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Ypsmael is an electroacoustic improviser and performance artist currently based in Munich. He uses stompboxes and a blend of baritone guitars and other instruments, voice, amplified objects, DIY electronics, field recordings and no-input feedback to create hazy drone swells, noise washes, audio detritus and subtly unfolding textures. All sounds are generated and processed live.
Here’s Theatre Intangible episode 97: T.J. Borden and Steven Dunning artist showcase.
These two solo performances were recorded August 5th, 2012 for a show also featuring Ypsmael and Lawrence Crow. Episode 98 will feature those performances.
Buffalo, New York experimental cellist and composer T.J. Borden has worked with artists such as Tony Conrad, Steven Mackey, Jack Wright, Thomas Helton, Evan Lipson, and DJ Spooky. He’s also a member of Wooden Cities, a
Buffalo-based new music collective of musicians dedicated to performing the work of emerging and underrepresented composers.
Ypsmael live at A Day and a Night Festival, Cambridge. Photo by John Boursnell
If you still have some steam left after a killer weekend of shows, don’t miss this Sunday show at Noa Noa, featuring New York experimental cello player T.J. Borden. If you like the extended technique of double-bassist and T.I. participant Thomas Helton, then you’ll really dig T.J. At the end of the post, check out the just-published video (and when I say JUST, I mean in the last 5 minutes. I was the first viewer!) of T.J. performing with Steve Ricks and Christian Asplund at Locust Salon. One of the players appears to be bowing a cardboard box!
The dual headliner is Ypsmael, the mixed media project of Cambridge, UK-based German artist N. Ismael M. As his bio reads: “Ypsmael granularly unfurls delicate and atmospheric soundscapes, formed by clouded loop narratives and subtle build-ups of hazy drone swells. Slow-glowing pulses of audio detritus meld into chasms of warm, powdery noise washes and subdued vocals. Ypsmael studies ways to create and devise a personal vocabulary to this eclectic formula, focusing on the textural and cinematic properties of effects-treated vocal layering, field recordings and live instruments (e.g. baritone guitar, bass, piano, melodica, glockenspiel) as a main ingredient for in situ accidentalist composition. Recordings are usually made in one take; live performances are usually free improvisation.”