An Evening of Phantoms
Ikue Mori moved from her native city of Tokyo to New York in 1977. She started playing drums and soon formed the seminal no wave band DNA, with fellow noise pioneers Arto Lindsay and Tim Wright. DNA enjoyed legendary cult status, while creating a new brand of radical rhythms and dissonant sounds; forever altering the face of rock music. In the mid 80’s Ikue started in employ drum machines in the unlikely context of improvised music. While limited to the standard technology provided by the drum machine, she has never the less forged her own highly sensitive signature style. Through out in 90’s She has subsequently collaborated with numerous improvisors throughout the US, Europe, and Asia, while continuing to produce and record her own music. 1998, She was invited to perform with Ensemble Modern as the soloist along with Zeena Parkins, and composer Fred Frith, also “One hundred Aspects of the Moon” commissioned by Roulette/Mary Flagler Cary Charitable Trust. Ikue won the Distinctive Award for Prix Ars Electronics Digital Music category in 99. In 2000 Ikue started using the laptop computer to expand on her already signature sound, thus broadening her scope of musical expression. 2000 commissioned by the KITCHEN ensemble, wrote and premired the piece “Aphorism” also awarded Civitella Ranieri Foundation Fellowship. 2003 commissioned by RELACHE Ensemble to write a piece for film In the Street and premired in Philadelphia. Started working with visual played by the music since 2004. In 2005 Awarded Alphert/Ucross Residency.
Recived the grant from Foundation for Contemporary Arts in 2006. Tate Modern commissioned the live sound track for Maya Deren’s silent films and premired in 2007. In 2008 Celebrated 30th music year, presented 5 on-going projects at Japan Society in NYC. Current working groups include MEPHISTA with Sylvie Courvoisier and Susie Ibarra, projects with Kim Gordon, duo project PHANTOM ORCHARD with Zeena Parkins, various projects with John Zorn. and John Zorn’s Electric Masada.
www.ikuemori.com
Phantom Limb & Wooley (Jaime Fennelly – electronics & harmonium; Chris Forsyth – guitar; Nate Wooley – trumpet)
Multi-instrumentalist & artist Jaime Fennelly maintains a practice of musical performance & composition which borders on near ritual praxis in its approach and conception. He is a founding member (along with Chris Forsyth and Fritz Welch) of the iconoclastic group Peeesseye. Jaime is also a member of the elusive and rarely spotted quartet Phantom Limb & Bison, the intermittent pranksters Manpack Variant and the noise/akshuntist cover band peeinmyfacewithsurgery. His music has been released by Digitalis Records, QBICO, Archive Recordings, 8mm, Misanthropic Agenda, Chocolate Monk, Unframed Recordings, Utech, Deep Fried Tapes, Locust Music and Evolving Ear. Currently he is working on a series of photographs documenting his own slow unraveling whilst living on a remote island off the state of Washington.
Chris Forsyth’s music eludes easy categorization. He is a founding member (along with Jaime Fennelly and Fritz Welch) of the iconoclastic group Peeesseye, a transcontinental amalgam of minimalist rock, noise, folk, drone, psych, improv, sound poetry, and absurdity that has produced seven CDs, one 7-inch, over 145 concerts in Europe and the US, and untold blown minds since forming in 2002. He also performs solo on both electric and acoustic 6- and 12-string guitars, leads the free rock trio Soft History with drummer Ryan Sawyer and bassist Peter Kerlin, and is a member of the elusive and rarely spotted experimental group Phantom Limb & Bison. Other notable collaborators have included reductionist/blues guitarist Tetuzi Akiyama, Bay Area composer/performer Ernesto Diaz-Infante, trumpeter Nate Wooley, and choreographers Miguel Gutierrez and RoseAnne Spradlin, plus others too numerous too mention. His first solo CD Live Journal at the Mice Machine VIP Dance Floor was recently released on the Incunabulum label. He is the caretaker of Evolving Ear and lives in Brooklyn, NY, USA.
Nate Wooley grew up in a fishing and lumber town in Oregon. He began playing trumpet professionally at age 13 with his father’s big band, but quickly began adding “outside” influences to his knowledge of jazz. After a brief and painful stint in Denver, Nate moved to Jersey City where he is in demand as a collaborator with such diverse improvisors/composers as Tony Malaby, Steve Beresford, Paul Lytton, Anthony Braxton, Wolf Eyes, Akron/Family, and David Grubbs. His own solo trumpet work has been described as “exquisitely hostile” by Massimo Ricci of Touching Extremes Magazine (Italy).