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Event
North Americans & Julianna Barwick
This is an intimate living room performance in a private residence. Full details on the location will be provided at the end of ticket purchase.
TICKETS:
No paper tickets will be sent.
ADMISSION:
Print and bring your confirmation which will include the address and other details. Please don't share this info with anyone! In addition, your name will be on a list at the door. No additional tickets will be sold at the door. You must buy tickets here to get into this show.
DATE:
7/13/19
SHOWTIME:
8:00PM
SEATING:
This show will be general admission floor seating. Feel free to bring a pillow or cushion to sit more comfortably on the floor.
ALL SALES ARE FINAL. SORRY, NO REFUNDS:
Due to the limited number of tickets please make sure you can attend before you make your purchase. If you can no longer attend a show you can give or sell (at face value) the tickets to a friend. Contact us (livingroomshowlbc@gmail.com) before the show to transfer your tickets. We'll cancel any tickets resold for higher than original price.
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NORTH AMERICANS
Somewhere between dusk and nightfall, there's a point when the sky's deep reds and luminous notes of peach bleed into deep blues and silhouetted skylines. It's a somber, meditative medley of color, when the reflection of day turns dim; that's where the new record by Patrick McDermott, who records instrumental guitar music as North Americans, rests.
Going Steady is North Americans' third album, and it features a number of collaborators who've drifted in and out of McDermott's orbit as the co-owner of Driftless Recordings, including Hayden Pedigo and Cloud Nothings' Dylan Baldi. For the title track, the ambient composer Julianna Barwick is a quiet presence, her droning synths not so much buried as providing an amphibious bed for McDermott's calm, hypnotic interplay with Hand Habits guitarist Meg Duffy. For a piece that feels as if it could float away into nothing, "Going Steady" becomes the night.- NPR
JULIANNA BARWICK
On a recent Tuesday evening, the experimental musician Julianna Barwick checked into Sister City, a new two-hundred-room boutique hotel on the Lower East Side of Manhattan. If youre having the sort of day that makes you want to minimize human interaction, Sister City is a merciful oasis: there are self-service registration kiosks in the lobby, and each floor features a supply closet containing the sorts of sundries that youd usually have to request from the concierge. The lobby has sparse but careful décorclean white walls, cherry-wood furniture, floor tiles in muted shades of green and graysuggesting a Scandinavian sauna, or perhaps the careful serenity of a Japanese stationery store; the vibe is Serenity Now! filtered through Instagram.
Barwick, who has long, dark hair and inquisitive eyes, is using the sky immediately above the hotel as a source for a new composition. In collaboration with Luisa Pereira, a music technologist who teaches at New York Universitys interactive-telecommunications program, Barwick has devised a dynamic and perpetually evolving score, which changes in response to the atmosphere and will play in the hotels lobby twenty-four hours a day. A camera mounted to the roof of the building sends information about the goings-on in the airspace above the hotel (rain, clouds, pigeons, airplanes, wind, sun, moonlight, drones, helicopters, constellations, what have you) to Pereiras program, which uses Microsofts artificial intelligence to cue sounds written and recorded by Barwick. The premise feels both unnervingly machine-reliant and gorgeously organic, and it provides a promising model for how art and technology might feed each other in satisfying ways.
In the nineteen-nineties, the electronic musician Brian Eno coined the phrase generative music to describe work he was doing with music-creation software called Koan Pro. Eno and his collaborators established constraints, conditions, and variables; the computer made songs in response. Barwick doesnt consider herself an acolyte of Eno, though she does admire his work. Im not a heavy ambient-music listener, per seall along the way, people have presumed I know Enos catalogue back and forth, she said. I was in choirs my whole life. Voice lessons in high school, an opera chorus after high school. I was always making stuff up, singing out the window, making myself cry while singing to myself. My favorite songs were the mournful, emotional, beautiful ones.
Experimental music began for her with a guitar loop pedal that she borrowed from a friend. It appealed to my constitution, she said, not knowing what was going to happen, and being able to do it all really quickly. She self-released a début LP, Sanguine, in 2006, and put out her first full-length album, The Magic Place, in 2011. (The album, released by Asthmatic Kitty, an independent label co-founded by Sufjan Stevens, was named after a sprawling tree on her familys farm.) In 2016, she released her most recent album,Will. (She is now signed to Dead Oceans.) Its an intimate and eerie collectionsoft, looping synthesizers mingle breezily with Barwicks lush and wordless singing. As it plays, I often feel as though I am discreetly listening in on some celestial conversationthe gods mulling our fates.
Sister City had its soft opening in early April, and Barwicks composition goes live on May 16th, when the hotel begins operating at full capacity. For now, a Spotify playlist that Barwick curatedit includes music from Mary Lattimore, William Basinski, and Emily Spragueplays while guests wait to check in. Barwick and I recently took an elevator up to Last Light, Sister Citys rooftop bar, which was still a week away from opening to the public. Employees scurried about, discussing cocktail recipes. The sky was a clear blue and dotted with what Barwick described as Simpsons clouds. The Manhattan skyline gleamed in the midday sun. She took her phone out and made a short video, sweeping the lens southwest, toward the World Trade Center, and then east, toward the Williamsburg Bridge. The clouds drifted. A jetliner zoomed past. Barwick was born in Louisiana, but she lived in New York City for sixteen years before moving to Los Angeles, in 2017. She believes that the trick to surviving life in New York is to get in synch with the city, so it gives you energy instead of depletes you. The Sister City project felt like an aesthetic match, but it also worked on her sense of nostalgia. I knew it was going up on the Lower East Side, where I spent millions of hours, she said. Pink Pony, Max Fish. I used to walk through here, on my way to Other Music.
Barwick didnt want any of the sounds that are triggered by the camera (a synthesizer chord, or Barwicks own voice laden with effects) to feel jarring, as if an alarm were being tripped each time a pigeon took wing above the Bowery. I gave Luisa two or three different bass-line passes, five or six different vocal passes, two different synth passes, a vocal scale, and then six different sounds for each of the events, Barwick said. Pereiras program gently incorporates those samples into the five distinct background piecesMorning, Noon, Afternoon, Evening, and Nightthat Barwick wrote and recorded specifically for the project. The idea is that the score should feel fluid, easy, naturallike laying on your back in a meadow and watching the sky shift as the hours pass. Shes built a program that allows so many different things to flow in and out, Barwick said. Its infinite and evergreen.- New York Times
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LocationTo Be Announced (Long Beach, CA)
Displayed After Purchase
Long Beach, CA 90814
United States
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