Re:Sound Vibration
Come join us on Mare Island in Building 34 for an afternoon of sound, vision, and space with three performances by visiting artists.
CGRSM (Los Angeles)
Tatsuya Nakatani (New Mexico)
Sult (Norway & Oakland)
Doors are at 3:30 and show starts at 4:00 pm
1024 Nimitz Building 34
Vallejo CA, 94592
Coordinates: 38.098466,-122.2694642
Tickets $15 - $20 donation
Please bring a chair or blanket to sit on.
Food and drink are available at Mare Island Coal Shed a half mile up the waterfront
There is a distillery with food service right across Building 34.
We are saddened to announce that due to an illness and bereavement CGRSM will not be able to play. Re:Sound and the community are sending high vibrations of love to them.
CGRSM to is an initialism that stands for the Los Angeles duo of artists Christopher Reid Martin (Rotary ECT) and Gabie Strong. Known for playing amplified long-form guitar work, their live performance explores the creation of sound as a noisy reflection on being. Both artists have extensive exhibition and performance records, as well as releases on Crystalline Morphologies, Dragon's Eye Recordings, Via Injection, and The Tapeworm.
Tatsuya Nakatani is an avant-garde percussionist, composer, and artist of sound. Active internationally since the 1990s, Nakatani has released over 80 recordings and tours extensively, performing over 150 concerts a year. His primary focus is his solo work and his large ensemble project, the Nakatani Gong Orchestra. He teaches master classes and lectures at universities and music conservatories around the world. Originally from Japan, he makes his home in the desert town of Truth or Consequences, New Mexico. With his activity in new music, improvisation, and experimental music, Nakatani has a long history of collaboration. Nakatani's distinctive music centered around his adapted bowed gong, supported by an array of drums, cymbals, and singing bowls. In consort with his personally hand-carved Kobo Bows, he has spent decades refining and developing his sound as an arrangement of formations of vibrations, incorporated in shimmering layers of silence and texture. Within this contemporary work, one can still recognize the dramatic pacing, formal elegance and space (ma) felt in traditional Japanese music.
Sult explores the hidden sounds of acoustic instruments (guitar, contrabass, percussion), magnifying them with microphones so the audience can join them inside their silent cacophony. Subtle harmonics become saws cutting through metal, and creaking wooden bodies become sinking ships. Their expression is primitive and raw, but while their playing embraces chaos, it is matched with discipline and a 15-year history of collaboration. The group sounds as one, with the gestalt of simultaneous layers taking primacy over any solo expression. The equality of the voices, however, invites the listener to focus on threads of their own choosing and make their own discoveries.