Category Archives: John Wiese

Third Ear Performance and Publication Release
https://www.facebook.com/events/250196385169957/

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Sissy Spacek at Dem Passwords, Los Angeles, July 11, 2014. Photos by Leah Peah

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Sissy Spacek
July 11, 2014
Live at DEM Passwords
5413 W Adams Blvd, Los Angeles, CA 90016
Doors 8pm, $5

Record release show for the “Lead Their Exit” 7-inch on Dais Records.

*Please note that DEM Passwords has moved locations!

https://www.facebook.com/events/1448847925367677/

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http://musicwehate.com/2014/07/06/sissy-spacek-lead-their-exit-interview-with-john-wiese/

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Drew Daniel and John Wiese recording session at The Confessional, Los Angeles, July 3, 2014

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John Wiese Documents Sound with Video
KCET Article
http://www.kcet.org/arts/artbound/counties/los-angeles/john-wiese-cinefamily.html

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Matmos and John Wiese at Cinefamily, July 2, 2014
Trailer by Bret Berg
Advance Tickets: Cinefamily

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Sissy Spacek–Lead Their Exit 7-inch now available for pre-order from Dais Records. Out June 24th.

On Xmas day in 1999, the channels of the noise canon received a new entry into its ranks by the name of Sissy Spacek. 15 years later, the outfit, held together by core members John Wiese & Charlie Mumma, has left a littered trail of damaged recordings and countless performances in its wake. Known for it’s cult output and conceptual performances—each idea folding over the last to create havoc in the way that most would care to avoid, Sissy Spacek takes this all head on. Their newest 7-inch shows the band exploring song-based material (see also their live shows), employing it’s newest member Sara Taylor to provide vocal accompaniment to their special brand of furious destruction. To those familiar with their previous works on PPM, Chondritic Sound, Gilgongo or Wiese’s own Helicopter imprint, one will instantly welcome their signature hybrid of grindcore blasts and avant-garde sensibility and remain captured by the band’s semblance of leftfield song writing.

Limited to 300 copies.

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Sissy Spacek “Basement” CS/Digital (Banned Productions)
Sissy Spacek “Spear” CS/Digital (Banned Productions)

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Liars Getty Museum takeover on May 30th from 6-9pm. Liars will DJ and show various installations and artworks in collaboration with close friends: Protect Me, John Wiese, Kate Mosher Hall and Mary Pearson Andrew. For more info go to getty.edu/fridayflights

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Sissy Spacek “Horned Beast” 2×7-inch (Husk Records) / Digital / Mailorder

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Opening of The Third Ear at FOCA, Los Angeles, CA, May 17, 2014

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The Third Ear
Opens Saturday May 17, 6 – 9 pm
Exhibition runs thru July 18, 2014

Fellows of Contemporary Art
970 N. Broadway, Suite 208
Los Angeles, CA 90012
(Chinatown)

FOCA’s Exhibition Space is open Tuesdays thru Fridays from 10 am – 5 pm

In the same way that the “third eye” is a metaphor for a real or imagined sensory organ that perceives less tangible matter, conceivably, the “third ear” also perceives a realm located somewhere beyond what can be immediately verified.

Human sensory perception registers just a fraction of the electromagnetic spectrum (EMS) as sound and light. All sound and light, even matter vibrates and has a specific resonant frequency. The human ear perceives sound at waveforms between 20 and 20k Hz while light and color resonate at much higher frequencies. Still, there are a whole range of EMS frequencies that exist beyond the capabilities of our sensory organs. It is here that one could envision the third ear functioning – in a range somewhere between sound and light, between the audible and the visible.

The Third Ear exhibition invites five Los Angeles Based artists working with visual approaches to sound to participate in an exhibition that investigates the aural in contemporary visual art. Inspired by a subtitle to a recording by artist and composer Maryanne Amacher, The Third Ear explores the space between sound and visual cognition through contemporary sound art practices in Los Angeles.

Organized by artist and independent curator Chiara Giovando, The Third Ear includes works by Jules Gimbrone, Chiara Giovando, Mette Hersoug, Alison O’Daniel and John Wiese.


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