A Night of Noise
KVRMX and The Helen Scarsdale Agency present: A Night of Noise*
◽Shin Chida (Tokyo)
◽Jim Haynes (Nevada City)
◽S*Glass (San Francisco)
◽Angst Hase Pfeffer Nase (San Francisco)
Saturday, June 28, 2025
doors 7:30pm. Noise begins at 8:00pm sharp.
The Unchurch: 220 Bresee, Grass Valley
$10 - $20
https://kvmrx.org/event/night-of-noise/
ABOUT THE EVENT:
Shin Chida (Tokyo) – Japanese experimental musician Shin Chida’s current work has shifted away from his early efforts at tape manipulation to a more obscure sound influenced by 2000s Michigan noise. Using tape delays, contact mics, synthesizer and concrete sound sources, initial experiments under the name Burried Machine were self-released in 2008 on his label, Rockatansky Records, with releases on Lust Vessel and Throne Heap following. Since then, he’s continued to perform live based in Tokyo. Rockatansky’s catalog includes releases by Grim, Nate Young, Wolf Eyes, and Aaron Dilloway.
rockatanskyrecords.bandcamp.com
Jim Haynes (Nevada City) – For decades, Jim Haynes has been a stalwart of the Northern California noise scene, with his corrosive approach to noise and damaged electro-acoustics, through a recombinant crucible of shortwave radio, convulsive motors, EMF disturbances, and electronics in variable states of disrepair. His work has been published by Editions Mego, White Centipede Noise, The Tapeworm, Sige Records, as well as his own imprint The Helen Scarsdale Agency, amongst many others. He is also a DJ on KVMRX, broadcasting as The Occupant for the Tuesday drive-time noise show, From The Institute Of Horology.
helenscarsdale.com
S*Glass (San Francisco) – The electro-acoustic sound collages by S*Glass combine tape music, electronic processing, voice, found sound, and chance operations. Non-musical objects are sometimes incorporated (dental floss, aluminum foil, wind-up toys, metal lunch box, cabbage). The overall effect is one of surreal disorientation. With releases on Siltbreeze, Chocolate Monk, and Minimum Table Stacks, S*Glass is a founder of Bren’t Lewiis Ensemble (a large non-musical music group begun in the early 1980s), and Glands of External Secretion (a duo with Barbara Manning since the early ’90s). From the late ’80s until 2004, he was the main driver behind Bananafish. Record labels he has helmed include Butte County Free Music Society, Starlight Furniture Co., l’Esprit de l’Escalier, and Freakdom.
glandsofexternalsecretion.com
sglass.bandcamp.com/album/cesspool-of-the-angels
Angst Hase Pfeffer Nase (San Francisco) – Chris Cooper aka Angst Hase Pfeffer Nase has been at it since the 1990s ‑—bassist in psychedelic collective Caroliner, warm body with noise-rock performance artists Fat Worm of Error, founding member of improvising ensemble The BSC. As a solo artist (and a duo with Jess Goddard), his prepared guitar-playing “moves from tight, rhythmically frenetic passages to sparse, sonar transmissions, introducing a pulsing section of low-frequency oscillation, then slipping into a series of filigrees. There are door buzzers, chiming percussive effects like a miniature gamelan, drum machine mutations and much more. His completely improvised sets are controlled splatters of sound.” Glistening Examples, Ultra Eczema, and Menlo Park have released fine examples of his often jaw-dropping work.
glisteningexamples.bandcamp.com/album/bidden
*Noise has been an active, if widely misunderstood, aesthetic and conceptual language for well over a century dating back to Luigi Russolo’s Futurist manifesto The Art of Noises from 1913. Since then, countless artists, musicians, and non-musicians have engaged with noise in ways that may include but are not limited to the shattering of punk, post-punk, industrial culture devoid of 3-chord riffs and/or jackbooted rhythm, to the splattered home recordings of psychedelically minded musique concrete, to the field recordists who document nothing but bulldozers and bees, to a feral freeform expressivity without the rules that define jazz or even free jazz, to the extreme frequencies and willful provocation that keep institutional funding at a distance, to a network of likeminded misfits and miscreants whose international network of cultural exchange operates well outside mainstream channels.
#communityradio #publicmedia #localradio #localmusic #diymusic #noise #noisemusic #nevadacounty #nevadacity #grassvalley #kvmrx #kvmr
◽Shin Chida (Tokyo)
◽Jim Haynes (Nevada City)
◽S*Glass (San Francisco)
◽Angst Hase Pfeffer Nase (San Francisco)
Saturday, June 28, 2025
doors 7:30pm. Noise begins at 8:00pm sharp.
The Unchurch: 220 Bresee, Grass Valley
$10 - $20
https://kvmrx.org/event/night-of-noise/
ABOUT THE EVENT:
Shin Chida (Tokyo) – Japanese experimental musician Shin Chida’s current work has shifted away from his early efforts at tape manipulation to a more obscure sound influenced by 2000s Michigan noise. Using tape delays, contact mics, synthesizer and concrete sound sources, initial experiments under the name Burried Machine were self-released in 2008 on his label, Rockatansky Records, with releases on Lust Vessel and Throne Heap following. Since then, he’s continued to perform live based in Tokyo. Rockatansky’s catalog includes releases by Grim, Nate Young, Wolf Eyes, and Aaron Dilloway.
rockatanskyrecords.bandcamp.com
Jim Haynes (Nevada City) – For decades, Jim Haynes has been a stalwart of the Northern California noise scene, with his corrosive approach to noise and damaged electro-acoustics, through a recombinant crucible of shortwave radio, convulsive motors, EMF disturbances, and electronics in variable states of disrepair. His work has been published by Editions Mego, White Centipede Noise, The Tapeworm, Sige Records, as well as his own imprint The Helen Scarsdale Agency, amongst many others. He is also a DJ on KVMRX, broadcasting as The Occupant for the Tuesday drive-time noise show, From The Institute Of Horology.
helenscarsdale.com
S*Glass (San Francisco) – The electro-acoustic sound collages by S*Glass combine tape music, electronic processing, voice, found sound, and chance operations. Non-musical objects are sometimes incorporated (dental floss, aluminum foil, wind-up toys, metal lunch box, cabbage). The overall effect is one of surreal disorientation. With releases on Siltbreeze, Chocolate Monk, and Minimum Table Stacks, S*Glass is a founder of Bren’t Lewiis Ensemble (a large non-musical music group begun in the early 1980s), and Glands of External Secretion (a duo with Barbara Manning since the early ’90s). From the late ’80s until 2004, he was the main driver behind Bananafish. Record labels he has helmed include Butte County Free Music Society, Starlight Furniture Co., l’Esprit de l’Escalier, and Freakdom.
glandsofexternalsecretion.com
sglass.bandcamp.com/album/cesspool-of-the-angels
Angst Hase Pfeffer Nase (San Francisco) – Chris Cooper aka Angst Hase Pfeffer Nase has been at it since the 1990s ‑—bassist in psychedelic collective Caroliner, warm body with noise-rock performance artists Fat Worm of Error, founding member of improvising ensemble The BSC. As a solo artist (and a duo with Jess Goddard), his prepared guitar-playing “moves from tight, rhythmically frenetic passages to sparse, sonar transmissions, introducing a pulsing section of low-frequency oscillation, then slipping into a series of filigrees. There are door buzzers, chiming percussive effects like a miniature gamelan, drum machine mutations and much more. His completely improvised sets are controlled splatters of sound.” Glistening Examples, Ultra Eczema, and Menlo Park have released fine examples of his often jaw-dropping work.
glisteningexamples.bandcamp.com/album/bidden
*Noise has been an active, if widely misunderstood, aesthetic and conceptual language for well over a century dating back to Luigi Russolo’s Futurist manifesto The Art of Noises from 1913. Since then, countless artists, musicians, and non-musicians have engaged with noise in ways that may include but are not limited to the shattering of punk, post-punk, industrial culture devoid of 3-chord riffs and/or jackbooted rhythm, to the splattered home recordings of psychedelically minded musique concrete, to the field recordists who document nothing but bulldozers and bees, to a feral freeform expressivity without the rules that define jazz or even free jazz, to the extreme frequencies and willful provocation that keep institutional funding at a distance, to a network of likeminded misfits and miscreants whose international network of cultural exchange operates well outside mainstream channels.
#communityradio #publicmedia #localradio #localmusic #diymusic #noise #noisemusic #nevadacounty #nevadacity #grassvalley #kvmrx #kvmr