A gifted interdisciplinary artist of the highest caliber, C. Spencer Yeh will showcase a series of new works, including a portrait – part homage and part perversion – of his longtime collaborator, Nate Wooley, as well as a new work for piano and electronics. Wooley will be present in dual role: as an improviser in response to the former, and as an accompanist on piano for the latter. In addition, Yeh will premiere a quad channel tape composition, The Ohio Guitar, documenting Yeh's acquisition of a replica Kay Solo King K4102. This original concert will be accompanied by a screening of a film that documents Yeh’s activity as a volunteer trailer editor for Spectacle Theater in Brooklyn, reflecting on the roles, processes, and consequences of the video editor and the modern electronic composer.
C. Spencer Yeh was born in Taipei, Taiwan, studied film at Northwestern University in Chicago IL, repped Cincinnati OH for many years, and is now based in Brooklyn NY. Originally introduced and developed in an auto-didactic musical practice, Yeh’s work has become increasingly interdisciplinary, incorporating his background in video and other mediums. As an improviser, Yeh is focused on developing a personal vocabulary using violin, voice, and electronics. In compositional modes, Yeh works with all aspects physically, visually, conceptually, and aurally available. He is concerned not only with the sensual, but the gestural as well. Recognized for his musical projects Burning Star Core and CS Yeh, as well as many other individual and collaborative activities, Yeh has performed and presented work internationally in a wide spectrum of venues and situations.
Situations in 2013 so far include duets with cellist Okkyung Lee for Andrew Lampert’s Synonym for Untitled at the Whitney Museum, presenting solo vocal improvisations at the Segue Reading Series in NYC, and at the ICA Philadelphia via Primary Information, a duo with saxophonist Don Dietrich (of Borbetomagus), a trio with Jason Lescalleet and Nate Young (of Wolf Eyes), and sharing an evening at the Canal Series with artist Mary Lucier, both as soloist and as support in her original multimedia performance of I Am Sitting in a Room.
Ben Greenberg began Hubblein 2011 as a solo guitar project extended from his work with avant-rock band Zs and punk-fuck band Pygmy Shrews. Relying on virtuosic guitar techniques more in line with metal shredders or blues heroes than the experimental scene, Greenberg implemented finger-tapping and minimal use of pedals (no looping ever!) in his long-form compositions, setting him apart from legions of crescendo-building contemporaries. A cassette on NNA Tapes in 2011 entitled Hubble Linger was the first available recording from Greenberg's project, The tape was well received, even inciting electronic musician Keith Fullerton Whitman to claim: “…I’m fairly floored by this extended solo-trance-out from Zs guitarist Ben Greenberg, who seems to have invented a device that halts time (musical, actual, and meta-physical); its use is put to great effect across this 60-minute blast of cycling 'stereo' chord progressions and assorted haze(s) that approaches the fervour of MBV / Belong’s filtered-out high-gain wash while retaining the minimalist patina of Charlemagne Palestine piece … awesome.” It was followed by the debut full-length album Hubble Drums later that year on Northern Spy Records, which received such praise as...
"At once heady and visceral, psychedelic and intensely lucid, Hubble’s mesmeric guitar webs are laser-etched incantations to the sublime. At the luminous crossroads of John Lee Hooker and Philip Glass, this is virtuosic and visionary sound-sculpture that kicks the concept of what is music just a little further down the road. There is something new under the sun. Just listen." –Michael Azerrad
"Hubble’s euphoric wheedlechurn is where the measured precision of downtown minimalism meets the unhinged aggression of Brooklyn loft noise–truly hypnotic and truly New York." –Christopher R. Weingarten
Benjamin Greenberg was born at Beth Israel Hospital at 16th street and 1st avenue in New York City on February 22nd, 1985. Six years later, he began studying music very, very seriously and has maintained that same level of intensity and focus ever since. Growing up in the city afforded young Ben a multitude of musical outlets once he was old enough to meet fellow musical travelers. By his estimate he has played in over 50 bands in his less than 30 years on this Earth. Among that list would be found lesser-known projects of yesteryear, such as The Fugue, Archaeopteryx, and The Jazz Standard Youth Orchestra, or better known and currently active bands of which he used to be a part such as doom-gloomers Bloody Panda, or free-jazz-bastards, Little Women. While attending the New School for Jazz and Contemporary Music, Mr. Greenberg joined NYC avant-mainstays Zs at the ripe old age of 21. His six-year tenure in the band taught him ohhhhh so much about sight reading, really high pitched guitar harmonics, Morton Feldman, and the place of the saxophone in contemporary music. At the same time, his Black Flag-cum-Flipper punk band, Cutter, was turning into his X-cum-No Trend punk trio, Pygmy Shrews, who then slayed many a soul in town and across the land. Both bands helped establish his reputation as a quite singularly-voiced guitar player, a ruthless and unashamed composer of tunes, songs and longer forms, and a visionary and resourceful recording engineer. These days Ben spends most of his time on the road with the band The Men, but still finds plenty of time to work on Hubble. http://missionhubble.blogspot.com http://wearethemen.blogspot.com
Ben Greenberg's performance is mode possible by the Jerome Foundation.