Non-Event and Opensound present
(Katt Hernandez (violin), Daniel M. Karlsson (guitar, electronics), Erik Blennow Calälv (bass clarinet), Ludvig Elblaus (electronics)
Samolis/Park Duo (flute, computer)
Vic Rawlings (cello, cracked electronics)
Dave Gross (saxophone)
Third Life Studio
33 Union Square (Somerville Ave)
8pm / $10
About the artists
THE SCHEMATICS is a quartet which brings together acoustic, electronic and digital sources - throwing all boundaries between these things to the four winds to create a vast palette of attenuated sound.
Formed in 2011, the band is based in Stockholm. The members are all deeply involved in the city’s improvised, electronic and experimental music communities. They met at the Electronic Music Studio, where they began recording and performing at nearby Fylkingen. The music contains reference to everything from Morton Feldman to Rembetika to Etta James to Sonic Youth, overt and secret, spun into new language and structure. The great array of approaches within the groups’ four points are sharply focused into a distinct music which is simultaneously understated and intense, densely layered in sound and in silence.
MATT SAMOLIS has been working in sonic and visual mediums since 1987. He began studying flute, and later composition and tenor banjo. He has worked with ensembles at New England Conservatory, Brandeis University, Berklee, and Tufts, as well as Open Hand Theatre, Pilgrim Research Collaborative, Mobius, Roy Hart Theatre, and numerous other projects. Currently, his primary focus is composition, and performing as a flutist with various performance groups. He also curates a concert series for new music at the Church of the Advent Library in Boston.
CAROLINE PARK is a composer, musician, and artist who works primarily within minimal means in experimental performance and installation. Her latest release, field, was recently described by Marc Weidenbaum (Disquiet) as music existing “in an abstract zone, where space bends and algorithms are allowed bountiful time to work their fractal, generative beauty.”
As a composer-performer, she has shared the stage with artists including Mem1, Steve Roden, a canary torsi, Evidence, Dollshot, and Arnold Dreyblatt, and has worked with a variety of ensembles and performers including the Callithumpian Consort, Sound Icon, Los Angeles Children’s Chorus, cellist Laura Cetilia, and pianists Stephen Drury and Yukiko Takagi. Her music has been performed by herself and other musicians at venues including The Invisible Dog, the Stone, 295 Douglass, 16 Beaver, and ISSUE Project Room (NYC), Granoff Center for the Creative Arts, RISD Museum, and AS220 (Providence), Jordan Hall, Goethe Institut-Boston, Boston Center for the Arts, and Studio Soto (Boston), Ambassador Auditorium (Los Angeles), and the Pulitzer Foundation for the Arts (St. Louis, MO), in concerts curated by CTRL+ALT+REPEAT, R.K. Projects, Pauline Oliveros, ((audience))’s Sound Off, Non-Event, Saint Louis Symphony’s Urban Alchemy, Together: New England Electronic Music Festival, Musicacoustica Beijing, SICPP: Summer Institute for Contemporary Performance Practice, Boston Microtonal Society, and Boston CyberArts. Caroline is 1/4 of BUMPR (with Peter Bussigel, Stephan Moore, and Timothy Rovinelli) and is 1/2 of a collaborative duo project with Asha Tamirisa. She is also a founding member of opensignal, a group of artists concerned with the state of gender and race within electronic and computer-based art practices.
VIC RAWLINGS is a composer, improvisor, teacher, and instrument builder based in Boston. He performs and teaches across North America and Europe. He uses instruments of his own design: an amplified/extensively prepared cello and a highly unstable electronic instrument with an array of exposed speaker elements. He collaborates with a broad range of artists (Christian Wolff, Ikue Mori, Andrea Neumann, Sean Meehan, and Bhob Rainey), and works in film, theater and dance. His writings have appeared in a variety of journals and his work has been widely reviewed.
He gives artist talks and leads master classes and workshops at numerous and diverse institutions, including Harvard, Princeton, Oberlin Conservatory, schools for the blind, high schools, grade schools, juvenile detention facilities and homeless shelters. His sound-based music curriculum engages students of all levels in participatory experiences that broaden their appreciation of the phenomenon of sound and the possibilities presented by music.