The Lab
Time 2022-09-16 01:44:26Web Name: The Lab
WebSite: http://www.thelab.org
ID:316509
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The,LabDescription:
The Lab
2948 16th StSan Francisco, CA, 94103
(415) 864-8855
thelabsf@thelab.org
The Lab is a nonprofit experimental art and performance space located in the Mission District of San Francisco.
Friday, September 16, 2022
7:30pm doors / 8:00pm show
Tickets $17-25 (discounted or free for members)
SFEMF 2022 Festival Pass $45
Get Tickets Now
Masks required for entry
The San Francisco Electronic Music Festival is an artist-run organization founded in 1999 by eight local sound artists and musicians. Since the first festival in 2000, SFEMF has presented works that span the sonic spectra from ambient to rhythmic and atonal to melodic by participants ranging from new and emerging young artists to respected pioneers of the electronic music field. Recent festivals have featured performances by clipping, zoviet france, William Basinski, Dieter Moebius, Christian Marclay, and Maja Ratkje. For more info: sfemf.org.
Michelle Moeller (b. St. Louis MO) is a composer, performer, and educator based in Oakland, CA. Her musical practice is ever evolving, guided by patient curiosity and a natural resistance to singular identity. Drawing from both a foundational lyricism and a penchant for dissonant textures, she uses live signals, custom effects, and computer synthesis to build intricate electroacoustic systems. She holds an MFA from Mills College. michellemoeller.com
Born in San Jose and living in San Francisco’s Parkside neighborhood, Dev Bhat is a musician, composer, sound designer, and writer. He has previously performed in bands that could be characterized as industrial rock, shoegaze, hardcore punk, instrumental rock, and ambient. Dev’s solo work as shipwreck detective features synthetic and organic textures using analog synthesizers, old tape recorders, samplers, loopers, and effects processors. His performances are built on structured improvisation, and he draws inspiration from nature, RPG video games, sci-fi films, 90s anime, and speculative fiction. shipwreckdetective.bandcamp.com
Luciano Chessa is a composer, conductor, audiovisual and performance artist, and music historian. His compositions include A Heavenly Act, an opera commissioned by SFMOMA with video by Kalup Linzy; Cromlech, a large organ piece for Melbourne’s Town Hall Organ; and the opera Cena oltranzista nel castelletto al lago, merging experimental theater with reality TV, requiring from the cast over 55 hours of fasting. Chessa has been commissioned multiple times by the Performa Biennial, and in October 2022 will collaborate with famed artist Ugo Rondinone on a multichannel audiovisual installation for Paris Plus/Art Basel. Chessa’s work has appeared in Artforum, Flash Art, Art in America, and Frieze, and has been featured in the Italian Marie Claire and the September Issue of Vogue Italia. lucianochessa.com
Saturday, September 17, 2022
7:30pm doors / 8:00pm show
Tickets $17-25 (discounted or free for members)
SFEMF 2022 Festival Pass $45
Get Tickets Now
Mask required for entry
The San Francisco Electronic Music Festival is an artist-run organization founded in 1999 by eight local sound artists and musicians. Since the first festival in 2000, SFEMF has presented works that span the sonic spectra from ambient to rhythmic and atonal to melodic by participants ranging from new and emerging young artists to respected pioneers of the electronic music field. Recent festivals have featured performances by clipping, zoviet france, William Basinski, Dieter Moebius, Christian Marclay, and Maja Ratkje. For more info: sfemf.org.
Sound artist and curator Jorge Bachmann has been involved in SF’s experimental music and dance scenes since the early 2000s. His eclectic work ranges from musique concrète to modular synth minimalism. Since the 1980s he has been collecting the microscopic sounds of everyday life and creating immersive soundscapes, blurring boundaries between wilderness environments and man-made sounds. He has performed and exhibited in North America, Europe, Japan, Taiwan and South America. in recent years with the likes of Alessandro Cortini, Bryan Day, Michael Gendreau, and Takahiro Kawaguchi. His last album Mare Island is on Baltimore's VauxFlores Industrial label. linktr.ee/ruidobello
Gabby Wen mainly works with sound improvisation and composition, focusing on the immediate corporal response to each sonic event, intentional or accidental, and its evolving/decaying physical existence in time. Born in Toisan, raised in Shenzhen, and living in Oakland, their works draw from early synthesizer music, Japanoise, folk music and rituals of various traditions, and natural or industrial polyrhythms. Gabby continues to develop a body of work combining synthesis, field recording, and guqin playing. gabriellawen.com
Amma Ateria is an electroacoustic composer / sound artist, born in Hong Kong, working in San Francisco and New York City. Her work explores themes in coexistence of polarity, psychoacoustics in binaural beats, and equal-loudness contour. With immediacy of tension/release, she navigates between oppositions, transforming deafening noise into meditative stance. Her compositions, developed during concussion recovery, utilize brainwave entrainment, time shifts, and changes of neurological responses to DELTA, THETA, ALPHA, BETA, GAMMA waves as materials / focal points. With memories of condensed cities, she gravitates to frequencies of close-ranged airplanes, polyrhythmic occurrences, out-of-body experiences, sustained harmonics intersected with musique concrète, and distorted speech as lost speech. Ammaateria.com
Carl Stone is one of the pioneers of live computer music and has been hailed by the Village Voice as “the king of sampling.” and “one of the best composers living in (the USA) today.” He has used computers in live performance since 1986. Stone was born in Los Angeles and now divides his time between Los Angeles and Japan. He studied composition at the California Institute of the Arts with Morton Subotnick and James Tenney and has composed electro-acoustic music almost exclusively since 1972. In addition to his schedule of performance, composition and touring, he is on the faculty of the Department of Media Engineering at Chukyo University in Japan. rlsto.net
Sunday, September 18, 2022
7:30pm doors / 8:00pm show
Tickets $17-25 (discounted or free for members)
SFEMF 2022 Festival Pass $45
Get Tickets Now
Masks required for entry
The San Francisco Electronic Music Festival is an artist-run organization founded in 1999 by eight local sound artists and musicians. Since the first festival in 2000, SFEMF has presented works that span the sonic spectra from ambient to rhythmic and atonal to melodic by participants ranging from new and emerging young artists to respected pioneers of the electronic music field. Recent festivals have featured performances by clipping, zoviet france, William Basinski, Dieter Moebius, Christian Marclay, and Maja Ratkje. For more info: sfemf.org.
Anne Hege creates musical worlds that invite an awareness of and attention to the body and our present moment. In her work as a composer, vocalist, conductor, instrument builder, and scholar, she explores the roots of musicality in the intersection of ensemble interaction, technology, embodiment, and expression. She is currently completing her first opera, The Furies, for laptop orchestra and live vocalists to premiere on Stanford's CCRMA Stage on Nov. 11-13, 2022, and is looking forward to the release of her first album of music for The Tape Machine in 2023 on INNOVA Records. annehege.com
Only Now is the vision of Kush Arora, based in Berkeley, CA. His sound is an unremitting emission of razor cut rhythms, primitive channeling, and ritualistic electronics. There is wild abandon in his approach; from seething Indian tribalism to cold fronts of ambience that highlight Arora’s ability to juggle disparate sonics. Active in the Bay Area since the late ‘90s, Kush produces in scenes ranging from noise to dancehall as with his recent “Indian Unclassical” series. Arora's work has been featured on the BBC and in The Wire, The Quietus, The Guardian, FACT, Resident Advisor, and Bandcamp Daily. onlynow.bandcamp.com
Rova Electric 6, the collaboration between Rova Saxophone Quartet and Unpopular Electronics (Gino Robair and Tom Djll) began when the groups shared a reverberant room at the 2010 Chapel of the Chimes summer solstice concert. Code-named Popular Tectonics, the sextet explores the liminal space between synthesizer tones and saxophone timbres—the reed instruments working with and against electronic amplification—to exploit the resonant characteristics of acoustic environments. Rova—Bruce Ackley (soprano sax), Steve Adams (alto sax) Larry Ochs (tenor sax) and Jon Raskin (baritone sax)—has released over forty albums and collaborated with a range of internationally renowned artists—Anthony Braxton, Fred Frith, Alvin Curran, John Zorn and Terry Riley, to name a few. The ensemble celebrates its 45th anniversary in 2023. Gino Robair and Tom Djll are also members of Tender Buttons, a trio with pianist Tania Chen.
rova.org
ginorobair.com
Tomdjll.com
Friday, September 23, 2022
7pm doors / 7:30pm show
Tickets $25 (discounted or free for members)
Get Tickets Now
Mask required for entry
Lubomyr Melnyk is a Ukrainian composer and pianist who has pioneered Continuous Piano Music. Classically trained and greatly affected by the minimalist movement in the early 1970s, he has developed his own unique language for the piano, named after the principle of maintaining a continuous, unbroken stream of sound.
Inspired by the minimal phase and pattern music of Steve Reich, Philip Glass, and Terry Riley, yet frustrated by the ecstatic detachment from reality they can encourage, Lubomyr Melnyk went about creating a mode of music, which he called Continuous Music, that was based in the innovations of the minimalist composers but had its roots more deeply planted in harmony. “KMH” (1978) is the fruition of the idea, which he began developing in 1974, and closely figures a similar sentiment that Reich expressed in his watershed “Music for 18 Musicians,” though Reich was detached socially as well as professionally from Melnyk. “KMH,” however, goes beyond the textural beauties of a piece like “Music for 18 Musicians” and succeeds in functioning as an engaging drama as well as a piece of music. The influence of dancer / choreographer and Igor Wakevitch collaborator Carolyn Carlson on Melnyk underlies this.
He recalls, “The entire Continuous Music concept developed from my work with the Carolyn Carlson Dance Company which was based in Paris (at the Opera) during the mid-1970´s. This was a completely new dance format, based on Carolyn's extraordinary and mystical perceptions of dance-space-movement. There has never been nor ever will be anyone like her… She moved like a tiger and a spider and a bird all at once. She was (is) a virtual explosion of the entire physical plane and I was to play for 16 minutes straight while her students moved across the floor. She developed the moving and standing still all at once phenomenon.”
Continuous Music is structured into two formats. In the first the player generates the series of notes (the "chordal-sound continuum") up and down over the keyboard in melodic arpeggio fashion. In the second a note series is held in one rigid location, giving rise to a note pattern with a motoristic character, or a continuous multi-level line of sounds. Both formats utilize the pedal continuously so that the frequencies overlap and become a steady stream of wave-like multi-dimensional sound. The technique requires a pianist able to combine various lines of tone in a continuous stream of notes, to operate incongruous patterns in each hand and have a soft, airy agility in arpeggiating a melodic/harmonic flow.
This music transcends the barriers between consonant and dissonant, tonal and atonal. The individual notes themselves retain an independent life and unite briefly before eventually splitting off from the chord and heading into other relationships. The motions of these continua combine with other tones to form a constantly evolving harmonic structure. The continuity of the music reflects the continuity of time and life and the flow of time within the player’s life. In a live performance the music attains an intense spiritual state.
In 1975, Edward Bond, reviewing a performance by Lubomyr Melnyk stated, “It is unlike anything heard before … one felt the piano was always meant to sound this way!”
Saturday, October 8, 2022
7:30pm doors / 8pm show
Tickets $15 (discounted or free for members)
Get Tickets Now
Mask required for entry
Park Jiha is a multi-instrumentalist and composer who approaches ancient Korean instruments from the perspective of a modern, improvisatory minimalist. Park trained in classical Korean music at National Gugak Center in Seoul, where she encountered the percussionist Won II and his group P'uri and was inspired by their innovations with traditional instrumentation to pursue her own experimental inclinations. During her studies, Park focused on the piri, a double-reed bamboo oboe; she now plays it alongside the saenghwang, a free-reed mouth organ similar to the Chinese sheng and the Japanese shō, and the yanggeum, a type of hammered dulcimer. The colors and timbres of these instruments are alternately metallic and wooden, synthetic and natural. Her compositions embrace the meditative and affective alike, forging a spacious, resonant soundscape of precisely wrought melodic moments.
For these performances, Park will present the live premiere of compositions from The Gleam, released this year on Glitterbeat Records. On this most recent record, Park channels the affects and influences created by light’s shifting presence over the course of a single day. Temporary Inertia, an early composition for the record, responds to self-trained architect Tadao Ando’s meditation room at Museum San in Wonju, Korea, in which a cut across the domed ceiling allows the sun’s rays to penetrate the space as they fluctuate over time. Park’s music tunes its listeners to the subtle textures of emotional states in flux, evoking moments of stillness alongside instances of dramatic transition.
Friday, November 4, 2022
7pm doors / 7:30pm reading
Free
Mask required for entry
Celebrate the release of two new books from Roof Books by Bay Area poets, Jean Day & Jacob Kahn. Hosted by Roof Books Managing Editor, Lonely Christopher, Day will be reading from her latest collection, The Night Before the Day On Which, and Kahn from his debut collection, Mine Eclogue.
Jean Day is a poet, academic editor, and (in recent years) union activist whose involvement in the San Francisco Bay Area poetry scene spans more than four decades. Starting out as a book-wrapper/clerk for Small Press Distribution (and later as its director), she has since worked in various aspects of nonprofit publishing. She is the author of many collections of poetry, including Late Human (Ugly Duckling, 2021), The Triumph of Life (Insurance Editions, 2018), and Daydream (Litmus, 2017). She lives in Berkeley.
Jacob Kahn is a poet and editor living in Oakland, CA. He is the author of the chapbooks A Is For Aegis (DoubleCross Press, 2022) and Mine Eclogue (Dirty Swan Projects, 2019), and A Circuit of Yields (Wolfman Books, 2014). From 2016-20, he was a managing editor, curator, and bookseller at Wolfman Books, a bookstore, small press, and community arts hub in downtown Oakland. He is an editor of the poetry chapbook press, Eyelet Press, and reading series, Islet, which he cofounded with Sophia Dahlin in 2019. He works as a freelance grant writer and copyeditor, as well as at the Berkeley Public Library.
Saturday, November 12, 2022
7pm doors / 7:30pm show
Tickets $25 (discounted or free for members)
Get Tickets Now
Mask required for entry
The multidisciplinary artists MV Carbon and Charlemagne Palestine recorded two hours of improvised music in June ‘15 at Palestine’s Brussels studio; this would later become the album Liquiddd Changesss (5 Rue Christine). Carbon describes it as “having a mysterious, ambient quality to it that is dreamlike and haunting.” Charlemagne describes his process for this recording as “very much like a somnambulist… a sleepwalker in a trance.”
Charlemagne Palestine’s approach to creation is about intuitingg the moment,,,,enteringg a trance and then ridingg the nowwwww like a funambule !!! During his decades of creation adventuress he has found his magics as a sleepwalking sonambulistic ritualist bumping into countless unusual unknowns and wigglewagglingg through them as a slipperyy slideryy human animal inspired by his own bodyy with all its diversitiess and contradictionss,,,,He is alwayss accompanied on these multifarious adventuress with his cornucopic family of animistic divinitiess,,,, costumess,,, and elixirss,,,,!!! A Multi-ShMulti Carnivalateria!!! Charlemagne has presented performed installed and interacted in numerous residencies, festivals and exhibitions worldwide for more than half a century. Born and educated in New York City, he has lived in many other lands. Since 1999 he resides in Brussels and Oostende Belgium.
MV Carbon (NYC) focuses sonic feedback, sound morphology, media manipulation, and the transformative interrelationship between sound, image, space, and place. Carbon's music unravels lucid abstractions, weaving dreams into tangibility. Electric cello, voice, magnetic tape, field recordings, oscillators, and synthesizers form alluring and unsettling sonic experiences. Sculptural objects function as musical instruments, amplifying the ritual, rhythm, and momentum embedded in music. Carbon taps into the mystery of the human mechanism, exploring themes such as interchangeability, regeneration, and the transmogrification of mind and matter. Carbon interprets sound as a living organism which can heighten our senses. Carbon has performed and exhibited work nationally and internationally and has records released on a multitude of independent labels.
Grace Cathedral, 1100 California St, San Francisco, CA 94108
Saturday, November 19, 2022
7pm doors / 8pm show
Tickets $20 (discounted or free for members)
Get Tickets Now
Masks are required for entry
Kara-Lis Coverdale is most well known for her work in electronics, but her performance at Grace Cathedral will draw from over a decade of her employment by the church as organist, while fully embracing the non-compromising artistic presence Coverdale is known for, drawing sounds out of the organ that re-frame the instrument and its repertoire with distinctive approaches to tactility, register, and shadow form. She will perform new work titled “State, Form, Interconnectivity,” from her ongoing specialized repertoire in transcendence, embodiment, and transcription of emotion.
Kara-Lis is a Canadian born composer, musician, and producer with Estonian heritage. She began studying piano with the Royal Conservatory of Music at 5 and has held positions as organist, choir and music directors across Canada since 13. Coverdale completed degrees in musicology and composition, writing a Masters thesis on the construction of timbral realism in mediated and recorded music, also studying composition, media and piano. She is recipient of Canada’s “Promising Young Artist” Award presented by Ann Southam, and has held residencies with GRM Paris, EMS Stockholm, FUGA Zaragoza, and more. Kara-Lis has performed live all over the world at institutions such as The Barbican, Theatre du Chatelet, AGO, MAC Montreal, Teatro Circo, Kraftwerk, and Elbphilharmonie.
Saturday, November 26, 2022
9pm doors / 10pm sound
Tickets $15 (discounted or free for members)
Students can email us for a discounted ticket
Get Tickets Now
Mask required for entry
Percussion instruments are among the earliest instruments in human history. At the very least, they are keepers of time, but they can achieve far more and transport us into a realm beyond music.
As a fierce DJ, Nkisi channels 160+bpm kick drums, metallic hectic percussions, and hypnotizes the dance floor into a ritualistic transcendental space.
On the occasion of the Drum Listens to Heart exhibition at The Wattis Institute, Nkisi performs a live set at The Lab.
Nkisi produces intense, powerful club tracks equally influenced by African polyrhythms, hardcore techno, and '70s Italian horror films. The London-based musician and visual artist is one of the co-founders of NON Worldwide, a collective of experimental artists from across the African diaspora. In 2020, Nkisi's new label INITIATION emerges with INT001, a 3 track EP melting rhythmic noise strategies with secret drum languages from Ancient Kongo traditions.
Drum Listens to Heart is curated by Anthony Huberman and organized by Diego Villalobos, with assistance by Katherine Jemima Hamilton and Meghan Smith.
Saturday, December 17, 2022
7:30pm doors / 8pm sound
Tickets $15 (discounted or free for members)
Students can email us for a discounted ticket
Get Tickets Now
Mask required for entry
Moor Mother's music is connected to a future and a history, but it’s not bound to time. It reflects on our disjointed world, its shared traumas and ways of healing. It’s about faith and mutual aid. It’s music as liberation technology.
On the occasion of the Drum Listens to Heart exhibition at The Wattis Institute, Moor Mother gathers an ensemble of fellow musicians, at The Lab, to respond to the exhibition's themes.
The songwriter, composer, vocalist, poet, and educator Camae Ayewa (Dennis) spent years organizing and performing in Philadelphia's underground music community before moving to Los Angeles to teach composition at the University of Southern California's Thornton School of Music. In 2016, she released Fetish Bones, her debut album as Moor Mother, and has since put out an abundance of acclaimed music, both as a solo artist and in collaboration with other musicians who share her drive to dig up the untold.
Drum Listens to Heart is curated by Anthony Huberman and organized by Diego Villalobos, with assistance by Katherine Jemima Hamilton and Meghan Smith.
Saturday, January 21, 2023
7:30pm doors / 8pm sound
Tickets $15 (discounted or free for members)
Students can email us for a discounted ticket
Get Tickets Now
Mask required for entry
This inter-generational performance event brings together artists in different stages of their career, several of whom have close ties to the San Francisco Bay Area.
The first set is a performance by Ikue Mori, on electronics, and William Winant, on percussion instruments. The second is a solo performance by the Italian drummer Valentina Magaletti (Vanishing Twin). The evening concludes with a performance by the sister duo NOMON.
Each of these artists engage and complicate the legacies of Avant-Garde music by remaining on the margins of the experimental and by constantly pushing the limits of what’s sonically possible within their instruments.
These performances take place on the occasion of the exhibition Drum Listens to Heart at The Wattis Institute.
Ikue Mori arrived to New York in 1977 and subsequently became the drummer of the iconic No Wave band DNA. She later started incorporating drum machines in her music practice and moved on to using her computer as an instrument to blend sonic and visual space.
William Winant is a percussionist and educator who, during his 40+ year career, has collaborated with composers such as John Cage, Iannis Xenakis, Barbara Monk Feldman, Wendy Reid, Frank Zappa, Roscoe Mitchell, Anthony Braxton, Hi-Kyung Kim, James Tenney, Terry Riley, Cecil Taylor, George Lewis, Joan LaBarbara, Yo-Yo Ma, Lou Harrison, John Zorn, Bun-Ching Lam, Gordon Mumma, Alvin Lucier, and Wadada Leo Smith, several of whom have written pieces specifically for him. He has recorded and toured worldwide and teaches at Mills College and UC Santa Cruz.
Valentina Magaletti is a drummer, percussionist and composer whose practice has been characterized for its constant experimentation with new materials and sounds. In addition to her solo work, she is currently a member of Vanishing Twin and Tomaga, where she explores a wide range between conventional jazz drumming and experiments with field recordings and drone sounds.
NOMON is a percussion and electronic music duo composed of sisters Shayna and Nava Dunkelman. After spending years apart working on their own, Shayna and Nava came together in 2018 to form NOMON. Born and raised in Tokyo to an Indonesian mother and an American father, the sisters became multi-instrumentalists performing alongside their mother, a musician and composer active in Asia and the Middle East. NOMON's music is as visual as it is aural, and their performances have a physicality and an immersive choreographic quality, while the sounds combine electronic soundscapes and intricately composed percussion parts.
Drum Listens to Heart is curated by Anthony Huberman and organized by Diego Villalobos, with assistance by Katherine Jemima Hamilton and Meghan Smith.
Saturday, February 25, 2023
7:30pm doors / 8pm sound
Tickets $15 (discounted or free for members)
Students can email us for a discounted ticket
Get Tickets Now
Mask required for entry
Let’s undo the hit.
The music program for the Drum Listens to Heart exhibition at The Wattis Institute concludes with a performance of Raven Chacon’s American Ledger No.1 (2018) and an audio visual performance by Music Research Strategies titled Deep Phonology: Technique and Sound Become Visual and Transformative.
American Ledger No.1 is a score that can be displayed as a flag, a wall, a blanket, a billboard, or a door. It’s meant to be played by many players with sustaining and percussive instruments, coins, axe and wood, a police whistle, and a match. This score is the first part of the American Ledger series and tells, in chronological order, the creation story of the United States of America. From moments of contact and enactment of laws, to the erasure of lands and worldview.
This performance of American Ledger No.1 is conducted by Andy Meyerson.
Music Research Strategies’ Deep Phonology: Technique and Sound Become Visual and Transformative is a live performance and a community gathering. For this performance, Music Research Strategies stages a collective reading of the United Nations’ Declaration of the Rights of Indigenous People (UNDRIP). This participatory performance exists as a communal offering, where the drum becomes a vernacular tool for acoustic study and social change.
Raven Chacon is a composer, performer, and installation artist from Fort Defiance, Navajo Nation. He has exhibited and performed all over the world and was awarded the 2022 Pulitzer Prize for music. He was the 2020-21 Capp Street Artist-in-Residence at the Wattis Institute.
Music Research Strategies is a project by Marshall Trammell, who is a composer, percussionist, and experimental archivist. His practice is oriented in activist work and social interventions that embrace improvisation as a collective movement-building tool in the creation of post-capitalist imaginaries.
Drum Listens to Heart is curated by Anthony Huberman and organized by Diego Villalobos, with assistance by Katherine Jemima Hamilton and Meghan Smith.
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