November 16, 2023
8:00pm doors / 8:30pm show
Tickets $24 (discounted or free for members)
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Laurel Halo is a composer, producer, musician and DJ based in Los Angeles. Drawing inspiration from a range of musical traditions, her output is singular yet stylistically diverse, with releases traversing ambient, leftfield club, experimental pop and film score. Since 2012 she has released a number of critically-acclaimed albums including Quarantine (2012, Hyperdub), In Situ (2015, Honest Jon's), Raw Silk Uncut Wood (2018, Latency), and Possessed: OST (2020, Vinyl Factory). She has performed in venues, festivals, clubs and institutions across the world, including the Southbank Centre, Sydney Opera House, The Kitchen, Kölner Philharmonie, CTM/Transmediale, Sónar, and Montreux Jazz Festival. She has collaborated with musicians, artists and fashion designers including Moritz von Oswald, Metahaven, Kevin Beasley, Julia Holter, Hanne Lippard, Eckhaus Latta, Martine Syms, John Cale, and the London Contemporary Orchestra. In September 2023 she will release her latest album, Atlas, as the debut release on her new record label, Awe.
Joel St. Julien is a Haitian-American composer and sound artist based in San Francisco. Joel has written music for documentaries, short / feature films, podcasts, and dance. He is a firm believer in experimentation/fusion with acoustic and electronic elements in sound oscillating through escapism and the mysticism of the present tense. Joel has shared music at Yerba Buena Center for the Arts, the San Francisco Electronic Music Festival, Stanford University’s CCRMA, Gray Area, CounterPulse Festival, Land and Sea Gallery, and Spectrum NYC. His music has also been featured and reviewed in Resident Advisor, The Wire, Disquiet, KQED, Foxy Digitalis, a closer listen, Dublab, and many more. Joel’s most recent album, Masking, was released on Dragon’s Eye Recordings.
Leila Bordreuil is a Brooklyn-based cellist, composer and sound-artist from France. She accesses concepts as diverse as Noise, contemporary classical, free jazz, and experimental traditions but adheres to none of them. Her music mixes deep melancholia with harsh noise-walls at ear-bleeding levels, and was described by the New York Times as “steadily scathing music, favoring long and corrosive atonalities”. Her compositions frequently incorporate sound-spatialization by way of site-specific pieces and multichannel installations, and focus on neurological perception and our physiological relationship to sound and space.