Sunday April 17th, 2016, 4-6pm
Standing Waves # 1 - Jake Meginsky @mobius
Standing Waves is a monthly music, sound, and artists talk series with a concentration on one artist in the performance of and presentation about their work. Standing Waves is given over to a single artist for each event that allows for the performance and auditioning of their work as well as a presentation to the audience about it that makes for an intimate as well as rigorous experience, with the integrity and intention of the artist and work aligned and revealed. A distinguishing element of the series will also be a document in the form of a book and recording that includes the performance, transcript excerpts from the talks, critical writing and photographs. This comprehensive approach will elucidate the music, sound art and electroacoustic practices that overlap and comprise the artists' works.
Standing Waves is a program of Morgan Evans-Weiler and Jed Speare in conjunction with Mobius.
Jake Meginsky has collaborated and performed with such artists as Milford Graves, Alvin Lucier, Joan Labarbara, Vic Rawlings, Greg Kelley, Bhob Rainey, Joe McPhee, Thurston Moore, William Parker, Paul Flaherty, Arthur Brooks, Bill Nace, and John Truscinski.
Music critic David Keenan called Meginsky’s 2014 solo record, L’appel Du Vide, “a hallucinatory electro percussion masterpiece” and in the WIRE Magazine review of the album, Nick Cain wrote, “the album uses little more than a couple of sounds, extracting often head spinning complexity from a minimum of means.” Matt Krefting writes, “The music is meticulously constructed and consistently surprising, twisting and sparkling. The electronics spin away, shooting off into bizarre and unexpected territory, and all the while Meginsky guides them with a benevolent, confident, endlessly fascinated hand.” Art In America Magazine says, “Meginsky’s digital concrète takes percussion to outer extremes.”
Meginsky frequently collaborates with choreographers and has worked with Cori Olinghouse, Paul Matteson, Jen Nugent, Susan Sgorbati, Katie Martin, and Nora Chipaumire. He has a longstanding artistic relationship with Gwen Welliver, and recently composed the score for her new work, What a Horse.
His recordings can be found on Feeding Tube Records (Northampton, MA), Rel Records (Providence, RI), Open Mouth Records (Northampton, MA), Hells Half Halo (Seattle, WA), Wooden Finger Records (Belgium), Ultra Eczema Records (Belgium), and Ecstatic Peace Records (Northampton, MA). He recently remixed Body/Head’s (Kim Gordon & Bill Nace) “Last Mistress” for Matador Records (NYC). His newest solo LP, Vandals was released in November on Open Mouth.
Morgan Evans-Weiler has been co-curating a monthly series of experimental music at Washington Street Art for over 4 years and has produced concerts at the Waterworks Museum Boston, School of the Museum of Fine Arts and others. His recent release, ‘Violin/Sine’ was included on the Boston Globe’s list of “The Best Local Classical Albums of 2015”. He has performed throughout the U.S. with appearances at High Zero Festival in Baltimore and Louisville Experimental Festival.
Jed Speare is a multidisciplinary artist working in field recording, sound art, and time-based media in San Francisco, Amsterdam, New York and Boston, and internationally in Europe and Asia over the past 35 years. His sound work has been influenced by studies at the Sonic Research Studio of the World Soundscape Project in Vancouver, BC. (1978) Principal recordings include Cable Car Soundscapes (Smithsonian Folkways Records; 1982), Sound Works 1982-1987 (Family Vineyard, 2008); and The Wounds of Returning, Sound Works 1974-1983 (Farpoint Recordings, 2015). In 2008, the Wire magazine wrote, “working field and documentary recordings into socially resonant performance works, this unsung composer is a pioneer of multimedia presentation.”