December 2024
Saturday 14
Rubber Gloves
Denton, TX
Laura Ortman
Gabby Fluke-Mogul
Tom Carter
Ryan Seward
Aaron González
Kory Reeder
Sarah Gamblin
Stefan González
Monte Espina
Zachary James Watkins
Caroline Davis
Emily Rach Beisel
Lisa Cameron
Andrew Weathers
Joshua Cañate
Python Potions
Carla Weaver
Sarah Ruth Alexander
The Molten Plains Fest is a special event fostering the spirit of adventurous music and further sounds
This year’s Molten Plains Fest is funded in part by the City of Denton.
Also sponsored by:
Artists
Emily Rach Beisel is a Chicago-based improviser, composer, educator, curator and woodwind specialist. Beisel is known for visceral performances blending extended vocal and instrumental techniques with analogue electronics. Their debut solo album, Particle of Organs, released in 2023 on the Amalgam label, has been described as “heavy stuff, sounds retrieved from the deeper places – the underworlds, the lightless subterranea… (A Jazz Noise).” As a curator, Beisel seeks to increase the visibility and involvement of femme, trans and nonbinary artists in the creative performance community. They founded the Pleiades Series at Elastic Arts, presenting monthly performances, community-based free improvisation sessions and a biennial PleiadesFest. Beisel holds a Master of Music degree from Northwestern University and is a member of the American Federation of Musicians Local 10-208.
“This is incredible. Flailing sonic fires crawl through pits of molten sludge and burst skyward from a visceral, breathing pit. Emily Rach Beisel’s music is guttural and splendid, felt in our stomachs at one moment before twisting delicately across each individual pore.”
—Brad Rose, Foxy Digitalis
“Heavy stuff, sounds retrieved from the deeper places – the underworlds, the lightless subterranea, the crushing ocean trenches. Beisel pokes around in the sonic depths and brings leviathans out to play. It’s a raw, abrasive, oppressive, and thrilling journey.”
—Dave Foxall, A Jazz Noise
photo: Peter Gannushkin
Emily Rach Beisel is a Chicago-based improviser, composer, educator, curator and woodwind specialist. Beisel is known for visceral performances blending extended vocal and instrumental techniques with analogue electronics. Their debut solo album, Particle of Organs, released in 2023 on the Amalgam label, has been described as “heavy stuff, sounds retrieved from the deeper places – the underworlds, the lightless subterranea… (A Jazz Noise).” As a curator, Beisel seeks to increase the visibility and involvement of femme, trans and nonbinary artists in the creative performance community. They founded the Pleiades Series at Elastic Arts, presenting monthly performances, community-based free improvisation sessions and a biennial PleiadesFest. Beisel holds a Master of Music degree from Northwestern University and is a member of the American Federation of Musicians Local 10-208.
“This is incredible. Flailing sonic fires crawl through pits of molten sludge and burst skyward from a visceral, breathing pit. Emily Rach Beisel’s music is guttural and splendid, felt in our stomachs at one moment before twisting delicately across each individual pore.”
—Brad Rose, Foxy Digitalis
“Heavy stuff, sounds retrieved from the deeper places – the underworlds, the lightless subterranea, the crushing ocean trenches. Beisel pokes around in the sonic depths and brings leviathans out to play. It’s a raw, abrasive, oppressive, and thrilling journey.”
—Dave Foxall, A Jazz Noise
photo: Peter Gannushkin
Chicago, IL
Lisa Cameron (aka Venison Whirled) is from Austin, Tx. Using amplified/acoustic percussion and strings, she locates resonant frequencies in space to create oscillating overtones, which are then employed as sound sources for live improvisation. She has improvised live with Jandek, Mani Neumier, Eugene Chadbourne, Ingebrigt Haker-Flaten, Mike Watt, Jaap Blonk, Faust, Ernesto Diaz-Infante, Claire Rousay, Alex Cunningham, Damon Smith, Jessica Ackerley, Eli Wallace, Sandy Ewen, Raquel Bell,Tom Carter, Nathan Bowles, Fritz Welch, Thor Harris, Jonathan Horne, and others.
“One of my favorite ways to improvise is to set a number of objects out and not even think about it until I’m actually playing them. I’m often trying to find a place where I’m just watching the objects move on their own or create their own sounds and just follow where that leads to. In a way I feel like I’m facilitating a process that leads to its own conclusion.”
“I do believe a sort of telepathy takes place, and deep listening often is the guide. Paying very close attention while at the same time trying to stay in the moment can be a daunting process, but having done it for 40 years, I feel it comes fairly naturally to me. It’s definitely a process that crystallizes with experience. When I am improvising solo, things change quite a bit. I often perform solo in a trance state and it is very much in the moment. In that case, I’m not listening so much as performing from intuition.”
—Lisa Cameron, Fifteen Questions
Lisa Cameron (aka Venison Whirled) is from Austin, Tx. Using amplified/acoustic percussion and strings, she locates resonant frequencies in space to create oscillating overtones, which are then employed as sound sources for live improvisation. She has improvised live with Jandek, Mani Neumier, Eugene Chadbourne, Ingebrigt Haker-Flaten, Mike Watt, Jaap Blonk, Faust, Ernesto Diaz-Infante, Claire Rousay, Alex Cunningham, Damon Smith, Jessica Ackerley, Eli Wallace, Sandy Ewen, Raquel Bell,Tom Carter, Nathan Bowles, Fritz Welch, Thor Harris, Jonathan Horne, and others.
“One of my favorite ways to improvise is to set a number of objects out and not even think about it until I’m actually playing them. I’m often trying to find a place where I’m just watching the objects move on their own or create their own sounds and just follow where that leads to. In a way I feel like I’m facilitating a process that leads to its own conclusion.”
“I do believe a sort of telepathy takes place, and deep listening often is the guide. Paying very close attention while at the same time trying to stay in the moment can be a daunting process, but having done it for 40 years, I feel it comes fairly naturally to me. It’s definitely a process that crystallizes with experience. When I am improvising solo, things change quite a bit. I often perform solo in a trance state and it is very much in the moment. In that case, I’m not listening so much as performing from intuition.”
—Lisa Cameron, Fifteen Questions
Austin, TX
Joshua Cañate, A drummer, percussionist, and tenor saxophonist originally raised in the Bronx and Ft. Worth and currently residing in Denton, TX. Having started playing music in the realm of d.i.y. punk, psychedelic rock, kraut, and doom, Cañate has gradually immersed himself further in exploratory jazz, free improvisation, and no wave. Same Brain, Trio Glossía, Flesh Narc, Jawbuster, and The Dennis Gonzalez Legacy Band are his current active projects.
Cañate also operates as a free improviser in many different live scenarios, collaborating and playing in one-off situations with the likes of Richard Lenz, Sarah Ruth, Injured, New Fumes, bobb hatt, Angel, Water Damage, Thinky Flesh, Steve Jansen, and many more.
“Cañate is a marvel of joyful abandon behind the drums, keeping time with his hi-hat while exploding all over the kit. His tenor voice has depth as well as power, and his small instruments add color and atmosphere to the mix…at one point, paused in the middle of “Zoomorphology” to interact with insect sounds on the wind chime he had hanging from his tenor sax…”
—Ken Shimamoto, The Stash Dauber
photo: Ellie Alonzo
Joshua Cañate, A drummer, percussionist, and tenor saxophonist originally raised in the Bronx and Ft. Worth and currently residing in Denton, TX. Having started playing music in the realm of d.i.y. punk, psychedelic rock, kraut, and doom, Cañate has gradually immersed himself further in exploratory jazz, free improvisation, and no wave. Same Brain, Trio Glossía, Flesh Narc, Jawbuster, and The Dennis Gonzalez Legacy Band are his current active projects.
Cañate also operates as a free improviser in many different live scenarios, collaborating and playing in one-off situations with the likes of Richard Lenz, Sarah Ruth, Injured, New Fumes, bobb hatt, Angel, Water Damage, Thinky Flesh, Steve Jansen, and many more.
“Cañate is a marvel of joyful abandon behind the drums, keeping time with his hi-hat while exploding all over the kit. His tenor voice has depth as well as power, and his small instruments add color and atmosphere to the mix…at one point, paused in the middle of “Zoomorphology” to interact with insect sounds on the wind chime he had hanging from his tenor sax…”
—Ken Shimamoto, The Stash Dauber
photo: Ellie Alonzo
Denton, TX
In his solo work, and as co-founder of pioneering acid-folk iconoclasts Charalambides, Tom Carter (Houston, TX) conjures intricate improvised guitar psychedelia from strands of melody, fuzz, and charged atmospheric space. His solo career spans two-and-a-half decades of his own performances and recordings, including collaborations with fellow travelers like Joe McPhee, Loren Connors, Susan Alcorn, Thurston Moore, and Martha Colburn (among many others).
“Clean-toned rhythm figures pulse like a deep subconscious state, and the leads rise up through them with the enforced patience of an ascending diving bell.”
—Bill Meyer, Magnet
In his solo work, and as co-founder of pioneering acid-folk iconoclasts Charalambides, Tom Carter (Houston, TX) conjures intricate improvised guitar psychedelia from strands of melody, fuzz, and charged atmospheric space. His solo career spans two-and-a-half decades of his own performances and recordings, including collaborations with fellow travelers like Joe McPhee, Loren Connors, Susan Alcorn, Thurston Moore, and Martha Colburn (among many others).
“Clean-toned rhythm figures pulse like a deep subconscious state, and the leads rise up through them with the enforced patience of an ascending diving bell.”
—Bill Meyer, Magnet
Houston, TX
Caroline Davis’s expression covers a wide range of styles. As a saxophonist and composer, she has released seven albums and has won Downbeat’s Critic’s Poll Rising Star. She has worked with Lee Konitz, John Zorn, Angelica Sanchez, The Femme Jam, Rajna Swaminathan, and Terry Riley. Caroline has been a resident fellow at MacDowell, The Jazz Gallery, The Rockefeller Estate, ICE Ensemble Evolution, UCross, and Civitella; and is a recipient of Jerome Hill, CMA, and NYFA fellowships. She is an advocate for gender equity (This Is A Movement, The New School) and justice for incarcerated people.
“Davis’ sax gasps and leaps, sometimes carried away by the gust of breath carrying the melodies high and low. Notes blur, absorbing the frantic motion of their fingers and nearly-flapping tone holes.”
—Aly Muilenburg, Post Trash
“An alto saxophonist whose extra musical interests—cardiac and cognitive functions, the films of Ingmar Bergman—shape the rhythms and dynamics of her compositions, which are also informed by the harmonic architecture and improvisational spirit of Wayne Shorter, Lee Konitz, and Von Freeman.”
—Bill Meyer, Chicago Reader
photo: Attis Clopton
Caroline Davis’s expression covers a wide range of styles. As a saxophonist and composer, she has released seven albums and has won Downbeat’s Critic’s Poll Rising Star. She has worked with Lee Konitz, John Zorn, Angelica Sanchez, The Femme Jam, Rajna Swaminathan, and Terry Riley. Caroline has been a resident fellow at MacDowell, The Jazz Gallery, The Rockefeller Estate, ICE Ensemble Evolution, UCross, and Civitella; and is a recipient of Jerome Hill, CMA, and NYFA fellowships. She is an advocate for gender equity (This Is A Movement, The New School) and justice for incarcerated people.
“Davis’ sax gasps and leaps, sometimes carried away by the gust of breath carrying the melodies high and low. Notes blur, absorbing the frantic motion of their fingers and nearly-flapping tone holes.”
—Aly Muilenburg, Post Trash
“An alto saxophonist whose extra musical interests—cardiac and cognitive functions, the films of Ingmar Bergman—shape the rhythms and dynamics of her compositions, which are also informed by the harmonic architecture and improvisational spirit of Wayne Shorter, Lee Konitz, and Von Freeman.”
—Bill Meyer, Chicago Reader
photo: Attis Clopton
Brooklyn, NY
gabby fluke-mogul is a New York-based violinist, improviser, composer, educator, organizer and doula. Weaving within the threads of avant and free jazz, with deep roots in improvised and experimental music, their music has been described as “embodied, visceral and virtuosic” and “the most striking sound in improvised music in years”. gabby is humbled to have collaborated with Nava Dunkelman, Joanna Mattrey, Ava Mendoza, Charles Burnham, Fred Frith, Luke Stewart, Zeena Parkins, Tcheser Holmes, Mariá Portugal, Lotte Anker, Paula Sanchez, Susana Santos Silva, Lester St. Louis, William Parker, and Pauline Oliveros among many other musicians, poets, dancers and visual artists. gabby has toured throughout the U.S. and Europe, with recent performances at Cafe Oto (London), Calouste Gulbenkian Foundation (Lisbon), Curva Minore (Palermo), Stadtgarden (Cologne), The Pulitzer Arts Foundation (St. Louis) and The Stone (New York).
photo: Arturo Di Vita
gabby fluke-mogul is a New York-based violinist, improviser, composer, educator, organizer and doula. Weaving within the threads of avant and free jazz, with deep roots in improvised and experimental music, their music has been described as “embodied, visceral and virtuosic” and “the most striking sound in improvised music in years”. gabby is humbled to have collaborated with Nava Dunkelman, Joanna Mattrey, Ava Mendoza, Charles Burnham, Fred Frith, Luke Stewart, Zeena Parkins, Tcheser Holmes, Mariá Portugal, Lotte Anker, Paula Sanchez, Susana Santos Silva, Lester St. Louis, William Parker, and Pauline Oliveros among many other musicians, poets, dancers and visual artists. gabby has toured throughout the U.S. and Europe, with recent performances at Cafe Oto (London), Calouste Gulbenkian Foundation (Lisbon), Curva Minore (Palermo), Stadtgarden (Cologne), The Pulitzer Arts Foundation (St. Louis) and The Stone (New York).
photo: Arturo Di Vita
New York, NY
Sarah Gamblin, Professor of Dance, carried out her professional dance career in New York City where she was a member of the Bebe Miller Company and Bill Young and Dancers. During her time with those companies she toured Portugal, Poland, Estonia, Peru, Venezuela, St. Petersburg, Russia, South Africa and numerous cities in the U.S. Gamblin earned her MFA in Dance from the University of Washington in Seattle where she performed with the Chamber Dance Company, Rob Kitsos, Lingo Dance Theater and Amii LeGendre. As a member of Bebe Miller Company, Gamblin originated roles in “Heaven and Earth,” “Tiny Sisters in the Enormous Land,” “Blessed,” “Going to the Wall,” “Verge” and “In a Rhythm,” and performed in several repertory works such as the Hendrix Project. In 2018 Gamblin taught and performed in seven cities in Colombia and Peru as a member of Bebe Miller Company in the U.S. Department of State sponsored cultural diplomacy tour with Dance U.S.A.
As full professor in Texas Woman’s University’s Division of Dance, Gamblin teaches contemporary technique, ballet, dancemaking practices, experiential anatomy, coordinates the BA in Dance Studies and mentors MFA Culminating Projects.
Gamblin’s main research interest is in creative performance practices and improvisational performance methods. Her choreography has been produced at Conduit Dance Center’s Dance Plus Series in Portland, Oregon, the New Genre Festival in Tulsa, Oklahoma, Seattle Festival of Dance and Improvisation, Bates Dance Festival, Northwest New Works Festival at On the Boards, in New York City at Hundred Grand and Dia Center for the Arts. In addition, her work has been produced in Texas at the Fusebox Festival in Austin, the Fort Worth Dance Festival, the Out of the Loop Festival in Addison, the Texas Dance Improvisation Festival and TWU. Finally, the University of Montana, Perpetual Motion, Flatlands Dance Theater, Mam-Luft Dance, Texas Christian University, the University of South Florida and ClancyWorks in Washington DC have each commissioned her choreographic work.
Sarah Gamblin, Professor of Dance, carried out her professional dance career in New York City where she was a member of the Bebe Miller Company and Bill Young and Dancers. During her time with those companies she toured Portugal, Poland, Estonia, Peru, Venezuela, St. Petersburg, Russia, South Africa and numerous cities in the U.S. Gamblin earned her MFA in Dance from the University of Washington in Seattle where she performed with the Chamber Dance Company, Rob Kitsos, Lingo Dance Theater and Amii LeGendre. As a member of Bebe Miller Company, Gamblin originated roles in “Heaven and Earth,” “Tiny Sisters in the Enormous Land,” “Blessed,” “Going to the Wall,” “Verge” and “In a Rhythm,” and performed in several repertory works such as the Hendrix Project. In 2018 Gamblin taught and performed in seven cities in Colombia and Peru as a member of Bebe Miller Company in the U.S. Department of State sponsored cultural diplomacy tour with Dance U.S.A.
As full professor in Texas Woman’s University’s Division of Dance, Gamblin teaches contemporary technique, ballet, dancemaking practices, experiential anatomy, coordinates the BA in Dance Studies and mentors MFA Culminating Projects.
Gamblin’s main research interest is in creative performance practices and improvisational performance methods. Her choreography has been produced at Conduit Dance Center’s Dance Plus Series in Portland, Oregon, the New Genre Festival in Tulsa, Oklahoma, Seattle Festival of Dance and Improvisation, Bates Dance Festival, Northwest New Works Festival at On the Boards, in New York City at Hundred Grand and Dia Center for the Arts. In addition, her work has been produced in Texas at the Fusebox Festival in Austin, the Fort Worth Dance Festival, the Out of the Loop Festival in Addison, the Texas Dance Improvisation Festival and TWU. Finally, the University of Montana, Perpetual Motion, Flatlands Dance Theater, Mam-Luft Dance, Texas Christian University, the University of South Florida and ClancyWorks in Washington DC have each commissioned her choreographic work.
Denton, TX
Aaron Gonzalez, bassist, vocalist, composer, improvising musician, visual artist and poet based in Dallas, TX. He grew up in an artistic and musical family, being the son of jazz trumpeter, artist, and educator Dennis Gonzalez, and brother of drummer/percussionist Stefan Gonzalez. Stefan and Aaron played with Dennis in the free jazz group Yells At Eels, and related ensembles. They also have played as the grindcore duo Akkolyte, and with Portuguese/Texan avant-jazz outfit Humanization 4tet, theatrical avant-rock band Unconscious Collective, free improv group Firelife Trio, as well as in combos led by such musicians as Mars Williams, Curtis Clark, and Eugene Chadbourne.
Aaron grew up studying classical repertoire in Dallas public schools, attending the Arts Academy at Greiner Middle School and Booker T. Washington High School For The Performing And Visual Arts. He also received lessons from the Young Strings program, sponsored by The Dallas Symphony Orchestra. In his youth, he played with various local rock and experimental bands, eventually beginning an extensive career as a free improvising musician.
He has been associated with many other improvisers, including Sarah Ruth, Ernesto Montiel, Tatsuya Nakatani, Dave Dove, Lisa Cameron, and others. He has had recently played with weirdo surf metal outfit Kolga, improv noise rock group Unrelenting Psoriasis, absurdist performance art/experimental rock combe BS Noise Control, queer performance art/avant vocal terrorists Asukubus, in a duo with vocalist Lily Taylor, performing deconstructed versions of jazz standards, and The Heart Breath Ensemble, a large-scale improv group helmed by the classic jazz drummer Ra Kalam Bob Moses.
He occasionally plays original music in productions by the local underground theater The Ochre House. He has taught lessons on both bass guitar, and standup bass, with after-school program La Rondalla.
You can listen to Yells at Eels here.
You can listen to Unconscious Collective here.
photo: Žiga Koritnik
Aaron Gonzalez, bassist, vocalist, composer, improvising musician, visual artist and poet based in Dallas, TX. He grew up in an artistic and musical family, being the son of jazz trumpeter, artist, and educator Dennis Gonzalez, and brother of drummer/percussionist Stefan Gonzalez. Stefan and Aaron played with Dennis in the free jazz group Yells At Eels, and related ensembles. They also have played as the grindcore duo Akkolyte, and with Portuguese/Texan avant-jazz outfit Humanization 4tet, theatrical avant-rock band Unconscious Collective, free improv group Firelife Trio, as well as in combos led by such musicians as Mars Williams, Curtis Clark, and Eugene Chadbourne.
Aaron grew up studying classical repertoire in Dallas public schools, attending the Arts Academy at Greiner Middle School and Booker T. Washington High School For The Performing And Visual Arts. He also received lessons from the Young Strings program, sponsored by The Dallas Symphony Orchestra. In his youth, he played with various local rock and experimental bands, eventually beginning an extensive career as a free improvising musician.
He has been associated with many other improvisers, including Sarah Ruth, Ernesto Montiel, Tatsuya Nakatani, Dave Dove, Lisa Cameron, and others. He has had recently played with weirdo surf metal outfit Kolga, improv noise rock group Unrelenting Psoriasis, absurdist performance art/experimental rock combe BS Noise Control, queer performance art/avant vocal terrorists Asukubus, in a duo with vocalist Lily Taylor, performing deconstructed versions of jazz standards, and The Heart Breath Ensemble, a large-scale improv group helmed by the classic jazz drummer Ra Kalam Bob Moses.
He occasionally plays original music in productions by the local underground theater The Ochre House. He has taught lessons on both bass guitar, and standup bass, with after-school program La Rondalla.
You can listen to Yells at Eels here.
You can listen to Unconscious Collective here.
photo: Žiga Koritnik
Dallas, TX
Stefan González, drummer, vibraphonist, percussionist, and vocalist originally from Dallas, TX, currently living in Denton. Studied drums with W.A. Richardson, Alvin Fielder, and Ronald Shannon Jackson. They are best known for playing in their defunct family free jazz trio, Yells at Eels, with their late father, the world renowned trumpeter, Dennis Gonzalez, and their older brother Aaron Gonzalez on bass. The trio had a 22 year run. The Gonzalez siblings have a long running grindcore duo known as Akkolyte who formed in 1998 and still perform sporadically. Additionally, Stefan and Aaron have played as the joint rhythm section for many groups including Luis Lopes Humanization 4tet (with Rodrigo Amado), Fire Life Trio (with Danny Kamins), Unconscious Collective (with Gregg Prickett), Curtis Clark Trio, Trio No Mas (with Mars Williams), and The Chadbourne/Gonzalez Collusion (with Eugene Chadbourne).
Other acts worth mentioning are Gonzalez’s long running industrial solo project turned duo, Orgullo Primitivo (with Abbas Khorasani), Ingebrigt Haker-Flaten’s international supergroup The Young Mothers (with Frank Rosaly, Jonathan Horne, Jawwaad Taylor, and Jason Jackson), Denton psychedelic thrashers Heavy Baby Sea Slugs, the Dennis Gonzalez Legacy Band, a trio with Wendy Eisenberg and Damon Smith, and North Texas avant-garde jazz powerhouse Trio Glossía (with Joshua Cañate and Matthew Frerck). Other collaborators and past groups include Alvin Fielder, Joe McPhee, Mars Williams, Maria Valencia, Famoudou Don Moye, German Bringas, Sabir Mateen, Louis Moholo-Moholo, Sarah Ruth, Assif Tsahar, Akira Sakata, Alex Coke, Tatsuya Nakatani, Remi Alvarez, John Dikeman, Michel Doneda, Rob Mazurek, Itzam Cano, Gabriel Lauber, Elliott Levin, Dan Clucas, Jandek, Mike Watt, Asukubus, Imperial Slaughter, Just Another Consumer, and many more.
stefangonzalez.bandcamp.com
You can listen to Yells at Eels here.
You can listen to Unconscious Collective here.
photo: Ellie Alonzo
Stefan González, drummer, vibraphonist, percussionist, and vocalist originally from Dallas, TX, currently living in Denton. Studied drums with W.A. Richardson, Alvin Fielder, and Ronald Shannon Jackson. They are best known for playing in their defunct family free jazz trio, Yells at Eels, with their late father, the world renowned trumpeter, Dennis Gonzalez, and their older brother Aaron Gonzalez on bass. The trio had a 22 year run. The Gonzalez siblings have a long running grindcore duo known as Akkolyte who formed in 1998 and still perform sporadically. Additionally, Stefan and Aaron have played as the joint rhythm section for many groups including Luis Lopes Humanization 4tet (with Rodrigo Amado), Fire Life Trio (with Danny Kamins), Unconscious Collective (with Gregg Prickett), Curtis Clark Trio, Trio No Mas (with Mars Williams), and The Chadbourne/Gonzalez Collusion (with Eugene Chadbourne).
Other acts worth mentioning are Gonzalez’s long running industrial solo project turned duo, Orgullo Primitivo (with Abbas Khorasani), Ingebrigt Haker-Flaten’s international supergroup The Young Mothers (with Frank Rosaly, Jonathan Horne, Jawwaad Taylor, and Jason Jackson), Denton psychedelic thrashers Heavy Baby Sea Slugs, the Dennis Gonzalez Legacy Band, a trio with Wendy Eisenberg and Damon Smith, and North Texas avant-garde jazz powerhouse Trio Glossía (with Joshua Cañate and Matthew Frerck). Other collaborators and past groups include Alvin Fielder, Joe McPhee, Mars Williams, Maria Valencia, Famoudou Don Moye, German Bringas, Sabir Mateen, Louis Moholo-Moholo, Sarah Ruth, Assif Tsahar, Akira Sakata, Alex Coke, Tatsuya Nakatani, Remi Alvarez, John Dikeman, Michel Doneda, Rob Mazurek, Itzam Cano, Gabriel Lauber, Elliott Levin, Dan Clucas, Jandek, Mike Watt, Asukubus, Imperial Slaughter, Just Another Consumer, and many more.
stefangonzalez.bandcamp.com
You can listen to Yells at Eels here.
You can listen to Unconscious Collective here.
photo: Ellie Alonzo
Denton, TX
Monte Espina, an electroacoustic free improvisation duo of Ernesto Montiel and Miguel Espinel, both Venezuelan-born and North Texas-based, where they met in 2016. They explore the possibilities of sinuous sonic environments amid amplified sounds and signal processing, through an absolutely improvised approach.
Collaboration is at the core of their practice, being Liz Tonne, Louise Fristensky, Sarah Ruth Alexander, Chris Cogburn, Alan F. Jones, Jason Kahn, Tom Carter, Dan Clucas, Rebecca Novak, , Aaron Gonzalez, Steve Jansen, Justin Lemons, Chase Gardner, Kory Reeder, Conner Simmons, Andrew Jordan Miller, Ray Henninger, Derek Rogers, Erika Orgosdotti, Elaine Di Falco, Kevin Butler, and Heberto Añez, among the long list of artists they have played with.
After a string of self-released cdrs, y culebra was published by Marginal Frequency in 2019, pa by Elevator Bath in 2021, a collaboration with Liz Tonne and Louise Fristensky, pueblo glortha, by Round Bale Recordings in 2021 as well. A year-long/site-specific project in collaboration with Sarah Ruth Alexander, cuatro estaciones, was released by Full Spectrum Recordings in 2022. In early 2024 alquimia criolla came out on presses précaires.
“Harrowing at times, whispering sonic exultations bathed in textural plaster and metallic gloss. Organic but fried, always ready to tear the roof off. Surrounded by stinging resonance.”
—Brad Rose, The Capsule Garden
monteespina.bandcamp.com
pressesprecaires.bandcamp.com/album/alquimia-criolla
photo: Devin De Leon
Monte Espina, an electroacoustic free improvisation duo of Ernesto Montiel and Miguel Espinel, both Venezuelan-born and North Texas-based, where they met in 2016. They explore the possibilities of sinuous sonic environments amid amplified sounds and signal processing, through an absolutely improvised approach.
Collaboration is at the core of their practice, being Liz Tonne, Louise Fristensky, Sarah Ruth Alexander, Chris Cogburn, Alan F. Jones, Jason Kahn, Tom Carter, Dan Clucas, Rebecca Novak, , Aaron Gonzalez, Steve Jansen, Justin Lemons, Chase Gardner, Kory Reeder, Conner Simmons, Andrew Jordan Miller, Ray Henninger, Derek Rogers, Erika Orgosdotti, Elaine Di Falco, Kevin Butler, and Heberto Añez, among the long list of artists they have played with.
After a string of self-released cdrs, y culebra was published by Marginal Frequency in 2019, pa by Elevator Bath in 2021, a collaboration with Liz Tonne and Louise Fristensky, pueblo glortha, by Round Bale Recordings in 2021 as well. A year-long/site-specific project in collaboration with Sarah Ruth Alexander, cuatro estaciones, was released by Full Spectrum Recordings in 2022. In early 2024 alquimia criolla came out on presses précaires.
“Harrowing at times, whispering sonic exultations bathed in textural plaster and metallic gloss. Organic but fried, always ready to tear the roof off. Surrounded by stinging resonance.”
—Brad Rose, The Capsule Garden
monteespina.bandcamp.com
pressesprecaires.bandcamp.com/album/alquimia-criolla
photo: Devin De Leon
Denton/Mesquite, TX
A soloist musician, composer, and vibrant collaborator, Laura Ortman (White Mountain Apache) creates across multiple platforms, including recorded albums, live performances, filmic and artistic soundtracks. Ortman has collaborated with artists such as Tony Conrad, Jock Soto, Raven Chacon, Okkyung Lee, Caroline Monnet, Jeffrey Gibson, Tanya Lukin Linklater, among others. An inquisitive and exquisite violinist, she is also versed in Apache violin, piano, electric guitar, keyboards, and amplified violin; she often sings through a megaphone and is a producer of capacious field recordings.
She has performed at the Whitney Museum, The Guggenheim, and MOMA in New York, La Biennale di Venezia 2024 in Italy, Musée d’art contemporain in Montreal, and Centre Pompidou in Paris, as well as countless established and DIY venues and festivals across North America and Europe. In 2008, she founded the Coast Orchestra, an all-Indigenous orchestral ensemble that performed a live soundtrack to Edward Curtis’ In the Land of the Head Hunters (1914), the first silent feature film to star an all-Indigenous cast. The Coast Orchestra premiered at the American Museum of Natural History in NYC and at the National Gallery of Art in Washington, D.C.
Ortman has lived in Prospect Heights, Brooklyn since 1997.
“When I’m playing really fast and hard, the plumes of the rosin smoke up and go into the atmosphere. I love that; part of my sound is now out in the world. It feels like a big part of me too, because I’ve played the violin for forty-three years now. I’ve probably inhaled a lifetime’s worth of rosin. I’m curious if it’s now embedded in the sound of my voice…”
—Laura Ortman, conversation with Jock Soto, BOMB Magazine
“Standing on the side of a yellow-lit stage, Laura drew a quiet, grainy hum out of her Apache violin that felt like holding a pile of sand in your hands and letting it fall between your fingers.”
—Vanessa Ague, I Care If You Listen
photo: Frank Schramm
A soloist musician, composer, and vibrant collaborator, Laura Ortman (White Mountain Apache) creates across multiple platforms, including recorded albums, live performances, filmic and artistic soundtracks. Ortman has collaborated with artists such as Tony Conrad, Jock Soto, Raven Chacon, Okkyung Lee, Caroline Monnet, Jeffrey Gibson, Tanya Lukin Linklater, among others. An inquisitive and exquisite violinist, she is also versed in Apache violin, piano, electric guitar, keyboards, and amplified violin; she often sings through a megaphone and is a producer of capacious field recordings.
She has performed at the Whitney Museum, The Guggenheim, and MOMA in New York, La Biennale di Venezia 2024 in Italy, Musée d’art contemporain in Montreal, and Centre Pompidou in Paris, as well as countless established and DIY venues and festivals across North America and Europe. In 2008, she founded the Coast Orchestra, an all-Indigenous orchestral ensemble that performed a live soundtrack to Edward Curtis’ In the Land of the Head Hunters (1914), the first silent feature film to star an all-Indigenous cast. The Coast Orchestra premiered at the American Museum of Natural History in NYC and at the National Gallery of Art in Washington, D.C.
Ortman has lived in Prospect Heights, Brooklyn since 1997.
“When I’m playing really fast and hard, the plumes of the rosin smoke up and go into the atmosphere. I love that; part of my sound is now out in the world. It feels like a big part of me too, because I’ve played the violin for forty-three years now. I’ve probably inhaled a lifetime’s worth of rosin. I’m curious if it’s now embedded in the sound of my voice…”
—Laura Ortman, conversation with Jock Soto, BOMB Magazine
“Standing on the side of a yellow-lit stage, Laura drew a quiet, grainy hum out of her Apache violin that felt like holding a pile of sand in your hands and letting it fall between your fingers.”
—Vanessa Ague, I Care If You Listen
photo: Frank Schramm
Brooklyn, NY
Python Potions is a slithering electronic duo with paranoid vocals and haunted rhythms from Denton, TX by Rachel Weaver & Randall Minick. Born from murky depths of droning downtempos, Python Potions’ 2023 album Illustris emerged from the molten entanglements and murmuring entrails it was birthed from to re-form into visceral cosmologies and ethereal delusions exuding from the dungeons of body music ritual. Python Potions combines EBM, dark electro, modular synthesizers, sequencers, and found sounds to investigate our darkest secrets and deepest anxieties.
Python Potions has performed in showcases and festivals at venues around the Denton-Dallas-Fort Worth Metroplex including Dallas Ambient Music Nights, Polacon, and Thin Line Festival, and has opened for acts such as Blank Hellscape, Madeline Goldstein, Container, and Xeno & Oaklander. In 2023, they joined Memory Terminal Records and a growing catalog of sounds from subterranean subsystems.
Randall Minick is a self-taught synthesist performing for over a decade in DFW in solo and group acts including Felt & Fur, Laughing Matter, Wave Swinger, Formless Ocean, J.R. Minick & Associates, and countless other collaborations.
Rachel Weaver is a mixed-media artist and musician performing in DFW since 2016 in solo and group acts including blendways, Ruptured Implant, numerous Molten Plains collaborations, and multimedia community experiments.
photo: Rachel Weaver
Python Potions is a slithering electronic duo with paranoid vocals and haunted rhythms from Denton, TX by Rachel Weaver & Randall Minick. Born from murky depths of droning downtempos, Python Potions’ 2023 album Illustris emerged from the molten entanglements and murmuring entrails it was birthed from to re-form into visceral cosmologies and ethereal delusions exuding from the dungeons of body music ritual. Python Potions combines EBM, dark electro, modular synthesizers, sequencers, and found sounds to investigate our darkest secrets and deepest anxieties.
Python Potions has performed in showcases and festivals at venues around the Denton-Dallas-Fort Worth Metroplex including Dallas Ambient Music Nights, Polacon, and Thin Line Festival, and has opened for acts such as Blank Hellscape, Madeline Goldstein, Container, and Xeno & Oaklander. In 2023, they joined Memory Terminal Records and a growing catalog of sounds from subterranean subsystems.
Randall Minick is a self-taught synthesist performing for over a decade in DFW in solo and group acts including Felt & Fur, Laughing Matter, Wave Swinger, Formless Ocean, J.R. Minick & Associates, and countless other collaborations.
Rachel Weaver is a mixed-media artist and musician performing in DFW since 2016 in solo and group acts including blendways, Ruptured Implant, numerous Molten Plains collaborations, and multimedia community experiments.
photo: Rachel Weaver
Denton, TX
Kory Reeder (Denton, TX) is an American composer and performer whose music, drawing inspiration from the visual arts and political theory, is often introspective with a “rarefied atmosphere” (Bandcamp), investigating ideas of objectivity and immediacy, while exploring the social implications of musical interaction with pieces ranging from symphonic and chamber works to field recording, text scores and computer-assisted improvisations.
Described as “one of the most captivating composers in modern classical music” (Dallas Observer), Kory’s music is performed frequently around the world in concert halls, festivals, academic settings, basements, and bars across North and South America, Africa, Asia, Australia, and Europe. A dedicated collaborator, he has frequently worked with opera, theater, and dance programs, as well as noise, free-improv, and new media artists on projects ranging from video collaborations to 24-hour live performance art works, “Pushing at limits was always on Reeder’s agenda” (Chamber Music America). He has been artist-in-residence at Arts, Letter, and Numbers, The Kimmel, Harding, Nelson Center for the Arts and has been Artist in Residence in the Everglades, Artist in residence at the Homestead National Monument, and the Composing in the Wilderness program.
As a performer, Kory is a bassist, sometimes pianist, and sometimes noisemaker. Performing as a section and substitute bassist in regional orchestras as well as contemporary and traditional chamber ensembles, Kory also tours frequently as an independent artist or as an ensemble member performing his chamber music and works of others as well as in creative music and improvised musical contexts.
Ryan Seward is a musician, composer, and artist living in Colorado Springs, Colorado. His work is situated within and across a number of forms, including composition, improvisation, installation, performance, phonography, photography, sculpture, and videography.
Ryan’s work has most recently been performed by Galan Trio, TAK ensemble, Filament, and Sam Wells, and presented at Colorado College (Colorado Springs, Colorado); CO-OPt Research + Projects (Lubbock, Texas); Blo Back Gallery (Pueblo, Colorado); Technische Universität Berlin (Berlin, Germany); Washington Street Art Center (Somerville, Massachusetts) for co-incidence festival 2020; Die Station (Neufelden, Austria); California Institute of the Arts (Valencia, California) for The Dog Star Orchestra 15; and Casper College (Casper, Wyoming) for the Second Annual New Music Day. His recordings have been released by Editions Glomar, emic rite, Marginal Frequency, and Sawyer Editions.
He has previously collaborated with Gabriela Areal, Nat Baldwin, Jaap Blonk, Eugene Chadbourne, Tashi Dorji, Sandy Ewen, Douglas Farrand, Simon Labbé, Llano Estacado Monad Band, Bob Marsh, Cecyl Ruehlen, Daniel Ryan, Bret Sexton, Susan Wolf, Ben Wright, and Jack Wright, among others; and currently collaborates with Kory Reeder and Andrew Weathers. He has also commissioned and premiered the work of composers Eva-Maria Houben and Alexis Porfiriadis.
Ryan holds the MA in Music from Wesleyan University, where he studied experimental music and composition with Ron Kuivila, Paula Matthusen, and Neely Bruce. He has also been mentored informally by composers Antoine Beuger, Michael Pisaro-Liu, and Emmanuelle Waeckerlé.
Andrew Weathers (1988) is a composer, improviser, and intermedia artist based in the Front Range region of Colorado. His work is equally concerned with the disjunction of duration and place, as well as improvisation’s prospect as a vessel of discovery and collective practice. His projects and performances span the idioms of field recording, prepared guitar, surrealist soundscape, and minimalist composition rooted in repetition and drone. Apart from his longtime commitment to collaboration alongside a wide swath of figures inhabiting the sonic underground, Weathers was also founder and operator of Full Spectrum Records. Founded in his home state of North Carolina in 2008, the label released the works of sundry sound artists and experimental musicians, eventually moving its operations to the Llano Estacado region of northwestern Texas before reaching a conscious conclusion in 2024. On top of frequent credits as a mixing and mastering engineer, he has also produced various projects for Other Minds Records and Rural Situationism.
photo: Rowdy Dugan
Kory Reeder (Denton, TX) is an American composer and performer whose music, drawing inspiration from the visual arts and political theory, is often introspective with a “rarefied atmosphere” (Bandcamp), investigating ideas of objectivity and immediacy, while exploring the social implications of musical interaction with pieces ranging from symphonic and chamber works to field recording, text scores and computer-assisted improvisations.
Described as “one of the most captivating composers in modern classical music” (Dallas Observer), Kory’s music is performed frequently around the world in concert halls, festivals, academic settings, basements, and bars across North and South America, Africa, Asia, Australia, and Europe. A dedicated collaborator, he has frequently worked with opera, theater, and dance programs, as well as noise, free-improv, and new media artists on projects ranging from video collaborations to 24-hour live performance art works, “Pushing at limits was always on Reeder’s agenda” (Chamber Music America). He has been artist-in-residence at Arts, Letter, and Numbers, The Kimmel, Harding, Nelson Center for the Arts and has been Artist in Residence in the Everglades, Artist in residence at the Homestead National Monument, and the Composing in the Wilderness program.
As a performer, Kory is a bassist, sometimes pianist, and sometimes noisemaker. Performing as a section and substitute bassist in regional orchestras as well as contemporary and traditional chamber ensembles, Kory also tours frequently as an independent artist or as an ensemble member performing his chamber music and works of others as well as in creative music and improvised musical contexts.
Ryan Seward is a musician, composer, and artist living in Colorado Springs, Colorado. His work is situated within and across a number of forms, including composition, improvisation, installation, performance, phonography, photography, sculpture, and videography.
Ryan’s work has most recently been performed by Galan Trio, TAK ensemble, Filament, and Sam Wells, and presented at Colorado College (Colorado Springs, Colorado); CO-OPt Research + Projects (Lubbock, Texas); Blo Back Gallery (Pueblo, Colorado); Technische Universität Berlin (Berlin, Germany); Washington Street Art Center (Somerville, Massachusetts) for co-incidence festival 2020; Die Station (Neufelden, Austria); California Institute of the Arts (Valencia, California) for The Dog Star Orchestra 15; and Casper College (Casper, Wyoming) for the Second Annual New Music Day. His recordings have been released by Editions Glomar, emic rite, Marginal Frequency, and Sawyer Editions.
He has previously collaborated with Gabriela Areal, Nat Baldwin, Jaap Blonk, Eugene Chadbourne, Tashi Dorji, Sandy Ewen, Douglas Farrand, Simon Labbé, Llano Estacado Monad Band, Bob Marsh, Cecyl Ruehlen, Daniel Ryan, Bret Sexton, Susan Wolf, Ben Wright, and Jack Wright, among others; and currently collaborates with Kory Reeder and Andrew Weathers. He has also commissioned and premiered the work of composers Eva-Maria Houben and Alexis Porfiriadis.
Ryan holds the MA in Music from Wesleyan University, where he studied experimental music and composition with Ron Kuivila, Paula Matthusen, and Neely Bruce. He has also been mentored informally by composers Antoine Beuger, Michael Pisaro-Liu, and Emmanuelle Waeckerlé.
Andrew Weathers (1988) is a composer, improviser, and intermedia artist based in the Front Range region of Colorado. His work is equally concerned with the disjunction of duration and place, as well as improvisation’s prospect as a vessel of discovery and collective practice. His projects and performances span the idioms of field recording, prepared guitar, surrealist soundscape, and minimalist composition rooted in repetition and drone. Apart from his longtime commitment to collaboration alongside a wide swath of figures inhabiting the sonic underground, Weathers was also founder and operator of Full Spectrum Records. Founded in his home state of North Carolina in 2008, the label released the works of sundry sound artists and experimental musicians, eventually moving its operations to the Llano Estacado region of northwestern Texas before reaching a conscious conclusion in 2024. On top of frequent credits as a mixing and mastering engineer, he has also produced various projects for Other Minds Records and Rural Situationism.
photo: Rowdy Dugan
Denton, TX / Colorado Springs, CO / Front Range, CO
Sarah Ruth (Denton, TX) is a diverse musician and artist – a multi-instrumentalist, she employs hammered dulcimer, harmonium, electroacoustic sound art, and extended vocal techniques. She performs frequently both solo and with multiple bands and improvisational ensembles in the North Texas area. She is a University of North Texas graduate where she focused on vocal studies and electroacoustic composition. She has also studied with Meredith Monk and members of her vocal ensemble. She enjoys varied collaborations and has worked as a sound artist for art and photography installations and an accompanist for modern dance.
She has performed with Damon Smith, Tatsuya Nakatani, Jaap Blonk, Liz Tonne, Sarah Gamblin, Rosemary Candelario, Susan kae Grant, Lisa Cameron, Tom Carter, and Aaron Gonzalez, to list a few. She tours nationally and her recent albums have been released on Sawyer Spaces, Obsolete Media Objects, Balance Point Acoustics, Pour le Corps Music, and Linda Hand. Sarah co-curates the Molten Plains series and festival with Ernesto Montiel in Denton. She also hosts a radio program called Tiger D on KUZU LP broadcasting in Denton at 92.9 FM and streaming online at kuzu.fm, playing music and often featuring guest musicians to curate and discuss their playlists. She recently had a chapter titled “Community Building Through Collaboration,” published in Routledge‘s Art as Social Practice: Technologies for Change.
Sarah Ruth (Denton, TX) is a diverse musician and artist – a multi-instrumentalist, she employs hammered dulcimer, harmonium, electroacoustic sound art, and extended vocal techniques. She performs frequently both solo and with multiple bands and improvisational ensembles in the North Texas area. She is a University of North Texas graduate where she focused on vocal studies and electroacoustic composition. She has also studied with Meredith Monk and members of her vocal ensemble. She enjoys varied collaborations and has worked as a sound artist for art and photography installations and an accompanist for modern dance.
She has performed with Damon Smith, Tatsuya Nakatani, Jaap Blonk, Liz Tonne, Sarah Gamblin, Rosemary Candelario, Susan kae Grant, Lisa Cameron, Tom Carter, and Aaron Gonzalez, to list a few. She tours nationally and her recent albums have been released on Sawyer Spaces, Obsolete Media Objects, Balance Point Acoustics, Pour le Corps Music, and Linda Hand. Sarah co-curates the Molten Plains series and festival with Ernesto Montiel in Denton. She also hosts a radio program called Tiger D on KUZU LP broadcasting in Denton at 92.9 FM and streaming online at kuzu.fm, playing music and often featuring guest musicians to curate and discuss their playlists. She recently had a chapter titled “Community Building Through Collaboration,” published in Routledge‘s Art as Social Practice: Technologies for Change.
Denton, TX
Zachary James Watkins (Oakland, CA) studied composition with Janice Giteck, Jarrad Powell, Robin Holcomb and Jovino Santos Neto at Cornish College. In 2006, Zachary received an MFA in Electronic Music and Recording Media from Mills College where he studied with Chris Brown, Fred Frith, Alvin Curran and Pauline Oliveros. Zachary has received commissions from The Empyrean Ensemble, Splinter Reeds, The Switch Ensemble, Density512, sfsound, The Living Earth Show, Kronos Quartet and the Seattle Chamber Players among others. His 2006 composition Suite for String Quartet was awarded the Paul Merritt Henry Prize for Composition and has subsequently been performed at the Labs 25th Anniversary Celebration, the Labor Sonor Series at Kule in Berlin Germany and in Seattle Wa, as part of the 2nd Annual Town Hall New Music Marathon featuring violist Eyvind Kang. Zachary has performed in numerous festivals across the United States, Mexico and Europe and his band Black Spirituals opened for pioneering Minimal Metal band Earth during their 2015 European tour. In 2008, Zachary premiered a new multi-media work entitled Country Western as part of the Meridian Gallery’s Composers in Performance Series that received grants from the The American Music Center and The Foundation for Contemporary Arts. An excerpt of this piece is published on a compilation album entitled The Harmonic Series‚ along side Pauline Oliveros, Ellen Fullman, Theresa Wong, Charles Curtis and Duane Pitre among others. Zachary completed Documentado/Undocumentado a multimedia interactive book in collaboration with Guillermo Gómez Peña, Gustavo Vasquez, Jennifer Gonzalez and Felicia Rice. His sound art work entitled Third Floor::Designed Obsolescence, “spoke as a metaphor for the breakdown of the dream of technology and the myth of our society’s permanence,” review by Susan Noyes Platt in the Summer 05 issue of ARTLIES. Zachary releases music on the labels Sige, Cassauna, Confront (UK), The Tapeworm and Touch (UK). Novembre Magazine (DE), ITCH (ZA), Walrus Press and the New York Miniature Ensemble have published his writings and scores. Zachary has been an artist-in-resident at the Espy Foundation, Djerassi the Headlands Center for The Arts and the Amant Foundation Siena, Italy.
“Unmistakable distorted lead sound, then an overhead gush of high harmonics, then an unsteady warble of bass frequency that moves in twitching subterranean parallel to the primary refrain. He has an incredible knack for subdividing his guitar signal into various forms that each seem to adopt their own agency. This act of self-dispersal is perfect for an artist who centres so intensely on Resonance, the existence of which necessarily depends on a recognition of entities beyond the singular self”
—Jack Chutter, ATTN:Magazine
photo: John Diaz
Zachary James Watkins (Oakland, CA) studied composition with Janice Giteck, Jarrad Powell, Robin Holcomb and Jovino Santos Neto at Cornish College. In 2006, Zachary received an MFA in Electronic Music and Recording Media from Mills College where he studied with Chris Brown, Fred Frith, Alvin Curran and Pauline Oliveros. Zachary has received commissions from The Empyrean Ensemble, Splinter Reeds, The Switch Ensemble, Density512, sfsound, The Living Earth Show, Kronos Quartet and the Seattle Chamber Players among others. His 2006 composition Suite for String Quartet was awarded the Paul Merritt Henry Prize for Composition and has subsequently been performed at the Labs 25th Anniversary Celebration, the Labor Sonor Series at Kule in Berlin Germany and in Seattle Wa, as part of the 2nd Annual Town Hall New Music Marathon featuring violist Eyvind Kang. Zachary has performed in numerous festivals across the United States, Mexico and Europe and his band Black Spirituals opened for pioneering Minimal Metal band Earth during their 2015 European tour. In 2008, Zachary premiered a new multi-media work entitled Country Western as part of the Meridian Gallery’s Composers in Performance Series that received grants from the The American Music Center and The Foundation for Contemporary Arts. An excerpt of this piece is published on a compilation album entitled The Harmonic Series‚ along side Pauline Oliveros, Ellen Fullman, Theresa Wong, Charles Curtis and Duane Pitre among others. Zachary completed Documentado/Undocumentado a multimedia interactive book in collaboration with Guillermo Gómez Peña, Gustavo Vasquez, Jennifer Gonzalez and Felicia Rice. His sound art work entitled Third Floor::Designed Obsolescence, “spoke as a metaphor for the breakdown of the dream of technology and the myth of our society’s permanence,” review by Susan Noyes Platt in the Summer 05 issue of ARTLIES. Zachary releases music on the labels Sige, Cassauna, Confront (UK), The Tapeworm and Touch (UK). Novembre Magazine (DE), ITCH (ZA), Walrus Press and the New York Miniature Ensemble have published his writings and scores. Zachary has been an artist-in-resident at the Espy Foundation, Djerassi the Headlands Center for The Arts and the Amant Foundation Siena, Italy.
“Unmistakable distorted lead sound, then an overhead gush of high harmonics, then an unsteady warble of bass frequency that moves in twitching subterranean parallel to the primary refrain. He has an incredible knack for subdividing his guitar signal into various forms that each seem to adopt their own agency. This act of self-dispersal is perfect for an artist who centres so intensely on Resonance, the existence of which necessarily depends on a recognition of entities beyond the singular self”
—Jack Chutter, ATTN:Magazine
photo: John Diaz
Oakland, CA
Carla Weaver‘s love for movement, subtlety, and self discovery along with her combined experience as a professional modern dancer and studies in Body Mind Centering makes for a unique approach to yoga as a somatic practice that is both deep and informative. Her personal practice and teaching are inspired by the movement that occurs between the shapes, the 3 dimensionality of the poses themselves, and the practice of aligning intention, attention and action while on the mat and in life. Discovering the body’s natural intelligence play a big role in her teaching as well as her passion for embryology, developmental movement, embodied anatomy, Ayurveda, mindfulness, and movement improvisation.
In 2004 Carla graduated from the OM Yoga 200 hour teacher training program in NYC where she also pursued a dance career from 1991 to 2005. Carla then moved to her hometown of Dallas, TX where for the last 20 years she has taught yoga classes, workshops, teacher training programs, and one on one sessions. Please visit the “Education” tab to learn more about Carla’s background and areas of study.
Carla Weaver‘s love for movement, subtlety, and self discovery along with her combined experience as a professional modern dancer and studies in Body Mind Centering makes for a unique approach to yoga as a somatic practice that is both deep and informative. Her personal practice and teaching are inspired by the movement that occurs between the shapes, the 3 dimensionality of the poses themselves, and the practice of aligning intention, attention and action while on the mat and in life. Discovering the body’s natural intelligence play a big role in her teaching as well as her passion for embryology, developmental movement, embodied anatomy, Ayurveda, mindfulness, and movement improvisation.
In 2004 Carla graduated from the OM Yoga 200 hour teacher training program in NYC where she also pursued a dance career from 1991 to 2005. Carla then moved to her hometown of Dallas, TX where for the last 20 years she has taught yoga classes, workshops, teacher training programs, and one on one sessions. Please visit the “Education” tab to learn more about Carla’s background and areas of study.
Dallas, TX
Schedule
6PM – gabby fluke-mogul + Tom Carter + Aaron Gonzalez
6:50 – Lisa Cameron + Emily Rach Beisel
7:35 – Kory Reeder + Andrew Weathers + Ryan Seward
8:20 – Caroline Davis
— Intermission —
9:30 – Sarah Gamblin + Carla Weaver
10:00 – Laura Ortman
11:10 – Zachary James Watkins + Stefan Gonzalez + Joshua Cañate
12:00 – Python Potions + Monte Espina + Sarah Ruth
Location
Rubber Gloves Rehearsal Studios
411 E. Sycamore St.
Denton TX 76209
Early December weather in Denton typically ranges from 60°F during the day and 40°F at night. Please prepare accordingly.