Vampire Belt (Nace/Corsano)
Formed in 2002 in western Massachusetts, Vampire Belt is Bill Nace (Body/Head, x.o.4, Celyon Mange) on guitar & electronics and Chris Corsano (Rangda, Joe McPhee, Evan Parker) on drums & electronics. Early on, they self-released a couple of ultra-limited CDRs of lo-fi blow-outs, something like a mangled car wreck at the intersection of hardcore and free jazz. Tours followed and then, in the early/mid 00’s, Nace and Corsano phased partially out of Vampire Belt duo-mode in favor of collaborations with people like Jessica Rylan, Paul Flaherty, Steve Baczkowski, Okkyung Lee, Mats Gustafsson, Thurston Moore, Dredd Foole and Bill Orcutt. But in 2014 they made good on a 9 year-old promise to Ben “Six Organs of Admittance” Chasny to record a Vampire Belt album for his label. So now Unfit Structures, Vampire Belt’s first LP, is due out on Chasny’s Hermit Hut label in early November and it’s not such a far cry from their obliterating early CDRs: improvised high-energy outbursts with spontaneously-structured forms imploding just as soon as they begin to solidify.
Finkbeiner is Jason Finkbeiner, of Rochester New York’s long standing Psychedelic/Free/Noise/Dirt and Mental Collapse purveyors Pengo. Finkbeiner’s solo work is characterized by long format partially improvised anti-ragas, miserable mean old man folk excursions, and soaringly delusional instrumental passages…echoes of the masters of guitar soli, played through transplanted arthritic fingers on a guitar strung with the blighted blood stained wires of an executioners chair…um, and sometimes a swell 12 string…
The Slow Bell (Mike Weis)
The Slow Bell is a new project hatched out of the preparations for the recording of Mike’s third solo album. This quartet consists of Steve Dorocke on oud and lap steel, Kiku Hibuno on guitar and Leo Park on violin and myself on percussion and tapes. The piece that to be performed at Elastic is centered around the tones of various bells that were pre-recorded and slowed down as well as performed live. These tones establish an overwhelming atmosphere of restraint on behalf of the performers but eventually yields to a ritualistic groove of interlocking polyrhythms and frenetic textures. Only the blurry frame of a form is provided for the musicians so as to keep their responses improvised and elastic.
Mike Weis – The Temple Bell Stops (excerpt)
(Zachary Good, Ryan Packard and Lia Kohl) is a percussion/electronics, cello, and clarinet trio that focuses on consistency and stasis, and the nuances found within carefully crafted sonic textures and timbres. Their material is drawn from both free and structured improvisation, focusing on the balance point where their sound-worlds tangle and collide.