Latitudes focuses on a contingent of composers, improvisers, and musicians working in underground forms of contemporary music. It was started in response to the dwindling number of venues in San Francisco presenting artists operating in the liminal space between serious avant-garde music and rock and roll. Precious few venues regularly present music that falls in between these cracks. That in mind, the hope for this series is to help fill a gap that’s glaringly obvious in San Francisco music scene—and do so with the input of the community of music makers and enthusiasts living in the Bay Area.
On the next installment of Latitudes, Angel Archer indulges us in extended rituals from a dimly lit corner of kosmische psychedelia and ambient soundscape. Henry Birdsey visits from the East Coast to perform microtonal drone hymns for lap steel guitar.
For this installment of Latitudes, Other Minds presents Cairo-based musician and singer Nadah El Shazly. El Shazly’s recent album titled Ahwar, an Arabic word referring to marshlands, is a metaphor for the disorienting eco-system of musical resources she has masterfully sewn into a collection of refreshing and unrestricted songs. The Bay Area’s own Las Sucias join the bill to capsize techno tropes with industrial-strength tropicalia, noise, and antipatriarchal spirit.
Marisa Anderson is a wanderer, creatively as curious as she is proficient. Rooted in American folk music, her pieces are inspired by 20th century classical and West African guitar techniques. The results of which are revelatory. Singer-songwriter and multi-instrumentalist Tara Jane O’Neil’s work ranges from noise blitz to ambient dreamscape to bittersweet folk dirge. Present among all of it is her uncanny ability to traverse a far-ranging suite of psychic states.
Armed with a battery of consumer-grade electronics and an unwholesome passion for sci-fi and AM radio, audio plunderer Joseph Hammer assembles found sound detritus into a palace of labyrinthine referents. Kaori Suzuki rewards endurance with transcendence in a set featuring modified melodica and oscillators.
This concert took place on November 8, 2019 at the Center for New Music in San Francisco.
On this installment of Latitudes, the duo of Marcia Bassett and Samara Lubelski combined violin and e-bowed guitar in a thick tranquilizing compound. Like a viscous syrup, the slow-moving drones ooze chromatically across their instruments. John Krausbauer and Kaori Suzuki’s existential and ecstatic free drone music emanates an intense ritualistic vibe—the kind of music that would make a suitably ominous soundtrack to one of Hermann Nitsch’s notorious aktions.
This concert took place on August 16, 2019 at the Center for New Music in San Francisco.
On this installment of Latitudes, Other Minds teams up with the San Francisco Art Book Fair to present vocalist/composer Robert Aiki Aubrey Lowe, sound artist Chris Duncan, and the electronics and percussion duo IMA at Center for New Music.
This concert took place on July 20, 2019 at the Center for New Music in San Francisco.
Utopic folk dreamer Andrew Weathers visits the Bay Area from his hideaway in rural West Texas with a set of guitar-driven ambient folk works that drift seamlessly between rigor and flexibility to deliver a message that’s at turns weary and optimistic. AMMA ATERIA presents a dense sonic menagerie of distant and closely mic’d subjects forming an unsteady equilibrium hovering above a bed of luxuriant drones.
This concert took place on July 10, 2019 at the Center for New Music in San Francisco.
What if Captain Beefheart had cut his teeth listening to The Fall instead of Howlin’ Wolf and Bo Diddley? The result might have sounded like Receptacles—a joyfully shambolic deconstructionist collision of rhythms and riffs. Kyle Bruckmann’s DEGRADIENT gleefully collides elements of skronk, fried analog noise and dark prog, adding significant heaviness to his signature polyrhythmic clatter, formal complexity, and black humor.
This concert took place on June 13, 2019 at the Center for New Music in San Francisco.
On this installment of Latitudes, Guitarist, polymuse, and serial collaborator Alan Licht joined Latitudes to perform his solo electric guitar meanderings at Center for New Music while Bay Area local Danny Paul Grody opened with a set of gauzy 12 string guitar and synthesizer soundscapes.
This concert took place on May 10, 2019 at the Center for New Music in San Francisco.
The New Haven, CT duo Tongue Depressor perform trance-inducing fiddle music that seethes with beating overtones and a high lonesome sound. The unlikely pairing of lap steel dobro and koto makes up the L.A.-based duo of Caspar Sonnet and Kozue Matsumoto. Together they scrape, bow and pluck their way through an investigation of the versatile sound palette and extended possibilities of their instruments.
This concert took place on May 2, 2019 at the Center for New Music in San Francisco.
Other Minds’ Latitudes series continued with The Master and Enigma: Paul Metzger, a bonafide American folk outsider, performs his entrancing hymnprovisations for modified 23 string banjo. Minneapolis’ mercurial mystery man John Saint Pelvyn makes an ultra-rare Bay Area appearance performing on solo electric guitar—barely harnessed feedback, f-hole howling, mid-jam retunings, and whammy bar abuse all-included.
This concert took place on April 24, 2019 at the Center for New Music in San Francisco.
Gabriel Mindel Saloman, known widely for his work in seminal noise band Yellow Swans, joins Latitudes to present his ongoing investigations into music of the liberated body. Composer and instrument-builder Ashley Bellouin is joined by guitarist Ben Bracken to conjure a sound equal parts spiritual, mental, and physical—minimal by design, maximal in spirit.
This concert took place on March 8, 2019 at the Center for New Music in San Francisco.
William Fowler Collins gave a voice to a spectacular chroma of dread with a performance of works from his most recent full-length record Field Music. “Geneva Skeen evokes Californian vistas and the corruption festering behind them with the same uneasiness as Lana Del Rey’s West Coast or Thomas Pynchon’s Inherent Vice.” Wire Magazine
This concert took place on February 12, 2019 at the Center for New Music in San Francisco.
Arrington de Dionyso conjured utopic zones through ritual trance and the high spirits of electrified rock and roll. The iconoclastic duo DunkelpeK transmited an amalgamated soundworld through percussion and electric guitar, chopping their many influences to bits and reassembling them in a quest for new musical possibilities.
This concert took place on January 25, 2019 at the Center for New Music in San Francisco.
Pedal steel guitar player Chuck Johnson’s western-tinged ambient works drawl out slow and stately, like disappearing shadows on the desert floor while the sun rises overhead. Again the light changes with trumpet player and vocalist Leila Abdul-Rauf whose blurred melancholic songs obscure the day’s memories in a mesmeric haze.
This concert took place on December 20, 2018 at the Center for New Music in San Francisco.
On the second installment of Latitudes, Bill Orcutt performed his convulsive blues on four-string electric, while composer and former Black Spirituals guitarist, Zachary James Watkins sketched an aural map of the C4NM through walls of feedback.
This concert took place on November 15, 2018 at the Center for New Music in San Francisco.
From Tokyo, Japan, guitarist Tetuzi Akiyama brought his motorik “infinite boogie” and graveside blues minimalism to the Center for New Music. Ecstatic music aesthete John Krausbauer opened with a trance-inducing exploration of amplified violin and stroboscopic lighting.
This concert took place on October 10, 2018 at the Center for New Music in San Francisco.