This live set by The Ashcan Orchestra was recorded by ISSUE in November 2012. Led by composer/performer Pat Spadine, the revolving Bushwick-based performance ensemble has been popping up in D.I.Y. style and art house venues throughout NYC and the eastern seaboard since 2007. Employing everything from children's hand bells, tape recorders, discarded televisions, homemade circuitry, light bulbs and mirrors, to more widely accepted noisemakers, Ashcan creates new music in forms more familiar than the instrumentation would lead the listener to believe. This process from humble and understandable beginnings to grander and more complex ends, has been a vehicle to both celebrate and emulate the physics that bind the known universe.

This podcast was produced in collaboration with the radio station of the Clocktower Gallery, operating at http://artonair.org

The Ashcan Orchestra live at ISSUE, 11/2012

Excerpt from a live impro for "Poltergeist".
Performers: Marco Cecotto (contact microphone on needles), Ludovico Giro (contact microphone on metal strings).

Marco Cecotto + Ludovico Giro / Poltergeist (excerpt)

Kawabata Makoto's first recording with his first group Ankoku Kakumei Kyodotai.
Recorded at the Dark Store Room in 1978.
Ankoku Kakumei Kyodotai :
Kawabata Makoto : percussion, synthesizer
Kawagishi Tetsushi : percussion
Iwaki Yasuo : percussion
the original release was the very limited cassette tape "Ankoku Kakumei Kyodotai" from R.E.P. in 1981.

Ankoku Kakumei Kyodotai (Dark Revolution Collective)/ Ankoku Kakumei (Dark Revolution)

Kawabata Makoto's early recording
recorded at R.E.P. Studio in 1979
Baroque Bordello : 
Kawabata Makoto : pygmy guitar, can bass, harpshtube
Kawagishi Tetsushi : pygmy guitar, can bass, harpshtube
Iwaki Yasuo : percussion, harpshtube
the original release was the very limited cassette tape "1st Trip" from R.E.P. in 1981.

Envoy From The Darkness / Baroque Bordello

I feel pretty grand when I stand where I stand at Panboola Wetlands. Sounds collected from the wetlands and played with handmade instruments, effects pedals and pocket operators.

Wetland Soundscapes Intro

this is a very long track played live and all together. its made of about 5 different sections, starting with a Hang solo then into the swampy forest journey surrounded by unknown critters into some  deep jungle groovy place then gliding out to space for some float time then the shaker and critters all dance together to a final hang composition in a funky 27 beat groove.

a strange day in the wilderness

Grime Box // // LFO+ VCF+ DELAY

Testing out some hardware on the AIRA MX-1

AIRA Jams 

hardware jam 2016 07 03

Live Hardware 2016 0703

performed by Róisín Adams, piano and Colin Avery Hinton, percussion inside piano.
Recorded December 2017 at the Banff Centre
Music and ceramic percussion instruments by Roxanne Nesbitt
http://roxannenesbitt.com/symbiotic-instruments

Pattern vs Shape 1_1_3

Exploring symbiotic ceramic instruments in the piano - performed at the Western Front in Vancouver on December 7th 2018

Ceramic percussion instruments and compositions by Roxanne Nesbitt

Performers:
Lisa Cay Miller, piano
Ben Brown, percussion
Katie Rife, percussion
Josh Zubot, violin
JP Carter, trumpet

Lemonade Bowls

We are a family of 3 with a lounge room full of instruments... that we don't know how to play....properly. Pull up a chair if you dare!

ISSUE Project Room is a non-profit center for innovation, discovery, development, and presentation of new music, sound, dance, performance, literature, video, and film.

Making music makes me smile with greater intensity than passively listening to another person make it, though I do enjoy seeing a broad grin  after connecting to individuals who hear me do this thing,

I developed my sound art and experimental music research in parallel with my  philosophy studies, thinking about each one of this two fields like a different way to look at the same thing, using one in order to explain the other, and vicevaersa.
My artistic practice has been deeply influenced by the John Cage's "aesthetics of listening", based on the experience of silence, and by the David Tudor's "aesthetics of tool kit", developed through his training in indeterminacy and his pioneering practice in live electronics using custom devices. 
Their conception of music like a social and non-hierarchical activity, and their efforts to break down the traditional distinction between different disciplines, led me to consider multimedia installations like a more contemporary and complex way to compose using technology and engineering techniques like trans-disciplinary tools. I tend to consider this kind of tools as not-given instruments, trying to re-invent them in order to obtain unpredictable results, according with the aesthetics of indeterminacy that underlies all my works.
Coherently with this approch, my artistic research is presently aimed, on the one hand, at the auditory exploration of soundscapes and complex systems, and, on the other hand, at the construction of handmade electronic instruments and at the use of FLOSS (Free/Libre/Open Source Software) in A/V performances and multimedia installations.

An Experimental Theory on Super Playable Curios

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