Annie Gosfield and Roger Kleier performed on 18 July, 2014, at NoD as part of the 2014 vs. Interpretation Festival.
, whom the BBC has described as a “one-woman Hadron collider, the queen of the detuned industrial noise,” works on the boundary between notated and improvised music and electronic and acoustic sounds. She was a 2012 fellow at the American Academy in Berlin and a recent recipient of the Foundation for Contemporary Arts’ “Grants to Artists” award. Gosfield’s “Almost Truths and Open Deceptions” features a piece for piano and a broken shortwave radio and music inspired by baseball and warped 78s. Her music has been performed worldwide at Warsaw Autumn, Bang on a Can, MATA, MaerzMusik, Venice Biennale, and Lincoln Center. Recent work includes compositions inspired by factory environments, jammed WWII radio signals, and her grandparents’ immigrant experiences. Gosfield has released four albums, and she writes on the compositional process for the New York Times series The Score. She held the Darius Milhaud Chair in Composition at Mills College and has taught at Princeton and California Institute of the Arts.
Gosfield’s recent composition Electric Sweepers and Vacuum Creepers was created at the request of the Hoover Company, who learned of her work from the musican John Zorn, and received a glowing review from The New York Times. “Ms. Gosfield’s choice of sounds—which [on the occasion of her recent performance] also included radio static, the signals transmitted by the Soviet satellite Sputnik I, and recordings of Hurricane Sandy—are never a mere gimmick,” the Times wrote. “Her extraordinary command of texture and timbre means that whether she is working with a solo cello or with the ensemble she calls her ’21st-century avant noisy dream band,’ she is able to conjure up a palette of saturated and heady hues.”
is a composer, guitarist, and improviser who began playing electric guitar at age thirteen after discovering Captain Beefheart and Jimi Hendrix on the radio airwaves of Los Angeles. He studied composition at North Texas State University and the University of Southern California and has developed a unique style that draws equally from improvisation, contemporary classical music, and the American guitar traditions of blues, jazz, and rock. Much of his compositional work involves the development of a broader vocabulary for the electric guitar through the use of extended techniques and digital sound manipulation. He has also composed new works for soloists and chamber groups. Roger describes his approach to composing: “Having grown up in Los Angeles, I’ve always had an attraction to noir ambience. My music has often been inspired by the dark and hidden experiences of life, such as urban chaos, cold and icy winters, empty alleyways, deserted subway tunnels, dank Los Angeles River aqueducts, and even an occasional quiet pool of sinister beauty.”
Kleier has collaborated with Annie Gosﬁeld, Carl Stone, Marc Ribot, Elliott Sharp, Fred Frith, Chris Cutler, Joan Jeanrenaud, David Moss, Laurie Anderson, Phill Niblock, John Zorn, Ikue Mori, David Krakauer, Brian Chase, Billy Martin, Stan Ridgway, and many others. With various ensembles Roger has toured extensively throughout the United States, Canada, Europe, and Australia. His discography includes CDs on the Tzadik, CRI, Intakt, Atavistic, Wergo, ReR Megacorp, EMF, and Geffen labels. His three solo CDs are “KlangenBang”, released on the Rift label, “Deep Night, Deep Autumn” released by the Starkland label, and “The Night Has Many Hours” on the Innova label.