Tag Archives: Joe Potts

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VITAL WEEKLY

Number 1253

Week 41

JOHN WIESE — MAGNETIC STENCIL 1 (CD by Helicopter/Troniks)
JOHN WIESE — MAGNETIC STENCIL 2 (CD by Helicopter/Troniks)
AARON DILLOWAY, ROBERT TURMAN, JOHN WIESE — ELECTRONIC EXTENSION (CD by Helicopter/Troniks)

Here are three new titles featuring the ever-restless John Wiese in-studio and live collaboration. Dude must never sleep, holy moly. The first two volumes of “Magnetic Stencil” are shades/variations of an idea he’s approached from different angles before: large-scale collaboration. With his group Sissy Spacek, he’s brought in large groups of artists for studio and live projects like “13-tet Oakland”, “15-tet Oakland” and “Duration Groups”. For the “Magnetic Stencil” project, which is slated to extend to five volumes, Wiese asked an assortment of composers/performers to send him long tracks of sound with space it, which he intended to layer and compose exquisite-corpse style. The first volume incorporates sonic material from Charmaine Lee, Aaron Dilloway, James Fella, Masaya Nakahara (aka Hair Stylistics), C. Lavender, Lasse Marhaug, Katsura Mouri (of DOOG, formerly of Busratch), Aaron Hemphill (ex-Liars) and C. Spencer Yeh. The second has a smaller cast: Aaron Dilloway, Toshiji Mikawa (of Incapacitants), Joe Potts (LAFMS, Airway) and Robert Turman.

Remarkably, “Magnetic Stencil 1” more closely resembles a live performance document than the studio creation it actually is. Wiese is careful to let each sonic element of his ensemble breathe and resonate off the others. Despite the sheer number of contributors, the music is never cluttered or diffuse. Both untitled pieces coalesce into phrasings and events that players might organically have gravitated towards if they were improvising together in real-time. The first track opens with Charmaine Lee’s voice is centre stage, bracketed by synthetic stuttering and record-skipping in vibrant stereo. As Lee’s voice retreats from recognizably human utterances into tiny pops and breath, the music morphs into a swirl of loopy tapes, rhythmic clomp and flurries of turntable scramble. A resonant bell-like tone surfaces on occasion to function as a sober, centring motif amid the electro-acoustic activity. The second track seems like a continuation of the first, sharing with it openness and deliberate pacing. The track starts with thunderous percussion, abrasive scrape and sombre piano upfront. The electronics are secondary to scraped cymbals and crashing piano keys, all of it seems to exist in the same acoustic space as if the players can hear and respond to one another… which is remarkable because, by design, they can’t. Volume two of “Magnetic Stencil” features fewer contributors, but it’s a denser piece of music. Unlike the episodic ebb and flow of “Magnetic Stencil 1”, “Magnetic Stencil 2” establishes a continuous, more vertical sound, a unified whooomph of soaring tones and clatter… which disintegrates after about six minutes, the drone replaced by convulsive tape-rewind stabs. Wiese takes his time here, passing through sections of instability while slowly building back to the piece’s initial heft. The second track leans on tape effects, voices elongated and pulverized but still (mostly) recognizably human-sourced. Towards the piece’s conclusion, musical fragments (from pop radio?) hiccup from inside a haze of dismal crawl.

“Electronic Extension” features three of the artists from “Magnetic Stencil 2” in live performance: first is a duo of just Wiese and Dilloway, then they’re joined by Turman for the second piece. If Wiese’s “Magnetic Stencil” albums impress for sounding as if they’re live when they are actually not, “Electronic Extension” is the opposite. The confident deployment of materials and textures unfolded in real-time in front of an audience but sounds as if it was carefully built in a studio. A section of resonant gong punctuated by slurred tapes and metal junk tumble is particularly effective; each element has sonic depth, each interjection purposefully sustaining the mood without seeming (as live improvised music often can) to impatiently search for the next zone. Wiese and Dilloway’s 25-minute duo track is atmospheric, the steady accumulation of breaking glass holding tension in place for long enough to let listeners notice how much is actually happening. On my third listen through, I could make out the slow-tape melodic fragment that pulls through the piece’s middle section. On my fourth listen, I’ll bet more details and complementary lines will jump out for me. The trio with Robert Turman is looser, more exploratory. Tape warble is the prominent sound component here (as it should be), slowly creeping along with the lower layers with controlled bursts of noise commentary, metallic scrape and haunted tones floating above a magnetic skeleton. (HS)

––– Address: http://helicopter-la.com/
––– Address: https://shop.iheartnoise.com/

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Airway
Live At MOCA
Helicopter, CD/Digital
HEL 98071
Release Date: August 8, 2018

Airway began as a solo project of Los Angeles Free Music Society member Joe Potts. The first release was the Airway 7-inch, which featured subliminal messages to coincide with an art exhibition in Tokyo. Since their August 1978 live debut at the LACE Gallery, the group has performed many concerts with different large lineups, always with Joe Potts’ subliminal message experiments as a central feature. Airway’s “Live At LACE” LP, first released in 1978, and introduced to Japan by Takuya Sakaguchi, was a direct influence on the projects Hijokaidan and Merzbow. In their 42-year history Airway’s discography to date includes the albums “Live At LACE”, “Beyond The Pink Live”, a split LP with Hijokaidan, “Live At Mark Moore Gallery”, and now “Live At MOCA”.

“Live At MOCA” was recorded January 30, 2014 in Los Angeles, California. The line-up includes: Ama, Ted Byrnes, Chip Chapman, Dennis Duck, Ace Farren Ford, Juan Gomez, Joseph Hammer, Kevin Laffey, Maya, Fredrik Nilsen, Joe Potts, Rick Potts, Tom Recchion, Dani Tull, Vetza, John Wiese, with additional sounds contributed by Team Airway Japan: Takayuki Hashimoto, Jojo Hiroshige, Kazuya Ishigami, Katsuyoshi Kou, Toshiji Mikawa, Masahiko Ohno, Atsushi Reizen, Takuya Sakaguchi, Shizuo Uchida. The recording was made by Tamaki Ueda, and was mixed by John Wiese. The cover was designed by Tinytown.

Joe & Joe
s/t
Helicopter, CD/Digital
HEL 98072
Release Date: August 8, 2018

Joe & Joe is the duo of Los Angeles Free Music Society staples Joe Potts and Joseph Hammer. Utilizing the Chopped Optigan and phonomontage techniques respectively, they create an immersive environment of great detail and gravity. Their performance at this year’s No Response Festival in Cincinnati marked the project’s first excursion outside LA. Their subsequent midwest tour is documented by this release.

Joe Potts has composed electro-acoustic music exclusively since 1973, creating art/sound installations and performances internationally. A founding member of the LAFMS, he is also the man behind the curtain in Airway, combining walls of sound with subliminal treatments, utilizing both live musicians and the audience itself as electronic signals which are processed and manipulated. For the past 20 years he has been composing for an instrument known as the Chopped Optigan, a seventies optical sampling console organ that he has customized and rewired in order to create dense undulating chords of up to 64 notes at a time.

Joseph Hammer has focused on tape loops since the early 80s, using phonomontage as a live process to assemble source material by hand with vintage magnetic audio gear. As part of the LAFMS, his groups Solid Eye, Points of Friction, Dimmer, and Dinosaurs with Horns have had an active presence alongside his constant solo practice.

http://helicopter-la.com
https://helicopter.bandcamp.com

Stores can wholesale direct (sadpsychics a/t gmail.com) or contact Fantastique.

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Museum of Contemporary Art Detroit + LAFFS & DANGER Presents

Joe & Joe
John Wiese
Monday, June 25, 7pm
Admission: 10 ($8 for MOCAD Members)

Museum of Contemporary Art Detroit – MOCAD
4454 Woodward Ave, Detroit, Michigan 48201

https://www.facebook.com/events/259029548175328/

http://sikklaffter.biz
http://mocadetroit.org
http://lafms.com
http://john-wiese.com

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https://www.facebook.com/events/227445184503489/

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Joe & Joe
John Wiese
Midwest Tour
2018

June 21 — Cincinnati, OH (Joe & Joe at No Response Fest)
June 23 — Bellevue, KY (Hammer-Wiese)
June 23 — St. Louis, MO
June 24 — Chicago, IL
June 25 — Detroit, MI
June 26 — Cleveland, OH

Joe & Joe is the duo of Los Angeles Free Music Society staples Joe Potts and Joseph Hammer. Utilizing the Chopped Optigan and phonomontage techniques respectively, they create an immersive environment of great detail and gravity. Their performance at No Response Festival in Cincinnati will mark the project’s first excursion outside LA. The subsequent tour is an extremely rare opportunity to witness their work unfold—it is not to be missed!

Joe Potts has composed electro-acoustic music exclusively since 1973, creating art/sound installations and performances internationally. A founding member of the LAFMS, he is also the man behind the curtain in Airway, combining walls of sound with subliminal treatments, utilizing both live musicians and the audience itself as electronic signals which are processed and manipulated. For the past 20 years he has been composing for an instrument known as the Chopped Optigan, a seventies optical sampling console organ that he has customized and rewired in order to create dense undulating chords of up to 64 notes at a time.

Joseph Hammer has focused on tape loops since the early 80s, using phonomontage as a live process to assemble source material by hand with vintage magnetic audio gear. As part of the LAFMS, his groups Solid Eye, Points of Friction, Dimmer, and Dinosaurs with Horns have had an active presence alongside his constant solo practice.

John Wiese began his experiments with recording as a teenager, and has since gone on to present his work internationally in the world of contemporary sound art and experimental music. His work can be completely serene and sublime while at the same time being equally frenetic and irregular, utilizing a plethora of sounds to build captivating aural works.

http://lafms.com
http://john-wiese.com

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Two generations of noisy oddballs from the LA underground descend on Chicago
By Peter Margasak

https://www.chicagoreader.com/chicago/two-generations-of-noisy-oddballs-from-the-la-underground-descend-on-chicago/Content?oid=50460489

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Sissy Spacek recording session at Seahorse Sound, May 17, 2016. Photo by David Reichardt

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Sissy Spacek
Joe & Joe
Leah Purse

Feb 6, 2016
The Handbag Factory
9PM — $5

https://www.facebook.com/events/1669519993264748/

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Airway
Live At Mark Moore Gallery
Helicopter, CD
HEL 95121
Release Date: December 15, 2015

Airway began as a solo project of Los Angeles Free Music Society member Joe Potts. The first release was the Airway 7-inch, which featured subliminal messages to coincide with an art exhibition in Tokyo. Since their August 1978 live debut at the LACE Gallery, the group has performed many concerts with different large lineups, always with Joe Potts’ subliminal message experiments as a central feature. Airway’s “Live At LACE” LP, first released in 1978, and introduced to Japan by Takuya Sakaguchi, was a direct influence on the projects Hijokaidan and Merzbow. Airway’s discography to date includes the albums “Live At LACE”, “Beyond The Pink Live”, a split LP with Hijokaidan, and now Helicopter is very pleased to present “Live At Mark Moore Gallery”.

“Live At Mark Moore Gallery” was recorded June 21, 2014 in Culver City, California. The line-up includes: Don Bolles, Ted Byrnes, Dennis Duck, Ace Farren Ford, Michael Foster, Juan Gomez, Fredrik Nilsen, Joseph Hammer, Kevin Laffey, Jorge Martin, Joe Potts, Rick Potts, Dani Tull, John Wiese, and Vetza. The multi-channel recording was engineered by Jorge Martin and Greg Lenczycki, and was mixed by John Wiese. The cover was designed by Tinytown with photographs by Don Lewis.

This release continues a series by the label documenting West Coast artists. Other editions so far include The Haters, Damion Romero, Hive Mind, Smegma, John Wiese, and Sissy Spacek.

http://helicopter-la.com
https://helicopter.bandcamp.com

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1972 年から現在まで
日常に前衛を融合させてしまうユル~い音楽共同体
LAFMS こと Los Angeles Free Music Society と
そのフレンズの展覧会を催します。

タイトルの『羅府夢衆』とは私の造語。
米国日系人の方々が用いる『羅府』を引用しました。
それは Los Angeles を表す言葉。
“Dreamers” を意味する夢衆をそこに融合。
ロサンジェルスの夢見人達を表します。
発音は『ラフムス』。
もちろん LAFMS の方々を指しています。
それに留まらず彼らの精神的友人をも含むでしょう。

会場の TOKI ART SPACE は 1977 年と 79 年に
LAFMS の中核である Joe Potts の個展を
当時銀座に在ったルナミ画廊で催すことに尽力された
トキ・ノリコさんの画廊。

新旧とりまぜた作品を展示すると共に
LAFMS の音楽を常時紹介するなど
濃厚ながらユル~く進行いたしますのでご期待ください。

期間 – 8 月 21 日 (木 ) ~ 24 日 (日)
時間 – 11:30 ~ 19:00 (24 日のみ 16:00 終了)
場所 – 〒150-0001
東京都渋谷区神宮前3-42-5サイオンビル1F
TOKI ART SPACE

作品を展示あるいは映像に登場する作家

Mitchell Brown, Chip Chapman, Sue Chapman, John Duncan, Ace Farren Ford, Kazuo Fuijimoto, Juan C. Gomez, Takayuki Hashimoto, Joseph Hammer, Doug Henry, Atsushi Horiki, Hideo Ikeezumi, Michael Intriere, Kazuya Ishigami, Kosuke Kawamura, Jun-icki Kawara, Katsuyoshi Kou, Krystine Kryttre, Kiyoharu Kuwayama, Paul McCarthy, Dennis Mehaffey, T. Mikawa, Chie Mukai, Fredrik Nilsen, Joe Potts, Rick Potts, Tom Potts, Tom Recchion, Ju Suk Reet Meate, Reizen, Jonathon Rosen, Takuya Sakaguchi, Harold Schroeder, Migiwa Shimitzu, Jackie Stewart, Ken-ichi Takeda, Steve Thomsen, Shizuo Uchida, Vetza, John Wiese, Noriko Toki

8 月 23 日に下記メンバーが演奏を行います。
時間は 14:00 ~ 16:00。
ユニット名は “Orchestra Le Matin”。

Takayuki Hashimoto, Katsuyoshi Kou, Toshiji Mikawa, Atsushi Reizen, Migiwa Shimizu, Shizuo Uchida

その後トーク・ショーに移行するでしょう。
参加者は前記演奏者の方々。
そして Takuya Sakaguchi。
スペシャル・ゲストも予定しています。

https://www.facebook.com/events/1431523957099978/

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Extended Organ at MOCA Contemporary, Los Angeles, July 19, 2014

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https://www.facebook.com/events/1420821781530270/

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Airway at MOCA, Los Angeles, January 30, 2014. Photo by Stacey Allen

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http://us2.campaign-archive2.com/?u=58b5aaad4c96bac867396d202&id=362fc6e457

https://www.facebook.com/events/782812285077905/

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Extended Organ at The Box, Los Angeles, July 27, 2013

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Airway at The Box, Los Angeles, July 26, 2013. Photo by Eric Vaughn Holowacz

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