Euphonic Productions - Atlanta, Georgia

Euphonic Productions - Atlanta, Georgia

Euphonic Productions presents:
Jack Rose (Pelt)
Christina Carter (Charalambides, Scorces)
Rotten Piece
Maria Chavez

Sun, Oct 12  8pm sharp
$8 at the door
290 MLK Jr. Drive, SE

"Welcome to the New Weird America: a groundswell musical movement rising out of the USA's backwoods, one that offers an alternative to the no wave revivalism of the nation's urban centers. Loosely called free folk, the music draws on an intoxicating range of avant garde sounds, from acoustic roots to drone, ritualistic performance, Krautrock, ecstatic jazz, hillbilly mountain music, psychedelia, archival blues and folks sides, Country folk and more."
(The Wire, August 2003)

Jack RoseJack Rose

Jack Rose has been a member of the Virginia based improvising/folk/drone group, Pelt, since 1995 and was labeled as the "Hillbilly Theatre of Eternal Music" by noted underground music scribe, Byron Coley.  The group has performed/recorded with noted musicians Donald Miller (Borbetomagus), Glenn Jones (Cul De Sac), Dredd Foole (The Din), Tom and Christina Carter (Charalambides), Thurston Moore (Sonic Youth), Ian Nagoski, Keenan Lawler, Chris Corsono, Rake, Matt Valentine and Erika Elder (Tower Recordings), Marcia Bassett (Double Leopards) and Helen Rush (Tower Recordings) and has released 10+ lp's and cd's under the VHF, Eclipse, Klang Industries and Ecstatic Yod labels.

Since 2000, Jack has concentrated solely on the acoustic guitar.  "Red Horse, White Mule" is the 1st Lp by Jack and it has been compared to the works of Robbie Basho, John Fahey, Ry Cooder and Peter Walker.  While his technique and compositional taste has much in common with those guitarists, his style is highly personal and is also influenced by pre WWII blues singers, Hindustani classical music and many minimalist composers like Henry Flynt, Terry Riley and La Monte Young.  In 2002 his "Dr Ragtime" ep was released and it indulged his penchant for "hot" pre-WWII guitar playing a la Blind Blake, Sam McGee and William Moore.  His only available recording at the moment is the compilation cd "Wooden Guitar", an album that features Jack alongside noted guitarists Seffan-Basho Junghans, Tetuzi Akiyama and Sir Richard Bishop each performing lengthy solo guitar tracks.

His 2nd LP, "Opium Musick" (Eclipse), will hopefully be out this Oct in time for his tour of the mid-west and south.  The Lp contains 2 solo guitar excursions, a guitar duet with Glenn Jones of Cul De Sac and a lap steel/tamboura duet with Mike Gangloff from Pelt.  He currently lives in Fredericksburg, VA.
-Joe R. Sack, Blues scholar

Jack Rose has been in Pelt for a while now and has been an integral force in their stunning output over the past five-ish years. While the band is best known for sprawling tones, spontaneity and occasional dissonance, Rose has found the time to extract himself from this formula for two releases that demonstrate his remarkable skill as a blues guitarist. In a little more than a year, Rose's acoustic side has issued a CDR and an LP (both in limited quantities) that have been uniformly praised by all those fortunate enough heard them. The CDR, "Hung Far Low", Portland, Oregon, first saw the light of day as a largely tour-only release in 2001. It was far too brief, but inspired covers, such as Mississippi John Hurt's "Nobody's Business," demonstrated that Rose possessed a definite talent that had never been expressed in this way with Pelt. "Red Horse, White Mule" (Eclipse Records, from an edition of 318 copies) plays for thirty-five minutes and is short, like it's predecessor. That said, those minutes have the ability to completely transport the listener, and are destined to be played over and over again. The material is very emotional and intense. Over every bit of new music I've heard this year, regardless of the source, not one other album contains as much of the performer's soul as this LP. Rose has undeniably poured himself into his writing, as well as this particular performance. No matter what I do to try to explain this record, I know that I'll fall short of Kisan Nagai's massive essay from the back of the LP cover. To quote him, "it can truly be said that Jack Rose has the Blues." While that line reeks of hyperbole and cliché, one listen to the LP will reveal that the statement is completely accurate and wholly appropriate.

"Red Horse, White Mule" is one of those moments where substance and style meet and harmoniously become one. The acoustic is an uncomplicated instrument that can produce so many different types of sounds. While it is debatable whether or not traditional blues represents a type of music that is more "pure" or "true" than other forms, I think there can be no debate as to the emotional impact that can come from the blues when they are properly played. Jack Rose is a new and important voice within the genre and this LP is simply fantastic.
-Cory Rayburn, Fakejazz

Christina CarterChristina Carter
With Tom Carter, Christina formed Charalambides in 1991. She began Scorces with pedal steel guitarist Heather Murray in 2000. Originally preferring recording to playing live and concentrating on singing while playing live, she has in the past three years become increasingly interested in the live medium and using guitar. She has recently performed a series of live guitar duets on the More Hair Less Bush poetry and music tour with saxophonist Paul Flaherty and guitarists Loren Connors and Thurston Moore.

She has also performed with Chris Corsano, Dan Ireton, Erika Elder, and Matt Valentine, and accompanied the Man Ray film l'Etoile de Mer with acoustic guitar. She also performed in the Babes on the Loose quartet (Chris Corsano, Paul Flaherty, Heather Murray), whose performance at the Brattleboro FreeFolk festival was described in the August issue of the UK music magagzine Wire. Her recordings and live performances center around electric guitar and voice, and on this tour will  concentrate on spontaneous songs and improvised guitar instrumentals.

Future projects include an lp release with Loren Connors, a poetry/music performance with Heather Murray as Scorces, and a solo lp on Eclipse Records, and a short West Coast tour with Charalambides in November of 2003.

Maria ChavezMaria Chavez

Born in Lima, Peru in 1980, Maria grew up in Austin and lived in Houston from the age of 10. She became a club dj at the age of 17 and eventually met her mentor David Dove (Pauline Oliveros Foundation-Houston director). He convinced her to improvise on the turntables, since then she has been totally dedicated to improvised music.

Maria is now 23 and is working full time on her experimental music. She calls it improvised/abstract turntabilism, and it consists of all electro-acoustic sounds from only vinyl and needle. She melts and mutates all forms of vinyl and has a collection of 6 broken styluses (and counting) that all get different sounds.

Maria has worked with many regional and local improvisers and will be performing with Kaffe Matthews in September. Maria also has an upcoming project at Diverse Works art gallery in Houston, where she will do interpretations of abstract art through turntabilism, improvising with artist David Chien.

She has played on KPFT 90.1 Pacifica radio, KOOP 91.7 Austin radio, and has her own radio show on KTRU 91.7 for the electronic music show every other friday night from 9pm – 11pm.

Rotten PieceRotten Piece

Rotten Piece is a moniker sound artists Carol and Shaun Kelly adopted in 1991 for their experimental music project.  Both have experience with traditional song structure as well as unconventional approaches.  Their collaboration has turned out to be very fruitful.  In 13 years the duo has produced 75 CDs, 10 videos and more than 50 cassettes.

Live performances include installations, multimedia spectacles,  performance art and audience participation.  Venues have varied from galleries and art spaces (Luxus/Holland Ministry of Pop Culture/London, Csaw and Severed Image Gallery/Houston, Tx) to raves discos and punk clubs in US and Europe.

Both Kellys are self taught, their method is generally the dissection and re-assembly of found sounds, field recordings combined with prepared or homemade instruments, these include: stick cello, 2x4 guitar, photo theremin, bridge guitar and an amplified spring contraption.  The end result is sometimes a hypnotic drone or a series of loops, sometimes a menacing nightmarish noisescape.  The sound is constantly changing and evolving.

"Rotten Piece stand out from the crowd by dint of their use of relatively unusual instruments and distinct psychedelic leanings, recommended."
Ptolemaic Terrascope

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