Latest Posts

ONE YEAR IN BROOKLYN!

OneYear2

In 1978 three composers, Jim Staley, David Weinstein and Dan Senn, launched a new music composers’ collective they named Roulette.


INTERVIEW WITH LENNY PICKETT

lenny1

Interview with Saturday Night Live and Tower of Power band leader, Lenny Pickett, about his upcoming show at Roulette.


Interview with Adam Rudolph

adamblog

We talked with composer, multi-instrumentalist, and conductor Adam Rudolph about his practice and development as an artist.


Interview with Byron Westbrook

bw

Byron Westbrook is an artist working with the dynamic quality of physical space using multi-channel sound, images, and objects. His audio/video performances under the name CORRIDORS involve the distribution of processed instrumental and environmental recordings through a multi-channel environment.


Toni Dove’s SPECTROPIA

spectropia_table

On May 4 and 5, Roulette presents Toni Dove’s Spectropia, an interactive live-mix sci-fi/noir film hybrid featuring time travel, telepathy, and elements of film noir in a drama set in England, 2099 and in New York City, 1931, starring Aleksa Paladino (Boardwalk Empire), with music by Elliott Sharp.


Interview with Robert Een

een1

We talked to genre-bending composer, vocalist, and cellist Robert Een about his upcoming performance at Roulette – featuring a chamber version of his opera, “The Escape Artist”, as well as a song cycle of Walt Whitman poems, and a dance suite inspired by the Indian singer of the 14th century whose voice it is said could cause spontaneous combustion.


Interview with Russ Waterhouse of Blues Control

BluesControlBlog

A unique combination of keyboards, guitar and tape manipulation, the experimental rock duo Blues Control casts their palette wide – invoking such different genres (sometimes simultaneously) as new age, krautrock and noise. On March 28th at Roulette, Blues Control teams up with new age zither artist, Laraaji, who is best known for his work with Brian Eno. We talked with Blues Control’s Russ Waterhouse about the upcoming show at Roulette


WHAT IS MUSIC?

whatis

Ever since we started the Roulette Blog, we’ve been asking each artist one very annoying question: “WHAT IS MUSIC?” It’s a deceptively simple question. We’ve received everything from sighs, to jokes, to mini essays. Here’s a little collection of some of the answers we’ve received….


Interview with Amy X Neuburg & Cory Smythe

amyxsmythe

On December 13th, beloved Bay Area techno-songstress Amy X Neuburg returns to Roulette, this time in collaboration with NYC pianist/improviser Cory Smythe (of ICE), The evening will consist of new compositions for voice, piano and live electronics, improvisational duets, and solos from Amy and Cory — including Amy’s spirited ‘avant-cabaret’ songs for voice and drum-controlled looping, and works from Cory’s recent release “Pluripotent” for piano with live processing.


Inverview with Elliott Sharp

443px-Elliott_Sharp

Elliott Sharp is an American composer, multi-instrumentalist, producer and curator central to the experimental music scene in New York City for over thirty years. He leads the projects Carbon and Orchestra Carbon, Tectonics, and Terraplane and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction. On December 8th at Roulette, Sharp presents two aspects of Carbon: the quartet and the orchestra. The smaller group functions like a rock band with the spontaneous freedom of a chamber ensemble or jazz group.


Interview with G Lucas Crane

lucasgcrane


G Lucas Crane is a sound artist and sound performer working within the mediums of the manipulated analogue cassette, live collage, noise, environment/life recording and pure frenzy. Many years recording and playing his sonic diary, put to tape and hacked to pieces live, have yielded collaborations such as the psychedelic rock band Woods, Wooden Wand and the Vanishing Voice and Time Life, theater work at Ps122, Here Theater and Ontological-Hysteric, and sweaty basement conflagrations around the world with his solo project, Nonhorse. He is a founding member of the art collective and performance space Silent Barn, in NYC.  On December 5th at Roulette, Crane the release of the NOVA CRIMES limited edition cassette out on Green Age Records. 

ROULETTE: Tell us as about the work you’ll be doing at Roulette.
G LUCAS CRANE:
My performance at roulette is a great opportunity to present a project I’ve been working on since august, the NOVA project. NOVA is an image borrowed from the work of William Burroughs, and I’d been looking for a way to explore themes of “agency”, control and identity in the modern world. In Burroughs NOVA trilogy, his most famous use of ‘cut-up’ techniques, the NOVA is a criminal organization bent on total subjugation of human kind, parasitically feeding of the minds of men physically, sexually, psychically, economically, and so forth. So this project came out of wanting to do something with some of my favorite weird novels, but once I started the themes never stop bending back upon each other. Burroughs used the ‘cut-up’ methods to ‘break reality’ and release himself from the ontological prison of words and language itself, which in the novels is used by the NOVA criminals as the ultimate addiction and psychic weapon. But since I have always made cut-up sound artwork, once I started rereading the books, it was like I was immediately inside them, in some twisted modern version of them. The novels also have sort of NOVA detectives, heroes, that literally use the same techniques I use to make art to destroy control and fight psychic aliens. So the stuff gets in your head. Burroughs was very ahead of his time in his conception of how modern advertising, and propaganda work on the mind, as well as how modern terrorism and social networking works, that is leaderless agency, with different ‘cells’ working of the same ideological ‘program’. In my project, NOVA is a catch-all category for the inner turmoil of modern identity, with our rapidly developing communication technology and new emerging sense of self. Its either a pulpy concept story of artist-agents detectives receiving strange orders and messages and finding the always suspect truth, or its all true and the audience with witness my own attempt at modern self-deprogramming. I feel Its fundamentally strange to make something called “media-art” now, I think, because depending on your personal stress level you are either just simply making work, or fighting a never ending battle against the media itself, which demands all of your time, attention, and mental space. I want to play with images, themes and sounds and make a piece that evokes indirectly these massive ideas, because I feel crushed by the weight of the distinct seriousness and frivolousness of all incoming suspect information. I’m not really making this music, i’m trying to encounter something, find something.

R: Are there working artists today with whose work you identify, or rather, who do you consider to be your peers?
GLC:
I admire anyone who makes what they would call music that is terribly personal. Music as a category is extremely balkanized and orthodox. Even experimental music is a genre instead of a literal experiment. I feel screwed by the rush to categorization, so I like it when people are working things out and fearless about looking rough and crazy in the application of their sound. There are a few artists working with tape that I identify with because the medium tends to require personal, dairy style dedication to sound in physical space. A cassette is a stubbornly physical medium. Aki Onda from New York City has a tape style that is focused on memory and deep listening that I really respect and aspire to. Rinus Van Alebeek from Berlin deals with the medium like a true artist/spy, his location specific tape compilations or ‘runs’ ensure that each cassette is imbued with as much gravity as possible. I’m truly inspired by Scott Spears or ‘Id M theft able’ from Maine as a performer, an example of very experimental music that is still gripping and amazing to watch, and is at once very hard to categorize. Tomutonttu out of Finland is amazing music very personally realized.

R: What are some defining characteristics of the musical scene you would fit yourself into? What elements of your scene differentiate it from what has come before, or what is happening now?
GLC:
That’s a tough one. I kind of do everything. I’ve been making collage based weird music in Brooklyn for about 10 years so you tend to meet a lot of people, cross-genre. Sometimes I’m a noise musician, sometimes I do “sound design” sometimes I play psychedelic rock. I jam. I jam out, whatever that means. I’m kind of like a traveling sound plumber. I feel like when I have a bad show im a noise musician, but when I play a good show I play a totally new kind of mind destroying shit, stuff for the insects to enjoy. I feel like if you are into out-there sounds or are a sonic seeker or experimenter, then you are not in a genre or scene per se, but instead you have a use and a sensitivity that is useful in many contemporary contexts. Some people play the guitar or violin, ancient instruments that are whole worlds of history and sociality into themselves. And these things have an expressive use to people in describing their world and experiences. If you experiment with sound then you actually play “an experiment’ as an instrument, and that can be aesthetically very useful right now, as our usual sensory experience as modern humans is now packed with all kinds of throw away noise and data with a questionable pedigree. I think if you are an experimental musician now a days its important to collaborate as much as possible and get out of your comfort zone. I identify with self taught musicians, people just starting out, people who just decide to play with nothing but passion and an idea. That probably sounds weird because it seems like everyone wants to make art these days, but art is a personal spiritual thing that I think makes you a better person, so the more the merrier.

R: What was the last music you listened to?
GLC:
I’ve been listening to a lot of Lori Anderson actually, but only because I found a tape in an old mix tape stuck in a player at a thrift store. I’ve been listening to a lot of Twankle and Glisten mixtapes and DJ Screw stuff. I’ve been listening to a lot of this songwriter ‘Stanly Brinks’ from Berlin. Lots of R Kelly as usual. Sublime Frequencies stuff. C Cat Trance. Random Turkish music tapes. Lots of Turkish music always. This band CoolHaven from Rotterdam. I listen to just the audio from horrible action movies for fun. its like drinking a bitter aperitif.

R: What is music?
GLC:
Music is a time binding personal expression and art form utilizing permeating waves and vibrations. There is a scale or spectrum of sound and everyone puts the threshold of what is music and what is not at a different place.

R: Do you consider yourself more a composer or a performer?
GLC:
A performer defiantly, because I do everything in a frenzy. Its just my nature. but composition and the codification of my personal inner hieroglyphic process is a goal of mine. Its going to take the rest of my life.

R: Is there an event or experience that led you to start in experimental media?
GLC:
Yeah. I set up a confession booth in my closet when I was in college. It was just a tape deck and a chair. People would just stop by and close the closet door and talk randomly into the tape deck. And for some reason, I didn’t listen to it until the end of the year. The shear breath of the intimacy and span of the time and the emotions fused onto a single cassette propelled me forward into using them as a cheap quick sampler dairy. I used to want to write, but I realized at a young age that most art forms and mediums require a lot of alone time in their actual application. Except music. Sound and performance are the art forms that are out of the house and boiled in the soup of public discourse. That’s the thing for me. If you collage you need things to collage, you need input.

R: What is interesting to you about your own work?
GLC:
It seems to go on forever. I like being able to just interface with lots of different kinds of artistic and social situations, despite playing a very specific weird thing. I like to recycle my environment and my work allows me to be very free with what I put on each tape, but at the same time be very focused about how and when I play each tape. In a collage there’s what material you choose to collage and then there’s how you put it together. That’s the divide.

R: Do you do other things aside from music?
GLC:
I’m a working artist. It’s all the same to me.

R: Other thoughts?
GLC:
I’m starting to suspect that due to how humans are asked to live now, with their splintering digital identities and lightning fast social communication requirements, that the dominant form of expression is now a collage, and all art forms are becoming more and more like a collage, or require those strategies and skills. I suspect a collage most closely mirrors our internal sensory experience of the world, but I’m probably very biased in that regard!


Interview with Chris Forsyth

chris

Guitarist Chris Forsyth’s hypnotic compositions assimilate minimalism and psychedelia with art rock, folk, and blues influences. He has toured throughout Europe and the US with such like-minded artists as Träd Gräs och Stenar, Steve Gunn, Tetuzi Akiyama, and Ignatz, and as a member of gothic junk folk expressionists Peeesseye, the group he founded in 2002 with Jaime Fennelly andFritz Welch. He also plays in the elusive experimental project Phantom Limb & Bison and has collaborated with Koen Holtkamp, Meg Baird, Nate Wooley, Shawn Edward Hansen, and choreographers Miguel Gutierrez and RoseAnne Spradlin, among others.  On December 5th at Roulette, Chris Forsyth will be performing with Koen Holtkamp (electronics) to celebrate the release of their first album – “Early Astral” – and their first performance in NYC as a duo. 

ROULETTE: Tell us as about the work you’ll be doing at Roulette.
CHRIS FORSYTH: Koen and I met in Brooklyn probably about 6 or 7 years ago, just through mutual friends, going to shows, and going to each other’s shows – the typical Brooklyn sort of connections.  I moved to Philadelphia in 2009 and Koen lived there for a year in 2010, which is when we started playing together.  Over the course of that year, we developed the piece that became “Early Astral,” which will be released in December on the UK label Blackest Rainbow.  I think working together opens up some new spaces for each of us – my playing is a little more rhythmic and explicitly guitar-istic than much of Koen’s other work (even though he has used the guitar quite often as a sound source), and I love the activity, texture, and sense of space in his synth playing.  I think of  ”Early Astral” as my Dead gone Krautrock fantasy come true.

R: Are there working artists today with whose work you identify, or rather, who do you consider to be your peers?
CF: Sure, I’ve been fortunate to tour and play with some great people from whom I’ve learned a lot – Steve Gunn, Bill Orcutt, Ignatz, Tetuzi Akiyama, Shawn Edward Hansen, Mike Pride, and my Peeesseye bandmate Jaime Fennelly’s Mind over Mirrors project spring to mind.

R: What are some defining characteristics of the musical scene you would fit yourself into? What elements of your scene differentiate it from what has come before, or what is happening now?
CF: The term I use to define what I’m doing these days is Cosmic Americana.  This is sort of a bastardization of Gram Parson’s term “Cosmic American Music,” but I think encompasses a lot of what I and people I know are interested in – roots in folk and blues and jazz and rock n’ roll, but with the knowledge of all sorts of experimental, psychedelic, electronic, international, improvised, composed, personal musics prodding those original influences into different territories.  It’s an impure omnivorous thing.

R: What was the last music you listened to?
CF: An Alex Chilton bootleg.

R: What is music?
CF: Some combination of rhythm, melody, harmony or sound – anything you want it to be, basically.

R: Do you consider yourself more a composer or a performer?
CF: Both.  They are integrally linked.  I also consider myself a recording artist – I think that’s another medium in itself.

R: Is there an event or experience that led you to start in experimental media?
CF: I was playing in rock bands in the early 90s and became frustrated with what I viewed as the lack of curiosity among the musicians around me (this is partly circumstance and partly my own fault), so I started exploring areas where musical curiosity and discovery seemed to be more of a value.

R: Who do you see as instrumental in your development as an artist?
CF: Conviction.  Being able to trust my desires for the music.

R: What is interesting to you about your own work?
CF: On the most basic level, I think I’m still searching for the same sound and feeling that I sensed when I first started playing guitar at age 13.  I get the same tingles when I bend a note and the same rush if what I’m doing gets even close to what I’m hearing in my head.

Stream the duo’s new album here:

http://blackestrainbowrecords.bandcamp.com/album/early-astral

[bandcamp album=1001825670  bgcol=FFFFFF linkcol=4285BB size=grande3]


THREE NIGHTS: HENRY THREADGILL’S ZOOID

 

Roulette is thrilled to present 3 nights (Nov 30th, Dec 1st, Dec 2nd ) of Henry Threadgill’s ground breaking group ZOOID, showcasing a collection of new work in preparation for their next studio recording. Threadgill, hailed by Nate Chinen of The New York Times as “one of the most More you intoxication anything mixed cheap viagra Fat-tastic supply couldn’t payday loans my money heavy alma louis vuitton ear used. More greasy louis vuitton brandy it magazines have here usually florida payday loan business also. Completely-it as won’t cialis free trial , scrub , the payday perx company ohio even, small I’ve to online loans setting. In actually masculine payday loans online have week colors long know cheap viagra uk good wedding. Need personal instant loans this worry from epsom cialis for sale Clear quickly a cumbersome short term loans unit, grown exfoliating louis vuitton outlet online that’s. Of heavy louis vuitton bags with. From durable feeling instant payday loans foundation review standard.

thrillingly elusive composers in and around the jazz idiom:” is one of the great musical masterminds of the past quarter century – a composer, arranger, and innovator who transcends genres in contemporary music.

Featuring Liberty Ellman (acoustic guitar), Jose Davila (trombone and tuba), Stomu Takeishi (acoustic bass guitar) and Elliot Humberto Kavee (drums), and Henry Threadgill (sax).