Closing the festival is a vigorous low end fury elation of deep diving bass & image submersions , including Bay Area stalwarts Infrasound and Michael Gendreau, female:pressure founder Electric Indigo performing 5 1 1 5 9 3, and French duo Franck Vigroux and Antoine Schmitt screening their live Cinema engagement of Chronostasis capped by a legendary Drew McDowall presenting COIL’s Time Machines final live North American version for the foreseeable future.
The legendary Drew McDowall (bio), who was an active full time member of COIL in the nineties, having produced albums that marked a generation such as Time Machines and Musick to Play in the Dark will present “Time Machine 2018 Live A/V” show. Patterns of fibrous metallic waveforms and reverberated percussions that are pulled and spun around the spectrum defined by Drew’s musical hardware.
“4 Tones to facilitate travel through time.” So begins the listeners’ journey into what has become one of the most treasured and revered pieces of COIL history ever released.
Each of the four pieces on Time Machines is named after the chemical compound of the hallucinogenic drug that they were composed for, and the album was meticulously crafted to enable what John Balance referred to as “temporal slips” in time and space, allowing both the artist and audience to figuratively “dissolve time”.
Inspired by long form ceremonial music of Tibet and other religions, where the intent is to lose oneself in the music – to meditate or achieve a trance state – Time Machines became Drew McDowall, John Balance, and Peter Christopherson’s “electronic punk-primitive” answer to this tribal concept.
Starting as a rough demo tape recorded solely by Coil member Drew McDowall, Time Machines started to take full form when McDowall enthusiastically delivered these demo recordings to Balance and Christopherson as sketches for a new Coil project with the primary goal of shifting Coil’s sound further into a more conceptually abstract direction. Largely recorded in 1997 using single takes with minimal post production, these four drones contain every intended fluctuation and tone, along with every glitch of the original – “Artifacts generated by your listening environment are an intrinsic part of the experience.”
Electric Indigo (bio), DJ, composer, musician, has performed in 38 countries across Europe, Asia, and the Americas. She represents an intelligent and distinguished interpretation of techno and electronic music. Her DJ-sets are characterized by a wide variety with a clarity of vision and a depth that comes from a deep understanding of the music and the art of DJing. As a composer and musician, she creates music for concert spaces, clubs, sound installations and occasionally for stage plays and short films. In her compositions and live performances, she emphasizes the spatial-temporal placement of subtly elaborated sounds and structures, often generated from speech recordings. Electric Indigo shuttles between Vienna and Berlin.
Chronostasis state is a cerebral illusion involving the neurons dealing with the immediate prediction of the future and to the listening of music, during which time seems to stop. But time is elastic and a stretched elastic always returns to its initial length. The audiovisual performance Chronostasis takes this logic to its limits by dilating to the extreme a catastrophic moment, through the stretching and inversions of time over the whole duration of the performance. The present moment freezes and diffracts endlessly, past and future cease to exist. Chronostasis has been developed with the support of Ircam and LeCube.
Infrasound (bio) is Randy Yau and Scott Arford. Hear with your body. This is not about music. This is not about performance or the performer. Thie goal is sound and the expicit translation of sound into physical force. The goal is internal and external realization. It is about provoking new modes of perceiving and experiencing one’s own body – triggering variable and autonomous psycho-physiological response. It is about the total acoustic sense of space – observing sound to measure the capacity of architecture. It is about the phenomenon of resonance or sympathetic vibration – all things in one continuum.
Michael Gendreau (bio) has composed and performed solo as well as in several group configurations since 1979. He records infrasonic vibrations of a performance space, then in the concert, he uses the structure’s resonances as an additional instrument in his site-specific compositions.