Bang on a Can All-Stars: Field Recordings

Upon parking on Georgia Tech’s campus, I was greeted with the sound of dance music being blasted from a nearby quad so loudly that the sound was distorted until I was nearly in front of the Ferst Center. When I finally took my seat, I could hear the bass from it very clearly inside the auditorium. It was so loud that I actually went back outside and asked the person in charge of whatever the event was if they could turn it down. He merely said that he had police permission and I could file a complaint if I want. I spoke with someone in admin at the Ferst Center and she said that they’d already tried but that the police wouldn’t do anything and that there really wasn’t anyone else whom she could contact. The whole this is absurd because, as I said, the music was too loud for the event itself and it would not have harmed a thing to turn it down enough that it wouldn’t have penetrated the Ferst Center’s auditorium. Since he told me to file a complaint, though, I probably will and I recommend anyone else who was there to do the same. It’s not the Ferst’s fault, so I’d reach out to the university’s division of administration and finance.
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Sonic Generator at MOCA GA

This evening’s Sonic Generator concert at Museum of Contemporary Art GA focused pretty heavily on solo work. Each of the five musicians present performed by themselves — albeit accompanied by recorded soundtracks or, in one case, a computer — and only came together to play as an ensemble in the last piece. Noticeable was the lack of percussion, with Tom Sherwood absent. Even though I have been to contemporary music concerts without it, Sonic Generator and Chamber Cartel have been the two most prolific producers of contemporary and experimental music in town and they have both programmed heavily for percussion, which seems to have caused me to associate the instrument group with the subgenre.
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