Hypercube performs works by students of NYU Steinhardt Music Technology. A culmination of its Spring 2022 residency. Online only!
Monday, May 9 @3pm
Broadcast via Twitch
Works by:
Jude Shih
Cole Reyes
Mengxue Tan
Eugene Markin
Adam Lutz
Kristian de Leon
Nicole Russell
Vicki Nguyen
Maxim Dybal-Denysenko
Playing a set with Seattle bassist Kelsey Mines, presented by Relative Pitch Records
Saturday 5/7
IBeam Brooklyn
$15 door
8pm: Erin Rogers
9pm: Tamio Shiraishi
For this evening’s performance, Bell is joined by Miguel Frasconi on glass instruments and Erin Rogers on saxophone, with paper-cut artist and shadow puppeteer Erik Ruin. The musical trio will explore lush and meditative sound worlds bathed in the light and color of Ruin’s intricate and spell-binding visuals.
$40/$35 for members. There are no paper or e-tickets. Attendees will be checked in by name.
Reserve HERE
Friday, April 29, 2022
The Green-Wood Cemetery
500 25th Street
Brooklyn, NY 11232
For the second concert of their season, Columbia Composers are delighted to present the fearless instrumentalists of Hypercube, (Erin Rogers, Jay Sorce, Andrea Lodge, and Chris Graham), along with performances by brilliant musicians Isaac “Matük” Matus, Yuma Uesaka, and Catherine Sikora. Come to DiMenna Center on April 9th to hear the many-faceted music of Columbia Composers, featuring cyborg space travels, Parisian catacombs, hypothesized instrument resonances, all time pop hits, modular synthesizers, and a whole lot more!
Saturday, Apr 9 @7:30
Dimenna Center
450 W 37th St
New York, NY 10018
Tickets HERE
What Grieves Frenzy Drown’d – Album Release
Tuesday, April 5 @7pm
Scholes Street Studio
375 Lorimer St, Brooklyn NY
Door $15
Alec Goldfarb
Erin Rogers
Marina Kifferstein
Mat Muntz
Carrie Frey
May 6, 2022, 7pm
Joe’s Pub
425 Lafayette Street
New York, NY 10003
Experimental singer and songwriter Gelsey Bell presents her first show at Joe’s Pub. Described by The New York Times as “one of New York’s most adventurous musicians,” Gelsey will bring an array of musical sensibilities to an eclectic night of music and song.
Saturday, APRIL 23, 2022 // 9am – 10pm
Free Public Event — In the Bromery Center for the Arts
University of Massachusetts Amherst
151 Presidents Dr
Amherst, MA
Guest artists:
Jacques Schwarz-Bart
Popebama (Erin Rogers & Dennis Sullivan)
For more info and to register click HERE
Postponed until further notice.
Snag the new album from Blood Luxury while you wait (out now on Tubapede records):
https://tubapederecords.bandcamp.com/album/blood-luxury
Blood Luxury
Dennis Sullivan and Erica Dicker
and Duo sets by
Erin Rogers and Leo Chang
Laura Cocks and Joe Moffett
Sunday, Apr 17 @ 7:30pm
Scholes Street Studio
375 Lorimer St, Brooklyn
Ticket Link TBD
This month’s edition of Fire Over Heaven will be a special A/V presentation featuring sound and light works by Lindsay Packer & Lathan Hardy and a new ensemble piece by FOH perennial David First. Lindsay Packer’s work moves through the codes of filmmaking, architecture and the analog/digital spectrum with an improviser’s sensibility. Often drawing musicians and sound artists into dialogue with her real-time color/light/projection structures, she’s collaborated with FOH alum Anaïs Maviel and experimental electronics duo Fan Letters. Here she’ll be presenting a new iteration of her Viewfinders project with saxophonist and composer Lathan Hardy, who some FOH fans may remember from his work with the George Steeltoe Ensemble or collaborations with Sean Ali and Flin van Hemmen…David First will present a new piece entitled “Girders pt.1” which he describes as “an audio/visual exploration of just intonation and its ill-tempered opposites”, featuring members of his The Western Enisphere–Sam Kulik, Ian Douglas-Moore, and Danny Tunick–with special guest Erin Rogers. David First’s fascinating career has stretched from playing in Cecil Taylor’s large ensembles at the age of twenty to his late 70s noise punk band The Notekillers, on to a series of focused explorations of electronic music and instruments ranging from harmonica to sitar, which somehow bring us to his recent ensemble meditations on the inherent messiness of intonation and the ecstatic nature of long durations. A great night for the eyes and ears.
Once again, we’ll be requiring proof of vaccine and booster or negative covid PCR test result within the last 24 hours. Masking will also be required while inside. Our bar will remain closed for the time being but we will have water available. We’ll be limiting the audience to 30 so purchasing advanced tickets is highly recommended!
New Thread Quartet: avalanche lily
Friday, March 4 2022 @ 7:00pm
Grace Church Van Vorst
39 Erie St
Jersey City, NJ
In person: FREE, all ages welcome
COVID-19 vaccine and masks required
Livestream: Con Vivo Music on YouTube
New Thread Quartet returns to our stage with a program of new works for saxophone. The concert centers on Amy Beth Kirsten’s avalanche lily, a multi-movement work inspired by wildflowers from the mountains of Wyoming and developed with support from the Chamber Music America Classical Commissioning Program. Each movement draws from a unique concept found in nature, from flowers whose appearance indicates a risk of avalanche, to plants that split stones and trees holding onto nutrients to survive until spring.
The program continues with several works close to NTQ’s heart. Alon Nechushtan’s Quarantingo was composed during the isolation of the COVID-19 pandemic and blends extended saxophone technique with tango and jazz elements. Jonathan Harris’ M. Cassini draws inspiration from a cicada with a 17-year cycle, building a unique soundscape entirely from multiphonics. Emily Koh’s homonym employs microtonal melodies inspired by words that are spelled identically and sound the same, but have different meanings.
Program:
Emily Koh – homonym
Jonathan Harris – M. Cassini *
Alon Nechushtan – Quarantingo * (world premiere)
Amy Beth Kirsten – avalanche lily * +
* written for New Thread Quartet
+ This commission has been made possible by the Chamber Music America Classical Commissioning Program, with generous funding provided by The Andrew W. Mellon Foundation, and the Chamber Music America Endowment Fund.
