As of this writing, The Lab has prepared six concerts for next month. As was the case for this month, there will be a departure from the usual weekend events with performances on Thursday. Nevertheless, next month will not be quite as busy as this one turned out to be.
As (hopefully) many (most?) readers will know by now, The Lab is located in the Mission at 2948 16th Street. This is particularly convenient for those using public transportation, since it is a short walk to the corner of 16th Street and Mission Street. Busses stop at that corner for both north-south and east-west travel, and downstairs there is a station for the BART line running under Mission Street. As was the case last month, there will be five performances in March. Doors open half an hour in advance of the performance; and specific information for each event, including a hyperlink to the Web page that provides both background material and hyperlinks for ticket purchases, is as follows:
Saturday, March 1. 8 p.m.: In conjunction with cloaca projects, The Lab will present the next installment in its arcane transmission series. MATERIAL will be a performance by Alex Tatarsky with live music performed by Shane Riley. This program was originally commissioned by the Whitney Museum in New York; and it will include “rant-songs, associative monologs, and possible visits from an unpleasant birthday clown and a cat in heat: unashamed to scream and writhe all day long.”
Saturday, March 15, 8:30 p.m.: The program will present a solo performance by sound artist Chihei Hatakeyama. He works primarily with drone projects involving modular synthesizer and electric guitar. There will be a second set taken by Billy Gomberg; but, as of this writing, no information about his performance has been released.
Thursday, March 20, 8:30 p.m.: British cellist and composer Lucy Railton will be the visiting artist. Her performance will draw upon music from Corner Dancer, an album recently released by Modern Love. She works with a wide variety of resources, including cello and antiquated string instruments, analog and digital synthesizers, drum machines, and voice. Her approaches to performance explore alternate tuning systems, psychoacoustic phenomena, and timbral control. The other set will be taken by Amma Ateria. According to my archives, she has not surfaced on this site since September of 2022, when she contributed to the twentieth anniversary of the San Francisco Electronic Music Festival. She will perform The Entropic Arias: I. Neurogenesis, which was developed while recovering from a concussion.
The Phipps Pt. duo of Jon Leidecker and Lovage Sharrock (from their event page for The Lab)
Friday, March 21, 8:30 p.m.: This program will involve another visit from the United Kingdom. Still House Plants is the trio of Jess Hickie-Kallenbach, Finlay Clark, and David Kennedy, performing on guitar, drums and vocals, respectively. They describe their repertoire as “fractious and sharp music with a melting pop heart.” They will share the program with Phipps Pt., which is the sound project of Lovage Sharrock. Her performance involves “fragile vocals” with guitar accompaniment. In addition, electronic accompaniment will be provided Jon Leidecker (who may be better known to at least some readers as Wobbly).
Saturday, March 22, 8:30 p.m.: The next visit to The Lab will be from Spain. Tarta Relena is a duo of Catalan vocalists, who will be making their San Francisco debut. Their a cappella performance draws upon a repertoire that goes from traditional music to original songs that are related to their geographical area of the Mediterranean. The other set will be a duo performance by Sholeh Asgary and Leila Abdul-Rauf. The latter is a composer and multi-instrumentalist, while the former works with electronics.
Thursday, March 27, 8:30 p.m.: MSHR was founded by Brenna Murphy and Birch Cooper in 2011 in Portland, Oregon. It is an art collective that collaboratively builds and explores sculptural electronic systems. Their performances and installations integrate electrical signals and human presence, weaving dense networks of causality to form audiovisual environments that “babble with life-like current.” They will share the program with Shatter Pattern (previously known as Waxy Tomb). The objective of their performances is to “break down and stretch our sensory expectations of what a human song can be.”
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