Sat, 16 July 2005
Euphonic Productions presents:
9pm, Sat, July 16
290 MLK Jr. Drive, Suite 8
Gruppe Freie Elektronisch: (GFE)
Jeff Bradley - double bass
Scott Burland - pedal steel, keyboards, electronics
Rob Cheatham - saxophones, keyboards
Bob Hulihan - electronics, guitar, theremin, etc.
Milt Jones - percussion, etc.
"Boom! Boom! Wow!"
- Iva Keranova
"They sound like an orchestra tuning up."
- Martha McCall
"Here comes a charging, wild rhino. If you want to listen, fine. Either way. This rhino stops for no one."
- R. Walter Riley
"Practice makes perfect, or so the adage says. For local electro-acoustic improvisational act Gruppe Freie Elektronisch, perfection is a matter of silent communication. "We never practice," laughs percussionist Milton Jones, and upon witnessing the group's stirring live performances, it becomes obvious that practice is beside the point.
Jones -- along with Jeff Bradley (double bass), Scott Burland (pedal steel, keyboards, electronics, guitar), Robert Cheatham (saxophones, keyboards) and Bob Hulihan (electronics, guitar) -- has only played three shows since forming the group in 2003. A mutual appreciation for experimental music and long-standing friendships -- some lasting more than 15 years -- give GFE an insight not achieved by many acts. Recent inductee Ana Balka (violin) brings an outsider edge, adding dexterity to the sonic deluge. The slow and surging sound is a slanted journey into intangible tones. "The group is less about rhythms and jamming as it is about creating textures, colors and shapes," adds Jones. "I'd like to see it move toward more structure, but that would require some practicing."
Over the course of the group's tenure, GFE has stood for everything from Girl Friend Experience to Granola Free Explosion, but Gruppe Freie Elektronisch is the tag that sticks. An appropriate title considering the group's surroundings: Jones and Bradley double as the core of local avant-garde jazz and experimental music promoters Euphonic Productions. As a result, GFE has become Euphonic's de facto house band. But that hasn't added any undue pressure. "We're like old friends communicating when we play," adds Jones. "It's not practiced. It's not rehearsed. It just has a life of its own."
- Chad Radford, Creative Loafing
Brian Cook and Rich Hudson founded BLACKLOVE over a few pints of cold cerveza negra the stormy summer of 2001. In a sweaty sea of Georgia humidity, lugging equipment up metal fire escape stairs to Brian's flat or past gun toting billygoat Baptists to Rich's farm, they began their experiments. Their evolving sound includes: vocs, keys, guit, bass, shakers, woodchucks, empty H2O bottles and samples. Songs range from a minimalist quiet passage with feedback served over harmonic trance bass and a loop of infidel philosophy to an upbeat Olympic anthem-like tune with horns, bass, and cattle sounds to the watery trip-folk of "Space Ship" with an actual UFO roaring to life at its conclusion. A spectator is unlikely to hear two songs that sound the same at a BLove show. BLove does their own thang irreverent of half-hyped music trends. Their sound encourages normal elimination in the adventurous music fan while causing massive gaseous explosions from those who prefer their music predictable as a McDonald's menu. BLove doesn't ROCK in the conventional sense. But BLove may make ya feel a little funny in the pants at inappropriate times like a leg humpin’ dog.