As music access today is dominated by streaming formats mediated by industry distributors and algorithm curation, Ebbing Sounds is a three-day interdisciplinary symposium and concert series investigating new ways of music production, listening, and critique.
For the opening night event, Gray Area in San Francisco will host a keynote speech from Eric Harvey (Pitchfork) followed by performances from Swiss musicians S S S S and Bonaventure.
Ebbing Sounds is organized by zweikommasieben in cooperation with marcella faustini, DeForrest Brown Jr. and swissnex San Francisco. It is kindly supported by Pro Helvetia Schweizer Kulturstiftung, Consulate General of Canada, FONDATION SUISA, Goethe-Institut San Francisco and the Cultural Services of the French Embassy in the United States.
8:30pm — welcome note
9:00pm — Keynote speech: Eric Harvey [US; Pitchfork, Grand Valley State University]
10:00pm — Live-set: S S S S [CH; aufnahme + wiedergabe, Hallow Ground]
11:00pm — Live-set: Bonaventure [CH; PTP, NON Worldwide]
Eric Harvey’s scholarship and reporting focus on the transformations of musical commerce and practice through the use of digital technologies. Eric has written and reported for The New Yorker, Rolling Stone, The Atlantic, The New Republic, The LA Review of Books, Buzzfeed, MTV.com and The Village Voice, among other publications. He has served as a commentator on music and technology for NPR’s All Things Considered and other programs.
Bonaventure is Soraya Lutangu’s nom de guerre. She uses music as an identity research tool along with practical and speculative initiatives to connect her African and European roots and investigate human relationships. Under her alias, she has been developing sonic weaponry designed to confront oppressive power structures, and to tell the story of violence, indifference and abuse fueled by racism. With Complexion — released on NON Worldwide — marking the prelude to her protest, which was fully expressed on Free Lutangu (released via PTP). A regular on Berlin Community Radio, Bonaventure has also made herself at home for several hours on London’s NTS.
|S S S S
As a monicker, S S S S is an exercise in difference and repetition, reducing Swiss producer Samuel Savenberg’s name to a string of basic elements — all equal and different. Repetition as a mean of conceptual transport and physical transformation is integral to all forms of expression that aim for a wider understanding of reality within the realm perception, as it is to the reproductive process of knowledge itself. With “Just Dead Stars For Dead Eyes,” Savenberg dismissed his usual technoid-industrial uniform and traded it for a dense assembly of droning ghosts, drifting rhythmic drills, disintegrated field recordings and faraway resonant harmonics.