on
resident art media. The works on the cdrs consist of me experimenting with texture,
rhythms, and minimalism.
i am also a well know mouth painter, photographer and digital artist that has
shown in galleries and festivals in new Albany, indiapolis Indiana, and
Louisville. i have received press in local and state publications.
keenan lawler
Review: Keenan Lawler is an improvising guitarist who’s performed with Rhys
Chatham, David Watson, Lukas Ligeti, Alan Licht, Kevin Drumm and Jack Wright.
He concentrates on the use of the National Steel Resonator guitar, a type of
guitar more often associated with bluegrass and (especially) blues. Like fellow
travelers Elliott Sharp, Loren M. Connors and Eugene Chadbourne, Lawler uses
his ax to craft some wonderfully weird, delightfully disorienting noises – but
also like them, he’s touched/charged by American roots music (blues, folk,
bluegrass, etc.) But don’t tune in expecting Skip James or Norman Blake – “Birds
of Prey Types 1 & 2” sounds like a Georgia mountain fiddler and an Indian
sarod player engaging in a free-improv cultural exchange on some Tibetan
mountaintop, where the air is fresh and thin. “A Plane of Air” is a ringing, droning
mass of sustained tones sprinkling with eerie metallic scrapings – if a
closed-down factory could jam the blues with the cold night wind, this it what it
would sound like. The Ghost… isn’t “jazz”-oriented improvising – it’s more
akin to the spirit of texture/interplay/intuitive improv-wizards like AMM, K.K.
Null, Loren Connors, Henry Kiser and Jim O’Rourke. (The latter two in their
respective improvisational modes, of course, as they do lots of other-type
stuff.) Though truth to tell, this oft-times reminds me a bit of the Art Ensemble
of Chicago and the raggedy minimalism of Tony Conrad. Not for everyone, but for
those who seek unique approaches to improvisation and/or like to hear people
play with “sounds” instead of “notes,” this particular poltergeist is well
worth the seek-out.