Brandon López and I in psychic space playing @bortolamigallery for Nathlie Provosty's show Threshold Speech 🧠🧠 @bantlopez@nathlie.provosty the painting is called "Communicating para-acoustically with the future" from Mei-mei Berssenbrugge
Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.
I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."
In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.
The artwork is composed of photographs by Yair Oelbaum, who currently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.
Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.
@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.
I have a work installed at Calder Gardens in Philadelphia. It spans a 53 ft long sound passage in an inner chamber flanked by wood and concrete, a resonant coil. Indiana bat echolocation in slide 1. These clips give a trace of the 21 minute piece.
For the Sound Passage at Calder Gardens, Gryphon Rue presents a layered sonic installation that braids field recordings, wildlife, voice, and electronic sound into a fugue-like cycle of place, memory, and transformation. Spanning 22 minutes and 38 seconds, the composition turns continuously, without beginning or end, allowing sounds to surface, dissolve, overlap, and recur as a single unfolding organism.
Drawn from recordings made across varied geographies and temporalities, the work moves between the intimate and atmospheric, grounding electronic manipulation within resonant natural and archival environments. Metallic drones drift alongside humpback whales recorded in Polynesia; auroral chorus and bat echolocation emerge through transformed voice, percussion, and synthetic birdsong; fragments of water, metal, and distant electronics circulate in layered relation. Together, these materials form a living sonic environment that continuously reshapes itself through repetition, accumulation, and return.
I am deeply grateful to Juana Berrío for the invitation and for her sensitive, thoughtful framing of this work. This project is possible thanks to the support of Calder Gardens.
Sources:
“Glade” (musical saws, humpback whales recorded in Polynesia)
“Magenta Beams” (electronics, trumpets)
Josephine Baker (collage)
Auroral chorus (Sheffield, UK)
Spring peepers (High Falls, NY)
Water well (Les Gras, France)
“Squatters Quarters” (percussion, tape manipulation)
Echolocation of Indiana bats (North Georgia Mountains)
Electronic “birds”
Propane tank (High Falls, NY)
“Operation for Preferred Embodiment" (voice transformation)
@caldergardens
Thank you 🌹🪻🌸 @juana_berrio
3 Thing was a game a friend came up with back in High School, a kind of charades where you made observations about what 3 disparate objects had in common - you guessed what your friend had in mind that bound the objects together.
Mixtape "Anglo Raga (Vol. I)"
Streaming on Radio Raheem Milano
2-3pm ET • 6 May
"Anglo Raga" is a term I coined for Western music influenced by Indian musical ideas in the broadest sense. We move beyond familiar touchstones like ‘Within You, Without You’ and map a stranger field of exchange.
Infinite Body - Carve Out The Face Of My God
Camberwell Now - Wheat Futures
lovesliescrushing - virgin blue eyed
Threshold Houseboys Choir - So Young It Knows No Maturing
Christian Marclay - Groove
Rapoon - The Same River Once
Flaming Tunes - Restless Mind
Them - Square Room
Fred Frith - No Birds
Nico - Janitor of Lunacy, Reims Cathedral, December 13, 1974
Tymon Dogg - Firefishes
Jah Wobble - East
Peter Zummo, Bill Ruyle, Arthur Russell - Song IV
@kyleparkerxxl@charleshayward_music@wavertone@coil_band
#peterchristopherson
#christianmarclay
@rapoon1
#flamingtunes
#them
@ffrith7@real_jah_wobble@peterzummo@wmruyle@steve.audika@radioraheem.milano
Mixtape "Passeggiate sublimi di dolore mormorante"
Streaming on Radio Raheem Milano
2-3pm ET • April Fool's Day
Szemzõ Tibor - Tractatus
Benjamin Britten - Friday Afternoons (Op. 7, Cuckoo)
Irena & Vojtech Havlovi - Unknown
Leven Signs - Sedes Sapientiae
Yōran - Montparnasse
Cora - Come On
duppi - はつねつのみやこ
Kinloch Nelson - Tone Poem
Robbie Basho - Cathedral et fleur de lis (Forli, Italy, 1982)
Idea Fire Company - Cycle 19 (Alt version)
Harley Gaber – The Winds Rise in the North (Part I)
@radioraheem.milano@szemzo_fodderbasis
#benjaminbritten
#irenavojtechhavlovi
@futura_resistenza@tompkins_square
#robbiebasho
#ideafirecompany
@harleygaber
Introducing Artists as Gardens, a new commission series at Calder Gardens that encourages artists to think of their practice as a garden that changes with the seasons and other natural cycles.
The Artists as Gardens series will launch on Saturday, March 21 with a commissioned concert by musician, composer, and artist Gryphon Rue (@4n_objx ). Presented following the spring equinox, the performance unfolds twice—at 5:30pm and again at 7:21pm, at sunset—in the main gallery. Seating is specially arranged throughout the space, with musicians positioned in dialogue with Calder’s works to create an immersive sound environment.
The evening features the world premiere of "Cave Rainbow in Negative Color" (2026), a sound collage for modified tape machine and electronics drawing from field recordings captured locally at Calder Gardens and along the Schuylkill River. The program also includes a new spatialized setting of "Motore Immobile & Ananta" (1978) by Giusto Pio, performed by Gryphon Rue with Julia Den Boer and Odetta Hartman.
Together, these works explore cycles, emergence, memory, and the experience of time—offering a rare opportunity to encounter live contemporary music in direct conversation with Calder’s sculpture.
Choose your time slot and reserve your tickets today ➡ link in bio.
Artists as Gardens: Commission Concert by Gryphon Rue
📅 March 21
🕔 5:30pm & 7:21pm
📍 Calder Gardens
#caldergardens #concert #performance #philly
SUNDAY MARCH 8
Free show with Charmaine Lee & Gryphon Rue!
Foreign & Domestic
4pm
24 Rutgers
Papunya Tula, Meeting Place for all Brothers and Cousins, members of the Pintupi language group and the Papunya Tula Artists collective of the Western Desert of Australia.
Each painting relates to a specific site on the lands inhabited by the Pintupi; each site is associated with a specific Dreaming, or Tjukurrpa. A foundational concept to the cosmology of the Pintupi and wider Aboriginal culture, a Tjukurrpa is both a story and a place, a past and a present, ephemeral and eternal. It is knowledge of how a place came to be, of its ancestors and their descendants, of geology, hydrology, flora and fauna. Custodial rights to a Tjukurrpa - determined by intricate codes of age, gender and genealogy - are equivalent to rights to the land itself. Tjukurrpa is legend become law, law become land, land becoming a people. Tjukurrpa lives in a thick, circular time, a prelapsarian present of ancient stories that arrive where they started.
The Tingarri were the first peoples, mythical ancestors roaming over a featureless and inhospitable country, stopping in particular sites to perform rituals, teaching law and terraforming natural features - clay pans, salt lakes, watering holes, hills and caves - which constitute today’s Country. Tingarri Men were often accompanied by Tingarri Women and novices to whom they imparted the laws and customs of the Country through song cycles, performed and transmitted for tens of thousands of years to the present - their full meanings only revealed to the initiated. Several works in this exhibition depict chapters in the Tingarri Dreaming Cycle. Their work done, the Tingarri disappeared beneath the surface of the earth, where they remain buried to this day.
image: Yalti Napangati, Untitled (Marrapinti Dreaming), 2025
#papunyatula #charmainelee #gryphonrue
Playing with Brandon Lopez at Foreign & Domestic Gallery. Sunday Feb 8, 4pm start. That's where an owl landed to catch her prey. @bantlopez@foreigndomestic 24 Rutgers St.
