662 N. Heliotrope Dr
Los Angeles, California 90004


The hop-frog kollectiv presents:

Kraig Grady


& Daylight Bats

DUNG MUMMY @ il corral

Saturday, January 20th, 2007 @ 9:30PM - $5 suggested donation
664 no. heliotrope dr (just south of melrose ), los angeles , ca 90004 562-209-0896

Daylight Bats - BIO

Daylight Bats is the collaboration of three LA-based guitar players Jeremy Morelock and Denise Owens of the hop-frog kollectiv and Crispin Brooks, England native and scholar of the Russian language and Holocaust studies. The ground rules are set at acoustic guitars only to produce percussive, minimalist guitar pieces influenced by Russian Futurist composers and Balinese gamelan forms.

BIO - KRAIG GRADY has presented his work at the Norton Simon Museum of Art, the UCLA Armand Hammer Museum, the Pacific Asia Museum, the Chateau de la Napoule - France, California Institute of the Arts, Pomona College, Pierce College, Villa Aurora Foundation for European American Relations, the Schindler House, Beyond Baroque, the Brand Library, New Langton Arts, as well as numerous live performances on KPFK, KCRW, and KXLU. His work was also presented as part of the LA Philharmonic' s American Music Weekend as well as New Music America . He has been nominated 4 times for the L. A. WEEKLY Music Award best uncategorizable artist and was chosen by BUZZ Magazine as one of the 100 coolest persons in Los Angeles .

Born in Montebello , Ca. While still in his teens, he realized he had an overwhelming urge to be a composer. After studies with Nickolas Slonimsky, Dean Drumond, Dorrance Stalvey (all briefly) and Byong-Kon Kim (longer) he produced his earliest compositions. Since meeting Erv Wilson in 1975, he has composed and performed in alternative tunings of Wilson 's. In the 80's Kraig Grady (along with Keith Barefoot) became one of the first to revive the combination of live music with silent film. He was responsible for the films as well as the music. In 1990 with the opera "War and Pieces" film retreated to a background for live performers. Soon afterwards was his first exposure to the music of Anaphoria Island where he took up residence, on and off, for a period of three years. On his return he found himself being asked to act as a liaison between Anaphoria and North America . In this role he has produced numerous solo and ensemble works and nine shadow plays; TEN BLACK EYE I & II, BLACK EYE MERU, HER STIRRING STONE, THEIR VENTURES BEYOND THE HORIZONS, THE STOLEN STARS, FRENZY AT THE ROYAL THRESHOLD, THE QUIET EROW, and THE PILGRIMAGE OF MIRRORS.

MLuM is a Long Beach based conceptual pop and performance art ensemble which, previous to the release of its Innocent Boys CD, collaborated on the creation and performance of a rant and croon cycle entitled Risk Cantata; provided incidental music and a sound installation for the rock musical, Generator Girl; created intermezzi and soundscapes for an experimental staging of Gian Carlo Menotti’s opera The Medium and authored and composed, as well as staged, Ego, a popera electronica & burlesque, commissioned by the University of Redlands. MLuM has been featured in experimental music concerts and sound art events throughout Southern California , in addition to having crashed select karaoke nights at local bowling alleys in order to deliver hair-raising performances of what it calls hara-kirioke (a fusion of karaoke, Japanese No drama and “theater of cruelty”) to stunned, not to mention, annoyed trailer courtiers. With an aesthetic that can best be described as Weltradau (World Noise), MLuM takes and makes the best out of the worst and the worst out of the best that music and sound have to offer. Organic processes, Balinese gamelan, ethnoise and sound mauls (as opposed to mere sound bites) are counted among its greatest inspirations and sources. MLuM has been a featured artist on National Public Radio programs throughout the country.

(Michael Raco- Rands < = > MLuM < = > Marco Schindelmann)

(Katherine Pearson < = > MLuMettes < = > Katrina Phipps)

(Snezana Petrovic < = > cineMaLuM < = > Vid Petrovic)

Scary Culture (Guest artist) represents that which best exemplifies a tradition of crypto-experimental ism as found in the Inland Empire . (Scary Culture = Angie Jelliffe, Marco Schindelmann, David Tohir, Scott Vance). Soloists will be performing on instruments (described below) indigenous to Inlandia.

The Backbone was created in 1988 by David Tohir and Scott Vance. It consists of a bucket mute containing a loudspeaker attached to and facing the bell of a trombone. An input transducer (microphone) is placed in a hole drilled into the mouthpiece thus forming a variable feedback chamber. Changing the position of the slide and/or blowing into the instrument will shift its resonances. Also, electronically resonant circuits are used in the feedback loop. The high sound pressure levels present within the instrument may cause it to play the player as much as the player plays the instrument.

The Urinal Cathara (2003) was created by Scott Vance for the production of the popera electronica Ego (MLuM). Based upon Duchamp’s Fountain, it consists of an American Standard vessel upon which are attached seven strings. The strings are tuned in an ascending pattern from the lowest pitch in the middle to the highest pitches on the outside. This is similar to the African mbira (thumb piano). The strings flare outwardly from the top to accommodate a variety of playing techniques. The Cathara is sounded by plucking, strumming, brushing, sliding, exciting with an outside magnetic field (e-bowing), or through good old-fashion feedback with the use of electronically resonant circuitry (honeytoning) . The whammy bar was added for additional expressive possibilities

Official Website: http://ilcorral.net/

Added by kiracle on January 9, 2007

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