Listen to Sō
From our Soundcloud page
which you can listen to anytime here!
Since 2006, the members of So Percussion have been writing music for the ensemble. Using our studio in Brooklyn as a laboratory, we often create music that is about "place:" a city, our immediate sonic environment, even how the past resonates where we are today.
In the process, we have sometimes stretched the percussion ensemble to its limits. Following Cage's example, and inspired by collaborators like Matmos, we have integrated electronics, ambient noise, and whatever else interests us. You can enjoy many features and excerpts of this music on our Youtube channel.
where (we) live
Where do we live?
For eight years, So Percussion has made our home in Brooklyn amid two million five hundred thousand others. In our city, each of the group’s four members has constructed a personal ecosystem we call home. These homes are bound by space, time, sound and image. Equally, these spaces house rewarding, frustrating, supporting, damaging, tangible and never understood relationships.
When we leave those homes, our four members unite to create another artistic home, with its own unspoken rules and expectations; its own rhythm of interaction, its own banalities and mystery.
Where (we) Live questions all these homes by purposefully inviting the unknown to “come on over.” We’ve asked video artists, songwriters, painters, choreographers, directors and others to substantively alter our process. The resulting performance contains a society of possibilities: composed pieces, chance elements, visual associations, and theatrical interactions.
* where (we) live is a National Performance Network (NPN) Creation Fund Project co-commissioned by Myrna Loy/Helena Presents, in partnership with Vermont Performance Lab and the Walker Art Center. The Creation Fund is supported by the Doris Duke Charitable Foundation, Ford Foundation, and the National Endowment for the Arts (a federal agency). For more information: www.npnweb.org
So member Adam Sliwinski wrote several blog articles about the development process of Where (we) Live.
The beginning: http://adamsliwinski.blogspot.com/2011/01/where-we-live.html
A bit later on: http://adamsliwinski.blogspot.com/2012/05/where-we-live-now.html
Some reflections after the premiere: http://adamsliwinski.blogspot.com/2012/09/where-we-live-finally.html
Explaining Emily Johnson, the enigmatic "note taker": http://adamsliwinski.blogspot.com/2012/11/where-we-live-taking-notes.html
The use of guest artists and crafts(wo)men in WwL: http://adamsliwinski.blogspot.com/2012/12/where-we-live-brooklyn-vermont-pa.html
Imaginary City is a meditation on urban life and its sounds, architecture, light and color. It is a dialogue between So Percussion and video artist Jenise Treuting, a poetic exchange. Musical, visual, and theatrical elements combine into impressions of city life. Featuring original music by the members of So, with Pulitzer-nominated Director and Playwright Rinde Eckert.
In 2009, Imaginary City ran for 4 nights at the BAM Next Wave Festival, and has toured across the country.
Imaginary City is a National Performance Network (NPN) Creation Fund Project co-commissioned by BAM for the 2009 Next Wave Festival in consortium with The Myrna Loy Center/Helena Presents in partnership with Diverseworks Art Space, The Flynn Center for the Performing Arts, The Cleveland Museum of Art, The Newman Center for the Performing Arts and NPN.
In the summer of 2008, So Percussion was in residence in Southern Vermont with Vermont Performance Lab. Our task was to write new site-specific music for the train stations in Brattleboro and Bellows Falls. We ended up creating an evening-length experience: audience members listened to pre-loaded music players aboard a historic train ride between the two towns, getting off in each town to take in a live performance.
Music for Trains represented So's first venture into collaborative writing between the members.
Our third Cantaloupe Music CD Amid the Noise began as an after-hours project. In our Brooklyn studio, Jason Treuting experimented with glockenspiel, toy piano, vibraphones, bowed marimba, melodica, tuned and prepared pipes, metals, a wayward ethernet port, and sound programming. The resulting idiosyncratic tone explorations were synchronized to Jenise Treuting’s haunting films of street scenes in Brooklyn and Kyoto.