Issue Project Room

Time of the Season

Giv­ing can be hard, exhaust­ing, maybe it’s best to leave it to the hol­i­day sea­sons, then, when the cul­ture as a whole con­cen­trates on giv­ing. If are think­ing about what to give, and to whom, think about ISSUE Project Room. Your sup­port would be most wel­come this year, because not only will they be incurring(…)

In the News

ISSUE Project Room has announced their new pub­lish­ing imprint, Dis­trib­uted Objects, which will be pro­duc­ing record­ings and “writ­ten doc­u­ments” cov­er­ing the types of exper­i­men­tal music and per­for­mance that is their forte. The pri­mary focus will be work that comes out of ISSUE’s Artist-in-Residence pro­gram, but there will also be his­tor­i­cal mate­ri­als. The first release, set(…)

Forgotten New York

There was enough sense of dis­or­ga­ni­za­tion, real or imag­ined, so that the music that was in the clubs, on tapes, avail­able at the New Music Dis­tri­b­u­tion Ser­vice or the old Lunch For Your Ears, had a sur­prise to it, the feel­ing that the cats just hap­pened to turn the cor­ner of Avenue C and hey, what’s going on, we got this gig, you want to play too? … While other musi­cians with roots in the down­town scene have gone on to build con­glom­er­a­tions based in glib­ness, increas­ingly self-referential, ges­tural and jejune, on Abstrac­tion Dis­trac­tion, Sharp has done, almost casu­ally, what many oth­ers try and do with great effort and never quite suc­ceed at; he’s made a record of truly abstract funk, all by him­self, using elec­tron­ics to sup­port his impres­sive tenor and soprano sax playing.

Bop Till You Drop

At the end of these short days in Decem­ber, there are nights full of great music. Try and get out and catch some of this stuff (none of it hol­i­day music!): Read this great lit­tle piece about Steven Blier then go see him at the New York Fes­ti­val of Song pro­gram Man­ning the Canon … at(…)

Go See: Brooklyn 2010-11 And More

A lot of what I see and rec­om­mend is in Man­hat­tan because that’s where some great per­form­ing orga­ni­za­tions and venues are. But too much of Man­hat­tan is stuck per­ma­nently in the 1980s, with cock-of-the-walk finan­cial and real estate types run­ning things, and run­ning them into the ground. Brook­lyn is great on its own, and by(…)

The Radical Simplicity Of The Avant-Garde

Land­marks tell us where we are, they help us get to where we’re going. They appear dif­fer­ently to us depend­ing on our dis­tance and angle, and it is that rela­tion which ori­ents us. No mat­ter how con­crete and specif­i­cally defined they are as objects, their mean­ing and func­tion are mainly sub­jec­tive and rel­a­tive. In Brooklyn,(…)

Hotter Than July

For­give the clever title, but after the ridicu­lous, oppres­sive heat of May and June, every cell in my body is telling me that it’s now Octo­ber. Of course, it’s July, and that will be more than obvi­ous next week when the pre­dicted tem­per­a­tures in New York City will be in the mid-90s. But it snowed(…)

Next To Nothing

This Fri­day evening, in a small room in an appro­pri­ately still indus­trial part of New York City, Ensem­ble Pam­ple­mousse and David Grubbs will present some of the unique and impor­tant music of Luc Fer­rari. The mod­est $10 ticket returns two New York City pre­mieres and a screen­ing of a film on the com­poser, made with(…)

Feldman String Quartet #2

I tweeted from the event itself, Ne(x)tworks inau­gu­rat­ing the new Issue Project Room space with the six hour Mor­ton Feld­man String Quar­tet No. 2.  If you missed it, or missed the live audio, Q2 has the stream up now.  Just let time stop …