Gold Bolus Artists, in alphabetical order:
|Gelsey Bell is a composer, vocalist, and scholar. Described by the New York Times as the “future of experimental vocalism,” she has released multiple albums and her work has been presented internationally. She is a recipient of the 2017 Foundation for Contemporary Arts Award for Sound/Music and she had a year-long residency at Roulette in 2015/2016. She is a core member of thingNY and Varispeed and spent 2016-17 on Broadway as Princess Mary in Natasha, Pierre & the Great Comet of 1812.|
Releases: REAL ADULT – FAKE PERSON
|Broadcloth performs improvised music with a nod to various compositional outlets. Using a unique instrumentation of voice, cello and accordion/recorders, the trio plays from notated, graphic, embroidered, and textual scores in addition to completely spontaneous pieces. Without shying away from virtuosity, Broadcloth creates music that reflects the order of composition and the risk of unpredictable musical interactions. Emphasis lies on establishing a holistic sound that favors cooperation over hierarchy. Nathan Bontrager (cello and voice), Adam Matlock (accordion, recorders, and voice), and Anne Rhodes (voice and the occasional found doo-dad).
Releases: In Stitches
|Ensemble Fanaa is the meeting point between a myriad of musical styles in the African-American, North African and Middle Eastern traditions. Daro Behroozi (Alto Saxophone/Bass clarinet), John Murchison (Upright Bass, Gimbri), and Dan Kurfirst (Drumset/Frame Drums) utilize their thorough experience in these musics to explore the possibilities of applying approaches learned from the traditions of African-American improvisation to an emerging global musical culture. This enables them to blend and shift between and outside of a diverse range of music making practices as they continue to develop a new rhythmic, melodic, harmonic, and sonic vocabulary sometimes characterized by polyrhythmic drones, chromaqamatic extemporizations, and arrhythmic grooves. Their sound is often centered around the use of the Gimbri, a bass-register instrument from Morocco that is primarily used in traditional Moroccan Healing/Trance music (Gnawa).
Releases: Ensemble Fanaa
Matthew D. Gantt (b. 1987 Durham, NC) is a composer and conceptualist based in New York City. He studied composition at CUNY Brooklyn College under the direction of Morton Subotnick, history and theory with David Grubbs, and contemporary performance practice with Jason Eckardt.
Gantt’s compositional work focuses primarily on the creative use of live electronics, issues of embodiment and environment in digital performance, and the use of open form scores and systems. Areas of inquiry and research include the overlap of contemporary artistic production and consumption, artificial scarcity in the age of digital reproduction, and the recorded document as confluence of artifact and event.
Releases: Invisible Circle
kills to kisses
Releases: Lullaby Apocalypse
John King is a composer, guitarist, and violist who has worked collaboratively with many ensembles, string quartets, choreographers, and directors. He has written six operas and in May 2015 he premiered 8 new works along with compositions from the past 20 years at his weeklong residency at the Stone in NYC. He was Co-Director of the Music Committee for the Merce Cunningham Dance Company from 2003 until the end of 2011. He is the recipient of the 2009 Alpert Award in the Arts for Music, the 2014 Foundation for Contemporary Arts Award for Sound/Music and in 2016 King was also awarded a Rockefeller Foundation/Bellagio Residency.
Knuckleball is Daniel Levine (trumpet), Marc Hannaford (piano), and Devin Gray (drums): a virtuosic trio whose improvising is dynamic and unpredictable. Daniel Levine’s compositions are often dense, fully-notated miniatures, which the group skillfully de-and-reconstructs. There is plenty of structure in the pieces, but the trio interprets it non-linearly, drawing on it as material for improvisation.
Valerie Kuehne is a cross-pollinated work of chaos. Fusing music, performance art, narrative, and experimental curation, she has been told that, “if this music thing doesn’t work out, she’d probably make an awesome cult leader.” (Boston Public Space). Ms. Kuehne has systematically split her time between touring the planet, performing in as many unexpected settings as possible, and building a community for experimental music and performance art. Her series, The Super Coda, is an experimental cabaret that has united electrifying performers 9 years running.
Ms. Kuehne’s work operates under principles of surprise, and focuses on expanding all possible forms of intimacy between performer and audience. she aspires to confront absolute transparency and brutal honesty in her work, as necessary models for performance, especially participatory ones. She has worked as a resident artist/curator at Panoply Performance Laboratory, Spectrum, JACK, Small Beast and Ange Noir. Ms. Kuehne operates a blog of music reviews and performance philosophy and frequently releases albums that blur the line between comfort and discomfort. Ms Kuehne has performed and helped curate many festivals, including the brooklyn experimental song carnival, bipaf, the mpa-b, PAF, the hitparaden international festival for performance kunst, the experiMENTAL festival, Sonic Circuits, jazzPeru, and the Boise Creative & Experimental music festival, to name a few.
Ms. Kuehne is also the creator/curator of Trauma Salon, a platform for artists to collectively and individually process trauma or, if necessary, create it. She is an advocate for those suffering from mental illness and addiction, incessantly seeking new ways to break down stigma and misconceptions about both.
|Woody Leslie is an artist, book maker, and performer who makes large homes for tiny ideas. Born and raised in northern Vermont, he has lived and worked in many locations nationwide and abroad, and currently lives in Iowa City, IA. Through books, writing, and performance, Woody takes small thoughts about language, memories, and insignificant personal ritual, and reframes them as official histories, grand theories, and significant objects. By co-opting established forms (such as textbooks, maps, recipes, charts and graphs, dictionaries, advertisements, fictitious commercial products, etc.) he invents authority for concepts that have no business being official. With a background in music & performance, Woody incorporates books into his performances, and make performances out of his books, through fictional lectures, interactive and performable books, installations, and take-home book objects.
Releases: Courier’s Text Atlas of the USA
Andrew Livingston (aka Piad Guyvessant)
|Anaïs Maviel is a vocalist, percussionist, multi-instrumentist & bursting creative mind. An exciting and unique new presence on the Brooklyn/New York experimental scene over the past few years, she has been described as a “force of nature” (All About Jazz). Her fearless approach to performance has made her an in-demand musician in a number of innovative ensembles, most notably William Parker’s Martin Luther King Project and Plaza Band, Matt Lavelle’s 12 Houses, Dave Ruder’s The Gentleman Rests, Patrick Breiner’s Red Metal, Jen Baker’s Polyverse and a number of other groups (Jazz Right Now). As an improviser, composer and band-leader she expresses hybrid forms recalling her French & Haitian origins, invoking ancestral and cyborg streams in a music that bypass categories. As a scholar, she achieved an epic research on afrocentric creative music as a contemporary utopian alternative to politics and got involved with the Vision Festival community. She is currently expanding her solo (voice, surdo, n’goni) project h O U L e (Gold Bolus Recordings) and collaborates with Larkin Grimm on a strong blend of songwritting and edge-cutting. A few recordings to be expected with Michael Bisio (Matt Shipp 3), Leonid Galaganov & William Parker, and Mumala (Lathan Hardy, John Murchison). Last, she operates as a sound healer in Harriet’s Apothecary colorful queer collective.
The Nouveau Classical Project
The Nouveau Classical Project (NCP) is a New York-based contemporary classical music ensemble that is “bringing a refreshing edge to the widely conservative genre” (VICE). It began by collaborations with fashion designers for concerts and has expanded to creating multidisciplinary performances. Its mission is to engage new audiences and show that classical music is a living, breathing art form.
|ellen o is a Brooklyn-based producer and vocalist. Originally trained as a classical pianist and composer, she now writes with a vintage MPC and Juno-106, crafting tracks equally inspired by Chicago footwork and dense modernist harmonies. ellen o released her debut album, Sparrows and Doves in 2014 on Brooklyn label Gold Bolus Recordings. Her second album, You/Sonata, was released in 2017 on Babygrande.
Releases: sparrows and doves
Panoply Performance Laboratory
|PPL performs operations initiated, situated, structured, and/or designed by Esther Neff and Brian McCorkle, often in collaboration with a flexible ensemble, members of local and global communities, and publics of individuals.|
Paul Pinto is a composer, writer and performer. He arranges noises sometimes. Sometimes with his music groups thingNY and Varispeed. Other times just in his living room. Sometimes he writes them on paper and makes other people make the noises for him. Sometimes he freezes the noises into immalleable media: his albums minis/Trajectories and Jeff Young and Paul Pinto, Patriots… [etc etc], for example. He sang and danced on Broadway once in The Great Comet of 1812, and he premiered his opera Thomas Paine in Violence at the HERE Art Center with some friends and that was satisfying.
|Rallidae is an intimate and unconventional vocal group founded by composer and saxophonist Angela Morris. Combining songs and improvisation, Rallidae inhabits the increasingly populated sonic space between avant-indie and avant-jazz. Their 2014 EP “Paper Birds” was praised as “combining strong melodies and narratives… a genuinely distinctive, and entertaining, combination of sounds and words. “Paper Birds” is an exceptional debut from an exciting and innovative new band.” (All About Jazz) The mostly Brookyln-based group features guitarist Dustin Carlson, bassist Scott Colberg, Angela Morris on tenor saxophone and voice, and the Toronto-based vocalist Alex Samaras (Meredith Monk, Tanya Tagaq).
Releases: Turned, And Was
|Dave Ruder is a Brooklyn-based vocalist, clarinetist, guitarist, electronicist, composer, songwriter, writer/librettist, interdisciplinary collaborator, etc. Dave is proud to be a member of the groups Varispeed, thingNY, and Reps. Since 2013, Dave has been the driving force behind Gold Bolus Recordings, which documents the work of NYC’s greatest musical weirdos. As a composer, Dave wrote The Gentleman Rests, a meditation on the certification of the 2000 presidential election, with a commission from the Jerome Foundation and Roulette in 2014. Additionally, his work has been featured in Experiments in Opera and his WHY LIE? project, 100+ open scores, is available online.|
|Sam Sowyrda is a percussionist and composer living in Ridgewood, Queens. In addition performing his own compositions for vibraphone, hammered dulcimer, and construction sites, he is a member of the frog-prog band Cloud Becomes Your Hand, and the avant-puppet troupe Living Things. When not playing music Sam is usually rebuilding historic barns, fixing pianos, or taking care of his daughter Sasha.
Releases: luminous horizons
|Hans Tammen likes to set sounds in motion, and then sitting back to watch the movements unfold. Using textures, timbre and dynamics as primary elements, his music is continuously shifting, with different layers floating into the foreground while others disappear. Whether richly processed guitar sounds from his hybrid interactive guitar/software instrument Endangered Guitar, traditionally notated material for his Third Eye Chamber Orchestra, or graphically notated elements for the all-electronic Dark Circuits Orchestra, his music flows like clockwork, “transforming a sequence of instrumental gestures into a wide territory of semi-hostile discontinuity; percussive, droning, intricately colorful, or simply blowing your socks off” (Touching Extremes).
Releases: Ten Minutes Late…
|Carl Testa (b. 1984, Chicago, IL) is a multi-instrumentalist and composer at the intersection of improvised, electronic, experimental music, and new media. As a performer/improviser, he is equally comfortable on string bass, electronics, lighting, and combinations thereof. As a composer, he has written acoustic and electronic music for configurations ranging from solo to chamber orchestra, including multimedia pieces that incorporate electronics, lighting, dance, and theater. His work has been performed throughout the US and Europe, and is documented on many recordings, most recently “Iris (for solo bass and electronics)” (Lockstep Records 2013), and “Sⁿ (for prepared guitar and electronics)”, a collaboration with guitarist Christopher Riggs (Gold Bolus Records 2015).
In addition to his work as a leader/collaborator, he performs regularly with composer Anthony Braxton’s ensembles and bassist Mario Pavone’s ensembles. He serves as the Director of Publishing and Creative Technology for Braxton’s Tri-Centric Foundation where he manages all facets of the production of digital and print scores for the organization. He is the production manager for noted jazz venue and record label Firehouse 12. He has also organized The Uncertainty Music Series since 2007, which is an ongoing monthly concert series in New Haven, CT featuring improvised, electronic, and experimental music. He has received support from the New Haven Department of Cultural Affairs and from NewMusicUSA. He lives in New Haven with his wife vocalist Anne Rhodes, and their son Florian.
|thingNY is a quirky collective of New York composer-performers who fuse electronic and acoustic chamber music with new opera, improvisation, theater, text, song and installation. Founded in 2006 for an ad hoc festival in the historic Loew’s Jersey City Theater, thingNY performs experimental sound works created collaboratively by the core ensemble – Paul Pinto, Erin Rogers, Jeffrey Young, Gelsey Bell, Dave Ruder, and Andrew Livingston – and by adventurous composers such as Robert Ashley, Frederic Rzewski, John King, Pauline Oliveros, Miguel Frasconi, Vinko Globokar, John Cage, Julius Eastman, James Tenney, David Snow, and Andrea La Rose.|
|Varispeed is a collective of composer-performers that creates site-specific, sometimes-participatory, oftentimes-durational, forevermore-experimental events. Founded by Aliza Simons, Dave Ruder, Paul Pinto, Brian McCorkle, and Gelsey Bell, Varispeed came together in June 2011 to perform a day-long, site-specific arrangement of Robert Ashley’s Perfect Lives. They have subsequently specialized in Ashley’s music, and have also created unique arrangements of large scale works by John Cage, Kenneth Gaburo, and Arthur Jarvinen.
Releases: Empty Words
|Joseph White is a composer and performer in Brooklyn. He is currently developing a score for a new Rady and Bloom theater work, “O” (written by Alex Borinsky,) for the HARP residency, playing with sullivann, writing for/performing with jobcocks! (featuring Paul Pinto and Brian McCorkle,)In the past, Joseph co-founded/ran the Sweat Lodge concert series, and the Performer’s Forum lecture series at Exapno. He composed for/performed in numerous Rady and Bloom musicals, composed for/played with Uptown Girls (featuring Cory Bracken) earned a MM in composition from Brooklyn College, and played all over New York with Laura Dunn and the Ghosts of Xmas Past, and Ellen O’Meara.|
|From 2010-2014, Aliza Simons & Dave Ruder played together as Why Lie? Why Lie? released two albums on Gold Bolus Recordings and played across NYC in the guise of a rock band (rounded out by Cory Bracken, Ellen O’Meara, and Matthew Gantt), a quiet duo of just Aliza & Dave, and a sort of musical storytelling outfit.|
|Jonathan Zorn is a composer, performer, and curator of experimental, electronic, and improvised music. His electronic music pairs improvising musicians with interactive computer systems to create hybrid, human-machine ensembles. Zorn’s interest in vocal utterance has resulted in a series of pieces in which spoken language is interrupted by electronic forces, drawing attention to the gap between speech and sound. He is currently working on a suite of electroacoustic sound/text/video performance pieces. Zorn has been active as an improvisor on bass and electronics for 15 years and has performed at Red Cat, the Walker Art Center, the Verona Jazz Festival, the Library of Congress, the Seattle Festival of Improvised Music, Line Space Line Festival, and the Chelsea Art Museum. He has performed under the direction of Anthony Braxton, Alvin Lucier, and Alison Knowles. His work has been published in Ord und Bild, the SEAMUS Journal, Notations 21, and UbuWeb.
Releases: An Alphabet of Quadrupeds, vol 2