Artists, venues, and ad hoc collectives have begun streaming performances from musicians’ homes. Concerts broadcast by the Chicago-based venue Experimental Sound Studio have brought a murderer’s row of improvisers and noise musicians (including Joe McPhee, Julia Holter, and Thurston Moore) online for playful and profound 30-minute sets. In the April 7 ESS lineup, a series of performers leveraged the static, single, grainy, laptop-lensed shot to both build tension and create a sense of shared space with listeners and commentators. Cracked electronic composer Aaron Dilloway’s creepy, basement-dwelling session, a collaboration with two free-range chickens, set a high bar, while Lea Bertucci’s looped flute and saxophone—recalling Dickie Landry and Terry Riley—beautifully played off a series of swirling, (hopefully remotely) controlled projections courtesy of experimental film scene–fixture Bradley Eros. And maybe most importantly, all donations will go directly to the artists.
Here and elsewhere: the philosopher-turned-filmmaker joins for a conversation about the making of his debut film, which explodes conventions of biography and nonfiction for a uniquely collective portrait of trans life