FLYDLPHN
Photograph: SinYu Deng
Austin Gray Williams
Keefe Jackson
Photograph: Ricardo Adame
FLYDLPHN is a mixed chamber ensemble that advocates for collaborative, unrestrictive play, making extensive use of electro-acoustic, multimedia, and improvised performance. Chicago-based composer and sound designer Austin Gray Williams uses both traditional and exploratory compositional techniques with a generally maximal approach.
Keefe Jackson / Molly Jones / Mai Sugimoto: Three woodwind artists, three Chicago stalwarts, three vocal approaches. Structural situations by Keefe Jackson and songs by all three. Repetition, romanticism, and longueur are among the touchstones. Poised expressions and vibrating incantations, living on the edge.
8:30 Jackson Jones Sugimoto
9:30 FLYDLPHN
$15 / $10 w/ Student ID - Tickets Available at the Door
About the artists
Based in Detroit/Ypsilanti, FLYDLPHN is a mixed chamber ensemble that advocates for composers by empowering collaborative, unrestrictive play. FLYDLPHN cultivates a distinctive panoramic soundscape making extensive use of electro-acoustic, multimedia, and improvised performance. We desire to build a community that empowers the sharing of art from early-career composers and underrepresented voices, and we do so with our various productions in compelling spaces throughout the year. Ultimately we are a collective of friends who are excited to create together. When given one chance to breach the surface of the cosmic soup, we are grateful to be the dolphin in midair showing our best trick to the world.
FLYDLPHN is flutist Lexi Eubanks, clarinetist Oliver Bishop, bassoonist Bryce Richardson, bassist Emani Barber, and percussionists Olivia Cirisan and Ancel Fitzgerald Neeley.
Breaching into interdisciplinary practices and a wide variety of collaborations, Chicago based composer and sound designer Austin Gray Williams uses both traditional and exploratory compositional techniques and trends to create art at his highest level. Having a deep understanding of music technology and common practice techniques has enabled Austin to create worlds of sound that bridge natural acoustic settings and unconventional electroacoustic phenomena. By incorporating electronics and acoustic techniques there is a generally maximal approach to most works. Throwing paint against the wall, seeing what sticks, throwing more paint, seeing what sticks again. Explorations and a fervent attitude towards learning are key aspects to Williams’ process and desire towards elevated artistic output.