Xiu Xiu w/ Bemis Center for Contemporary Arts

July 1, 8pm CST

Virtual @ LOW END: Xiu Xiu

View on Bemis Center Instagram LIVE
Eventbrite: https://www.eventbrite.com/e/live-low-end-xiu-xiu-virtual-concert-tickets-106828442748

Join us for a virtual live from home performance with Los Angeles-based Xiu Xiu. Started in 2002 by Jamie Steward, Xiu Xiu tries to make music for people opposed to and opposed by the horror and disquiet of life. Xiu Xiu draws upon musical traditions of British post punk, 20th century classical, industrial noise, experimental and traditional percussion musics, 50s rock and roll, field recordings, queer dance pop and kosmische musik. Xiu Xiu has toured relentlessly all over the world and has shared stages with Sun Ra Arkestra, Ben Frost, Zola Jesus, Deerhoof, Prurient, Liars, Swans, Matmos, Faust, Grouper, Genesis P Orridge, Angelo Badalamenti and thousands, perhaps billions, of other unstoppable musical fairies, dignitaries and saints.

Omaha Under the Radar

Sunday, June 21, 2020 from 6 - 9:30 pm

Cost: Free

Watch: https://ess.org/the-quarantine-concerts

What: Seven artists, including Mesonjixx will be playing with Omaha Under the Radar through Experimental Sound Studio’s The Quarantine Concerts series.

Matmos w/ Bemis Center for Contemporary Arts

June 20, 8pm CST

Virtual @ LOW END: Matmos

view via https://www.twitch.tv/bemiscenter
Eventbrite: https://www.eventbrite.com/e/virtual-low-end-matmos-tickets-108164113776

Celebrate the summer solstice with a live virtual dance party performance by Baltimore-based electronic duo Matmos. Currently based in Baltimore, the duo formed in San Francisco in the mid 1990s, and self-released their debut album in 1997. Marrying the conceptual tactics and noisy textures of object-based musique concrete to a rhythmic matrix rooted in electronic pop music, the two quickly became known for their highly unusual sound sources: amplified crayfish nerve tissue, the pages of bibles turning, water hitting copper plates, liposuction surgery, cameras and VCRs, chin implant surgery, contact microphones on human hair, rat cages, tanks of helium, a cow uterus, human skulls, snails, cigarettes, cards shuffling, laser eye surgery, whoopee cushions, balloons, latex fetish clothing, rhinestones, Polish trains, insects, life support systems, inflatable blankets, rock salt, solid gold coins, the sound of a frozen stream thawing in the sun, a five gallon bucket of oatmeal. These raw materials are manipulated into surprisingly accessible forms, and often supplemented by traditional musical instruments played by them and their large circle of friends and collaborators. The result is a model of electronic composition as a relational network that connects sources and outcomes together; information about the process of creation activates the listening experience, providing the listener with entry points into sometimes densely allusive, baroque recordings.