Eyvind Kang’s Time Medicine Featuring Laurie Anderson
Composer and violist Eyvind Kang has been described as a “musical polymath” (The New York Times) whose music “exhibits a breath of enquiry that is rare, not just in music but in culture in general” (The Wire). He has released 15 acclaimed albums, including Visible Breath (2012, Ideologic Organ), The Narrow Garden (2012, Ipecac) and Grass (2012, Tzadik), as well as appeared on hundreds of recordings as an instrumentalist and arranger. A generous and long-term collaborator with a wide range of musicians including Laurie Anderson, Bill Frisell, John Zorn, Sunn O))), Sun City Girls, Jessika Kenney, and many others, Kang has also presented in depth readings of works by Christian Wolff, Giacinto Scelsi, Ornette Coleman, Satyajit Ray and Hanne Darboven. New York Live Arts
“We’re part of a family, a musical family. We’ve got cousins from hundreds of years ago and over a thousand years ago. We have friends yet to be born.”
Kang and Kenney gave a performance that will go down in Genius history. It was a Persian song that filled the whole body of the Moore with incantations of breath and sound, and Kang and Kenney performed it unamplified and unlit, wandering along the aisles of the theater. It felt both intimate and otherworldly, probably because this world so often fails to be intimate.
Eyvind Kang and Jessika Kenney, 2013 Genius Award for Music, The Stranger, Seattle
“I would be more interested in doing folk music, people music, something that people can feel and relate to, and live and think within.
“There is always the music of the people; they create their own music, and pass it to different generations.”
Speaking with Efrén del Valle Perfect Sound Forever
[Eyvind Kang] has fashioned a body of work that finds common ground in improvisation, European early music, Eastern devotional styles, black metal and more. Some of his music can be abstruse at first brush; much of it is otherworldly and ravishing.”
“Eyvind doesn’t lay his thing on the music. That’s really important. He can be such a beautiful presence, but he can be a chameleon when he needs to be. He finds the place in the music where he’s needed,” says Wayne Horvitz.
“You don’t want to be too logical, too linear,” says Kang. “Music doesn’t really function like that anyway.”
What can I say about this gig? Nothing, because nothing really happened. Most of the people weren’t aware there was a performance going on. I was about to leave because I was so bored, and ran into a friend on the steps, who informed me of the presence of a rare bee in the back of the room. Curious, I returned inside. I had previously become aware of a kind of strange aura, but by now it was really unmistakable. Like a funny party, in which very little happened, but whose aura increased as time went by.
Eyvind Kang, 2014: The Year According to Eyvind Kang, Walker Art Center
“I had some interesting conversations with Stephen. He was talking about waveforms, dissonance and consonance and different types of complexity in waveforms. Knowing that he thought like that kind of grounded me into thinking about waves and vibrations rather than harmony and music theory in the traditional sense.”
Interview, The Wire
Review of “The Narrow Garden”, Pitchfork
Eyvind Kang Freakscene Session Radio Centraal 14/7/2014