This program is part of the exhibition Grand Ole Opera.
Bob Bellerue is a noise composer, experimental musician, and creative technician based in Brooklyn NY. Over the last 30 years he has been involved in a wide range of sonic activities – experimental electronic music, junk metal percussion ensembles, Balinese gamelan, sound scores for dance/ theater/ video/ performance art, and installations. His electronic sound work is focused on resonant feedback systems, using amplified instruments/ objects/ spaces/ circuits in combination with electronics and Supercollider programming. Bob’s work has been presented at The Kitchen, Issue Project Room, Experimental Intermedia, Cafe Oto, the Yogyakarta Gamelan Festival, Centre de Cultura Contemporanea de Barcelona, Sonic Circuits Festival, Living Arts of Tulsa’s New Genre Festival, CEAIT Festival, Ende Tymes Festival, Denver Noise Festival, Olympia Experimental Music Festival, PDX Noise Festival, Diapason Sound Gallery, Roulette, Boulder Museum of Contemporary Art, Elastic Arts, Here Art Center, Radio Epsilonia (Paris), WFMU, WKCR, WNYU, KFJC, KXLU, East Village Radio, the Art Institutue of Chicago, Stanford University, The New School, UCSD, and UCLA. His discography includes dozens of releases on Banned Productions, P-Tapes, RRR Records, Love Earth Music, Prison Tatt Records, Los Discos Enfantasmes, Zelphabet, Anarchymoon Recordings, Sleepy Hollow Editions, Peyote Tapes, and Important Records. He curates and produces the Ende Tymes Festival of Noise and Experimental Liberation (currently in its 7th year). He was formerly based in Los Angeles, where he ran the sub-garde experimental music/performance space the Il Corral, and curated the Beyond Music series and festival. He is an audio engineer and event producer, working presently for Issue Project Room and a handful of irregular clients in the NYC area.
The collaborative work of Jonathan Borges and Shannon Kennedy of Pedestrian Deposit could be described as highly composed, often abstract sound textures combined to create dynamic experimental music that draws on the duo’s widely contrasting auditory obsessions.
Borges’ use of crude yet disciplined electronics, tape loops, field recordings, and controlled feedback manipulation contrasts against Shannon’s use of self-designed stringed instruments, bowing techniques and amplified wood and metal, resulting in music that is both raw and refined. Pedestrian Deposit bears elements of electro-acoustic sound, musique concrete, classical, industrial and harsh noise, but cannot be confined to any one genre.
Jonathan Borges began Pedestrian Deposit in the Winter of 2000, with the concept of combining layers of electronic sound with no predetermined relation to one another until mixed. The project slowly
evolved to incorporate elements and hybrids of harsh noise, tape collage, field recordings and ambient music with a focus on extreme contrast, resulting in a prolific few years of rich and dynamic compositions on such labels as Hospital Productions, Hanson Records, and Borges’ own Monorail Trespassing label, to name a few.
After a two-year hiatus, PD returned in the fall of 2008 with the addition of multi-instrumentalist and visual artist Shannon Kennedy; and her elements of cello, violin and amplified, bowed and manipulated objects. They have consistently toured the United States nearly every year since, placing an emphasis on the development and evolution of physical, psychological and organic live performance.
PD has appeared at such events as the 2009 No Fun Fest in Brooklyn, New York; the 2010 ’Activating The Medium’ festival in San Francisco, CA; the 2013 Milwaukee Noise Festival in Milwaukee, Wisconsin; the 2014 and 2015 Ende Tymes festivals in Brooklyn, NY; the 2015 LUFF festival in Lausanne, Switzerland; and the 2016 Click Festival in Helsingør, Denmark — in addition to innumerable venues, galleries, halls, bars and makeshift spaces in the U.S., Canada and Europe.