adam overton / for electric bassist(s) & for rock ensemble

adam overton

for electric bassist(s)
&
for rock ensemble

(2005)
page last updated Wed, 6 Jan 2010, 5:38pm PST
last comment posted on Wed, 6 Jan 2010, 5:36pm PST

Description
rubbing instruments on exposed flesh, too loud

Keywords: skin, nude, loud, electric bass, rock ensemble
Duration: variable minutes
# of Performers: 1 or more, variable

Materials / Instrumentation / Performers
electric bass, rock band, amps, skin

Files
for.electric.bassists.for.rock.ensemble.v4.pdf

Score / Notes
2 pieces, one for multiple electric bassists
the other for a rock band

Recent Performances
have you performed this?

Sat, 28 March 2009
posted by ao, 04/05/09 performed by Raven Chacon, Ken Cornell, Matt Galindo, Alan George Ledergerber, Victoria Ortiz, and Malinda Tryba Thursz
Saturday 28 March 2009, at the Peace and Justice Center in Albuquerque, NM

special thanks to Raven Chacon for setting this up...

Sun, 18 December 2005
posted by ao, 09/29/08 premiered 18 Dec 2005 at Il Corral as part of the TURN THE SCREWS festival of love and noise, a 3-day benefit event (16 - 18 Dec)

performed by Bob Bellerue, Raven Chacon, Kenneth Christianson, Shane Hubert, and Adam Overton

download from Archive.org

Comments
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posted by ao, 01/06/10

i forgot i had written this:

Some reflections upon For Electric Bassist(s)
Adam Overton, June 2006

first performed 18 December 2005 at Il Corral in Los Angeles, as part of the TURN THE SCREWS festival of love and noise, by Bob Bellerue, Raven Chacon, Kenneth Christianson, Shane Hubert, and Adam Overton

. . .

If you were to ask the performers or an audience member, they might respond that the recording of this piece is not what was experienced in performance that night.

I recall it being louder . . . busier . . . different. [ I think ]

Alas, the recording device, attached directly to a mixer and sound system struggling to discern the weak signals of our electric basses as they scraped along our bodies, heard something else, something otherly.

In performance it was hard for each of us to distinguish our own sonified movements as they blended mysteriously into one another's; I would rub and think I heard my body in that motion, and then pause only to discover I had been mistaken - my ears had been following someone else's contours, temporarily understanding them as my own.

Mapping is a subjective process, a confusing process, one of filling in dark gaps with something [ momentarily ] better understood, and yet upon completion and review, the mapped terrain so often still seems as distant, and the map itself so desperate and foreign.

Mapping is the name, and yet poetry is our game...

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