Deradoorian / Lea Bertucci
Sunday, October 27, 8pm
$20 General Admission
Ruba Club, 416 Green Street
Deradoorian – flutes, electronics
Lea Bertucci – alto saxophone, tape machines, electronics
Please join us for this very special drone-centric double-bill featuring Deradoorian and Lea Bertucci.
Some imitate the past, while others divine inspiration and transmit it elsewhere. Angel Deradoorian embodies the latter idea, synthesizing faint hints of Alice Coltrane and Can, Terry Riley and Dorothy Ashby. As the former bassist, keyboardist and vocalist for Dirty Projectors, Deradoorian’s levitating vocals memorably buoyed the Brooklyn-based group. Deradoorian has also been a member of Avey Tare’s Slasher Flicks, sang on Flying Lotus’ “Siren Song,” and collaborated with Vampire Weekend, Björk, Matmos, the Roots, and others. Her first song collection, 2009’s Mind Raft EP, elicited praise from Pitchfork for being “passionate and lovingly crafted.” The Fader hailed her “zen weed energy” and “moody dervish spirals.” Her debut LP, The Expanding Flower Planet reflected a remarkable creative journey, while her latest, the entrancing and seismic Eternal Recurrence, is a testament to an artist who found new depths both within herself and in her process through allowing herself to be driven entirely by instinct.
Lea Bertucci is a composer, performer and sound designer whose work describes relationships between acoustic phenomena and biological resonance. In addition to her instrumental practice with woodwind instruments, she often incorporates multi-channel speaker arrays, electroacoustic feedback, extended instrumental technique and tape collage. In recent years, her projects have expended toward site-responsive and site-specific sonic investigations of architecture. Deeply experimental, her work is unafraid to subvert musical expectation. Where her previous work investigated a variety of locations around the globe, her latest, Resonant Field, narrows her focus to one space in particular: the Marine A Grain Elevator at Silo City in Buffalo, New York. Bertucci’s goal was to excite and activate the massive, cavernous space, once active, noisy, loud, and filled with kinetic energy but now laying dormant as a silent, hulking concrete corpse.