20 giugno 2021


Due volte Rova dal vivo in streaming venerdì scorso e questa sera a sostegno del Center for New Music di San Francisco, in tempi ancora assai difficili per le attività artistiche e musicali in presenza: Rova On The Air, con diversi brani nuovi e alcune anticipazioni del prossimo album atteso a settembre su ESP-Disk.

The Center for New Music was founded in 2012, and is a 501(c)(3) not-for-profit corporation. It fosters contemporary music’s growth by giving practicing artists access to professional resources and expertise, and by providing them with opportunities for sharing knowledge and exploring new ideas. The Center serves the practitioners of creative, non-commercial music by providing the resources they need, including space to work, rehearse, and perform, access to a like-minded community, and access to media resources. Through these services, the Center seeks to support and build the community of new music to encourage its efficiency, growth, integration, and excellence.

The Center acts as a steward for our community, including but not limited to composers, performers, producers, presenters, teachers, students, listeners, scholars, advocates, engineers, curators, collaborators, critics, and organizers. By valuing diversity and inclusion, fair treatment of members, fair payment of participating artists, and advocacy for the growth and integration of our community, the Center will provide a platform for communication, collaboration, outreach, program development, incubation of new artists, engagement of new listeners, and increased activity for the business of new music.

The Center was conceived in 2011 by composer-performers Adam Fong and Brent Miller. Through their experience as both artists and administrators in the Bay Area new music scene, and resulting from a thorough community needs assessment, they designed a plan to provide a flexible space for new music: during the day the Center functions as an administrative and research hub, a space to work, meet, learn, and rehearse; in the evenings it hosts workshops and affordably-priced concerts of innovative music.

In October of 2012, the Center for New Music San Francisco signed a lease on the ground level retail space at 55 Taylor Street. Located one-half block from a bustling and rapidly changing Market Street corridor, this site is comprised of 4,400 square feet, with a main gallery space that can accommodate performing ensembles solo to quintet, and room for up to 100 audience members. While pursuing non-profit status, the Center was fiscally sponsored by Rova:Arts.


19 giugno 2021

L'ultimo concerto dal vivo dei Pere Ubu prima della sospensione causata ovunque dalla pandemia fu a Madrid il 16 gennaio dell'anno scorso, all'Auditorio de Conde Duque. In scaletta l'album The Long Goodbye, in formazione David Thomas, Keith Moliné, Gagarin e Chris Cutler. Quel concerto - finora documentato in piccolissima parte su YT - è ora disponibile ufficialmente e per intero via Bandcamp: Conde Duque - The Long Goodbye 16​.​01​.​2020.

The last gig Pere Ubu played before the pandemic caused a lockdown in 2020. The gig was played at the Conde Duque in Madrid as part of the 'Suena Conde Duque' series of shows. The previous night, there was a masterclass with local musicians, run by Chris Cutler and David Thomas. The set features the 2019 album The Long Goodbye in its entirety. Those in possession of the CD format of that album can compare how the show advanced from its first outing, with the 'Montreal' bonus disc included in that package. The show was vibrant and features the songs undergoing variations from the studio recording, thanks to the tendency of this band line-up to enjoy curve balling some improvisations into the mix.


18 giugno 2021


Due nuove affascinanti collezioni di musiche create ai sintetizzatori digitali e analogici dal prodigioso Allen Ravenstine, radunate in unico album in vinile o in doppio cd: Electron Music e Shore Leave. Inaugurano la serie Tyranny of Fiction, per Waveshaper Media.

Electron Music/Shore Leave brings together ten of the prodigious composer’s most recent lyrical and abstract compositions collectively comprised of the sounds of analogue and digital synthesizers, traditional acoustic instruments and the sampled sounds of birds, dogs and other artifacts of nature. Working prodigiously on a daily basis, over the past two years Ravenstine has amassed a large number of atmospheric recordings that he has intuitively aggregated into groups of five pieces each. The first five recordings, subtitled Electron Music, are found on Side A of this LP while the second five, Shore Leave, comprise Side B.

Ravenstine played the majority of the sampled instruments on these recordings as well as piano, Moog theremin, a Roland Aerophone and a bevy of synthesizers including a Korg MS20, EML 200, and a Doepfer Dark Energy. Recording virtually over the internet due to the covid pandemic, collaborators from around the world contributed Ondes Martenot, prepared piano, transverse flute, trumpet, saxophone, double bass and percussion. The result is a heady, disparate brew of compositions that range from abstract to lyrical, in the process conjuring up a bricolage of ambient soundtracks, jazzy miniatures, space age exploration, world music, Erik Satie-like studies and the ghost of Harry Partch. As a collection Electron Music/Shore Leave is a stunningly mature work that provides new and surprising sonic rewards with each and every listen.