The Music Gallery presents

Emergents III: Geoff Mullen + Jonathan Adjemian

curated by Christopher Willes

Doors: 7PM | Concert: 8pm

The Music Gallery, 197 John St.

Tickets: $12 Regular | $8 Member | $12 Advance BUY NOW

Spacing out in the Sanctuary

Last January, Christopher Willes had a grand time rearranging the pews in the Sanctuary in order to utterly destroy the fourth wall between performers and audience. Here, as a curator, he applies his interests in spatialized sounds to selecting two artists who use the Music Gallery’s spaces in novel ways.

Geoff Mullen was born in Providence, Rhode Island in 1979, where he lives and works today. Primarily working within the discipline of music, his recent projects have included site-specific installation, sculpture, photography & video, collage and educational workshops.

Mullen will present a new work specifically for the Music Gallery – exploring the particular spaces within it and creating a diffuse performance environment that invites the audience to move freely, choosing between a variety of different sonic experiences or situations. The goal is to fill the gallery with its own sound – with both live performance and spatialized playback – and to draw upon the storied history of this venue as a place for new and experimental music.

Jonathan Adjemian last performed at the Music Gallery during last year’s X Avant Fesival as part of tabla/electronic duo Phrase Velocity. Adjemian was trained in classical piano and has a degree in theatre. His solo work as Hoover Party shuttles between composition and improvisation, lounge and noise music, sublime relaxation and total disorientation. He has performed and/or recorded with Kyle Brenders, Ken Aldcroft, Jennifer Castle, Matt “Doc” Dunn, Nifty, One Hundred Dollars, Jon-Rae and the River, and choreographer Barb Lindenberg.

“Dry Reciprocity” is a piece for speaking and singing voice, sine waves, and wind instruments. It explores zones between sound and text, between melody and atmosphere, between time-based and gestural notation. The basic structural material is drawn from mathematically harmonious frequency relations. This piece is part of a body of work interested in sound as a place where structures based on language forms – dialogue, narrative, poetic metres – interact with the other structural forms we encounter around or inside us.