with Angel Deradoorian + Miho Hatori (Cibo Matto) + Ikue Mori, The Blow + Clarice Jensen, Chaos Chaos + Eartheater & DJ Alejandra Sabillon
Thu May 25th, 2017
Minimum Age: 18+
Doors Open: 7:30PM
Show Time: 8:00PM
Event Ticket: $12 / $15 / $65
Day of Show: $15 / $20
Table Seating: $15 advance, $20 day of show
Standing Room: $12 advance, $15 day of show
HUM PACK – Series Pass: $65 [Click here to purchase]
HUM PACK includes:
– GA Ticket to all 5 Hum shows
– Raaka Chocolate bar
– New Wash Shampoo by Hairstory
– Madewell tote, stuffed with jean card (free pair of jeans)
In its 5th season, The Hum is a unique all-female music series with an emphasis on collaborations between musicians who have never played together before. Its goal is to unite and empower solidarity between the eclectic community of women who make music in New York City and beyond. The Hum also hopes to foster a larger audience for these artists by providing a platform that showcases their artistry in a new and exciting way.
Over 150 musicians have participated in The Hum to date, and over 60 more will join the series this May 2017. Past Hum artists include Kimbra, Kaki King, Rachael Price (Lake Street Dive), Yuka Honda (Cibo Matto), Olga Bell, Mirah, members of The Cranberries, Cat Power, MIA, Tune-Yards and many more.
The series features a diverse range of women who play music, welcoming musicians in various genres, instrumentations, and aesthetic, from emerging to established artists.
More About The Hum:
“This inventive weekly residency brings together female musicians across genres for collaboration” – The New York Times
“This platform has given much-needed visibility to female musicians…” – Amy Poehler’s Smart Girls
“The Hum is as much about exposing women artists to each other as it is about exposing women artists to the world.” – The Village Voice
Angel Deradoorian + Miho Hatori (Cibo Matto) + Ikue Mori
You’re familiar with Angel Deradoorian’s voice. As the former bassist, keyboardist and vocalist for Dirty Projectors, her levitating vocals buoyed the Brooklyn-based group. She’s been a member of Avey Tare’s Slasher Flicks, sang on Flying Lotus’ “Siren Song,” and has collaborated with Vampire Weekend, Bjork, Matmos, the Roots, et al.
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 reflects a remarkable creative journey.
Others imitate the past and others divine inspiration and transmit it elsewhere. Deradoorian embodies the latter idea, synthesizing faint hints of Alice Coltrane and Can, Terry Riley, and Dorothy Ashby. A new world springs from ancient traditions—with East Indian, Middle Eastern, traditional Japanese music and Native American rhythms aligned with Deradoorian’s singular orbit. The songs glide through a odyssey of self-exploration—glowing and warping, burning brightly and floating gracefully, permanently transcending.
Angel is also a member of the band Avey Tare’s Slasher Flicks.
MIHO HATORI is a singer/musician/visual artist, primarily known as the vocalist of the legendary NYC group, Cibo Matto.
She has been collaborating with and being featured on many artists like Beastie Boys, Gorillaz, Handsome Boy Modeling School and etc…
She is working on her solo projects, New Optimism and Miss Information (releasing in summer of 2017) now.
Miho is originally from Tokyo, but has been working and living NYC for too many years.
Photo Credit: Pixy Liao
Ikue Mori moved from Tokyo to New York in 1977. She started playing drums and soon formed the seminal NO WAVE band DNA with Arto Lindsay. Since the 1990s she has collaborated with numerous musicians and artists throughout the US, Europe, and Asia, while continuing to produce and record her own music. Ikue won the Distinctive Award for Prix Ars Electronics Digital Music category in 1999 and shortly after started using laptop computer to expand her vocabulary not only playing sounds but create and control the visual work as well. Ikue received a grant from the Foundation for Contemporary Arts in 2006. Tate Modern commissioned Ikue to create a live sound track for screenings of Maya Deren’s silent films In 2007. Recent commissioners include the Montalvo Arts Center and SWR German radio program and Shajah Art foundation in UAE. Currently working with new group OBELISK and HIGHSMITH duo with Craig Taborn, MEPHISTA and various ensembles of John Zorn.
The Blow + Clarice Jensen
The Blow is Melissa Dyne and Khaela Maricich. A shape-shifting entity, The Blow has taken various forms over time and manifests in an array of media, employing popular music as a vehicle for broader explorations. Operating between contexts and genres, the duo works with sound recording, performance, installation, writing and physical media, aiming to address and expand the limitations encountered within each framework. Their self-titled album The Blow, released in 2013, was listed among the top-ten songs of 2013 by New York Times, and was NPR music editor Bob Boilen’s #1 album of that year. They have been curating WOMANPRODUCER.com, an archive of female music producers, engineers and sonic innovators, since 2014. Their performances have been presented at The Wexner Center, The Kitchen, Artists Space, The Warhol Museum, On The Boards, Portland Institute of Contemporary Art, and Pulse Art Miami, as well as in traditional music venues such as The Henry Fonda Theater, Great American Music Hall, Joe’s Pub and The Gramercy Theater. They live and work in New York City.
New York-based cellist Clarice Jensen brings the same genuine excitement and commitment to performing music of any genre or style, from the solo cello suites of J.S. Bach, to new music by Elliott Carter or Steve Reich, to her many rock and experimental collaborations.
In addition to the ensemble she founded and leads, ACME: American Contemporary Music Ensemble (“vital,” “brilliant,” “electrifying,” The New York Times), Clarice performs with numerous other artists including Björk, Jóhann Jóhannsson, Max Richter, The National, and many more.
Chaos Chaos + Eartheater
Many millennials were acquainted with the young, sister duo Smoosh as they took the early aughts indie-pop scene by storm when they supported prominent acts like Death Cab For Cutie, Pearl Jam, Sufjan Stevens and Sleater-Kinney. When the highly lauded Saavedra sisters (Asy and Chloe) escaped their teens, they also shed their childhood moniker giving their music the freedom to undergo its own evolution. Chaos Chaos’ EP Committed to the Crime was received with critical acclaim and was featured on Adult Swim’s hit show Rick and Morty. The sisters plan to release their first full length as Chaos Chaos early fall 2017, calling it “an ode to the fight we are in right now as 21st century women living in this 18th century dystopia.”
Eartheater is Alexandra Drewchin, a New York based musician, artist, and choreographer who seeks on a daily basis to provoke classical and pop paradigms. Also known for her unhinged performances fronting Guardian Alien, Eartheater is Drewchin’s unshackled solo vessel, a deliberate distillation of voice, synths, strings, and electronic production techniques into short-form compositions teeming with crystalline details.
October 2016 saw the release of her second album in the same year on Hausu Mountain, RIP Chrysalis. Flowing perfectly from her debut Metalepsis, RIP is a stunning up step. At any given moment, an Eartheater composition reads somewhere between a folk song, a musique concrète collage, and a filmic suite fit to soundtrack a cosmic montage that only she can imagine in full detail. Her intricate ballad arrangements rise from standing pools of hi-fidelity synthesis, while her dynamic vocal performances span an untold number of tactics and tonalities. Drewchin builds layered electronic productions possessed of enough detail to constitute stand-alone worlds, each weighted thick with text and texture.
Possessed of a free-associative structure spiked with experimentations with the drone, ambient, and noise traditions, Metalepsis unfolds as a singular curatorial effort with Drewchin’s voice and devilish compositional details as its gleaming focal points. Eartheater is Drewchin’s personal evolution: as a musical process at once tethered to advancing technologies and to the flashes of humanity that escape between the circuits.