Performance + Summer Beer Garden » Matmos and Special Guests
Saturday, June 28, 2014
6 pm » Beer Garden (free admission)
8 pm » Performance (tickets required)
Free admission for SFAI students | $10 public
San Francisco Art Institute
800 Chestnut Street
Matmos is M. C. Schmidt and Drew Daniel, aided and abetted by many others. Since the mid-1990s, Matmos has been at the forefront of the electronic music and sound art communities and is celebrated for their inventive use of found and unexpected sound sources. Marrying object-based musique concrète with electronic pop music, Matmos is internationally known for their densely allusive and emotive compositions. Their most recent album, The Marriage of True Minds, was released in 2013 by Thrill Jockey Records.
The Matmos performance will open with new video works by Matmos collaborator and SFAI alumnus (BFA, 2006) Nate Boyce.
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Matmos is M. C. Schmidt and Drew Daniel, aided and abetted by many others. Currently based in Baltimore, the duo formed in San Francisco in the mid 1990s. Since that time, Matmos has been at the forefront of the progressive electronic music and sound art communities and is celebrated for their inventive use of found and unexpected sound sources, and the cultural implications of their music. Marrying the conceptual tactics and noisy textures of object-based musique concrète to a rhythmic matrix rooted in electronic pop music, Matmos is internationally known for their transformation of unusual sound sources: amplified crayfish nerve tissue, the pages of bibles turning, water hitting copper plates, liposuction surgery, cameras and VCRs, chin-implant surgery, contact microphones on human hair, rat cages, tanks of helium, a cow uterus, human skulls, snails, cigarettes, cards shuffling, laser eye surgery, whoopee cushions, balloons, latex fetish clothing, rhinestones, Polish trains, insects, life-support systems, inflatable blankets, rock salt, solid gold coins, the sound of a frozen stream thawing in the sun, a five gallon bucket of oatmeal. These raw materials are manipulated into surprisingly accessible forms, and often supplemented by traditional musical instruments played by them and their large circle of friends and collaborators. The result is a model of electronic composition as a relational network that connects sources and outcomes together; information about the process of creation activates the listening experience, providing the listener with entry points into sometimes densely allusive, baroque recordings.
Since their debut, Matmos has released over eight albums, including: Quasi-Objects (1998), The West (1998), A Chance to Cut Is a Chance to Cure (2001), The Civil War (2003), The Rose Has Teeth in the Mouth of a Beast (2006), and Supreme Balloon (2008). In 2001, they collaborated with Icelandic singer Björk on her album Vespertine, and subsequently embarked on two world tours as part of her band. In addition to musical collaborations with Antony, So Percussion, David Tibet, Rachel’s, Lesser, Wobbly, Zeena Parkins, and the Princeton Laptop Orchestra, Matmos have also collaborated with a wide range of artists across disciplines, from the visual artist Daria Martin (on the soundtrack to her film Minotaur) to the playwright Young Jean Lee (for her play The Appeal) to Berlin-based choreographer Ayman Harper. Most recently, they have been part of the ensemble for the Robert Wilson production The Life and Death of Marina Abramovic, featuring Marina Abramovic, Antony and Willem Dafoe. Their most recent album, The Marriage of True Minds, was released in 2013 by Thrill Jockey Records.
Beer Garden Host: Fort Point Beer Company
Fort Point Beer Company was founded in 2014 by brothers Tyler and Justin Catalana. The brewery resides in a historic Presidio building that was formerly used as an army motor pool. Building on the success of their five-year old restaurant Mill Valley Beerworks, they established Fort Point to experiment with a new spin on traditional craft beer varieties like a San Francisco-style IPA, a Kölsch-style ale, and a hoppy wheat beer.
Photographed by James Thomas Marsh