New White Out double album will host Thurston and Jim
 

http://www.villagevoice.com/music/08...404120,22.html

Experimental Musicians in a Post-Tonic Universe
Downtown innovators like White Out fight for survival in a brave, disquieting new world
by Brad Cohan
April 8th, 2008 12:00 AM
David Mamet

Tom Surgal, drummer for the improvising avant-gardists White Out—a duo completed by his significant other, multi-instrumentalist Lin Culbertson—insists that although myriad clubs they've played are now history (including the Cooler, CBGB, and, most recently, Tonic), it's not their fault. "I wouldn't label Lin and me the kiss of death of the New York club scene," Surgal asserts. "There are a slew of venues that cease to exist which I can assure you we never played in."
The two met in 1986, introduced by actor (and original Sonic Youth drummer) Richard Edson outside CBGB during a Big Black show. Fittingly, White Out now stand as Big Black's antithesis, a free-jazz deconstruction devoid of niche, with a seismic ambience and atonal serenity that's made the group a vital, if overlooked, part of the downtown scene. Surgal insists that he's guilty of "never playing a beat in my entire life," but WO's records—Red Shift (1995), Drunken Little Mass (2001), and China Is Near (2005)—damper his claim. His throngs of beats (or lack thereof) freely shift from tribal textures to cymbal-tapped propulsions, intersecting with the angelic streaks that Culbertson provides via analog synthesizer, flute, autoharp, and interstellar voice manipulations.
Like Thurston Moore, Surgal traversed the downtown infrastructure for years: He booked gigs for Pussy Galore in the '80s and set up shows during the Gulf War under the label "Support Jazz, Not War." He also watched the fledgling art-music scene evolve from a minuscule enclave shunned by clubs to a fledgling powerhouse embraced by the avant homestead that was the old Knitting Factory on Houston. Not that Surgal was a fan: "I never liked it there, or any incarnation. Years ago, when they were coming into their own, they were practicing a kind of 'cultural apartheid.' I started a series doing off-hours at rock clubs, putting on local jazz guys because they were being aced out—people like Charles Gayle and Rashied Ali." Surgal found CB's no better. "I used to play with Rudolph Grey and the Blue Humans, and Thurston would often sit in. The sound guy was so clueless he wouldn't recognize him—and he's goddamn recognizable at like seven feet tall. They'd turn the PA off halfway through our set. That was New York at that point, so we've come a long way, baby."
He's alluding to the ascension of downtown experimentalism, fomented by meatpacking-district hub the Cooler and its progeny, Tonic. "That's an undocumented aspect to New York nightlife, because the Cooler had an eclectic program," Surgal says. "You can go see Gayle, us, Tortoise, electronica—it all worked together. Nothing seemed incongruous. Nothing has taken its place. Tonic was its cultural heir."
Ah, Tonic. Closed a year ago this month, and lamented thousands of times since. Forced out by those fucking luxury condos sprouting like the plague from Bowery to Norfolk Street and beyond, displacing any semblance of artistic confluence in its path. White Out, like many experimentalists, called it home, called its owners and employees family. "It was a real community," Surgal says. "We were like the house band and felt like we were one with the club." His better half echoes the sentiment: "Tonic was a hangout," Culbertson recalls. "You could meet friends there for an evening and hang at the bar. The sad thing is, we've lost contact with a lot of people as a result of it closing."
Helen Rush, of avant-folksters Metal Mountains, worked the door for seven of Tonic's nine years, and testifies to that familial environment. "There is no venue left with the intimacy it had and the range of artists that played there—new, upcoming outsiders to old-school avant," she says. "Collaborations were born out of folks meeting there." Co-worker and ubiquitous drummer Anton Fier lends a pessimistic outlook, speculating as to who's picking up its clientele. "I thought Knitting Factory would have taken over," he says. "Marc Ribot's Ceramic Dog just played there, but it took a year for that natural transition to happen. Manhattan is a more difficult place to play than ever."
"I still get e-mails from local and touring musicians who aren't sure where to play," former Tonic co-owner Melissa Caruso Scott writes via e-mail. "The Stone [in the East Village], Barbès [Park Slope], and Jalopy [Brooklyn's Columbia Street] are great, but I'm not sure where 'Tonic musicians' play." She echoes the powerful hankering for a clique, a home base. "Most people I speak to miss having a space where creative musicians came almost any night and saw someone they knew in the audience, and discovered something new and exciting onstage. Although there are new venues, I don't think any of them have fulfilled this need."
Williamsburg's Zebulon, Park Slope's Tea Lounge, and a few other experimental W-burg spots—Glasslands and Death by Audio—have also helped fill the void. The migration, though, has slanted primarily toward the Stone, John Zorn's anomalous performance space. "It's a great facility, but it's not a 'club,' " Surgal says. "They don't encourage people to hang out, and it caters to a rarefied stratum of music. It's curated, so the chances of playing there with any frequency are marginal. Even Zorn can't play there—and he owns the place—depending on who's curating that month. It exists out of the kindness of his heart, and it's hemorrhaging money."
Indeed, last Saturday night, the Stone charged an econo five dollars to see White Out transcendently run the gamut from sonic overload to pristine calm. Augmented by Samara Lubelski's delicate violin touch-and-pluck as well as Surgal's dry banter ("We encourage bodily functions," he announced, motioning toward the makeshift bathroom looming near his drum kit), the set was an exercise in rapport, personal and musical, Culberton's sinuous nuances brushing up against the clanks, dings, shakes, and scrapes emanating from her partner's cache of percussive contraptions.
Not content with the occasional Stone gig, Surgal's back to booking shows, too. His monthly events at Rehab (formerly Club Midway) on the LES, subtitled "Red Desert Nights," have an explicit Tonic connection—a former employee there works the door. "I wouldn't be curating these shows if Tonic was still in existence, but I don't wax nostalgic—I'm not into that," he admits, having waxed only slightly nostalgic. "At the end of the day, you pave on and find a new situation. It's why I'm doing this—out of necessity." With Culbertson chipping in—she designs the posters—White Out has found a new space to improv. Last month's noise-dominated night (derailed, alas, after Midwestern rascals Hair Police totaled their van) supports Surgal's vision of an aesthetic mélange. "I don't want to slap myself on the back, but I've put on variety," he says. "I've had P.G. Six, Sunburned [Hand of the Man], Zorn, and Han Bennink. It's social, and I'm friends with these people. But as time ensues, I'll start booking my enemies."

Next for White Out is May's No Fun Fest, the annual noise free-for-all, held this time at the Knitting Factory. The duo is also set to return to Moore's powerhouse Ecstatic Peace! label: "Thurston's gone corporate, and he can afford our big asking price," Surgal jokes. Their forthcoming effort will be a double album—joined by frequent co-conspirators Jim O'Rourke and Moore himself—recorded live at (where else?) Tonic. "That's our final homage," Surgal says, "and a fitting punctuation mark to that whole era."

looking forward to it, white out are good.

heh, I saw that gig where Tom made the body fluid comment.

Lin needs to be louder. Everytime I see them I say that.

One of my favorite improv groups of recent times, i corresponded w/ Lin to get them to play here but she said its difficult for her and Tom to organize a "tour" and they stick to playing the occassional gig in n.y. or l.a.

maybe someday though...

thats a very good article i think and pretty revealing of the current state of experimental music of the sort in nyc.

Yeah I was at that show as well. Part of the reason Tom made that joke is his drum kit blocked the path to the toilet, so if you had to go during the show, you'd have to squeeze in between his kit and where Lin was set up.

It was a great show btw, they did 3 compositions about 20 min each, I think Samara was a little bit too low in the volume, but Lin was ok. Especially good was the second one, towards the end it sounded like an air raid siren.

Also, it's a pretty good article, but how is Issue Project Room not get a mention in there?? They probably put on the best shows out of any of the places mentioned, in my humble opinion.

other spots would include Union Pool (phantom ear series), abc no rio, jimmy's (sunday nite series) and the living theater series (via vision fest)

I was at one Stone gig and someone pointed out the bathroom as the "World Famous Stone Bathroom" because it is in just about every photo of any musician there due to its proximity to the playing area...

 

coming soon

don't forget to post links where to order it...or at least info that it is already out...thanks!

it will be out on EP in about a month.

White Out are great, but thats about the ugliest cover ever. Wow.

August 20th
We are very pleased to announce the imminent release of two new White Out recordings.

 

Ecstatic Peace: available September 22nd No Fun Productions: check web site for info

rad album art. thanks 4 posting!

that vids nutty. thx for info moshe.

Wire review (by Bruce Russell):

These live 2004 sets by improvising Manhattan duo Linn Culbertson and Tom Surgal, recorded at Tonic, capture the intoxication of White Out's analogue synth/percussion minmeld. The results speak for themselves: this is top-shelf spliff from go to whoah.

Surgal's percussive signature is instantly recognisable (even with a drawer of cutlery), taking the pulse of life into outer space in a way that evokes his free jazz idols without stooping to imitate. The dialogue with Culbertson's library of untamed analogue textures is seamless and Heraclitean in its flow, yet they possess the refined sensibility and restraint necessary to allow enough room for their guests to well and truly 'take it to the river'.

Thurston Moore is an accomplished guitar colourist, and in concert with Jim O'Rourke's alchemical laptop skills, he keeps up White Out's signature hectic momentum. Even though these two sets are the only times this quartet have played together, they move from high to low dynamic range with a beautiful flow, driving group interplay into territory only the most experienced improvisors can occupy.

Senso embodies an understanding of sound that we now take for granted, but which has in fact been created by these players as much as anyone. The idea that the liberating sprit of the free-est jazz and the out-est rock can be combined with the soundwork strategies of electroacoustics may be de rigeur in 2009, but it has seldom been better demonstarted than this.

^ great. thanks for that and for the fish :)

i think i'll wait with buying this one a bit, coz that should be still available as it was released on EP. i need to buy MCIAA thingy first. cheers for the reminder.

You're very welcome. I hope you had a good weekend.

The best. Avenue Q is hilarious.

Norman Records review (of Senso, not Avenue Q):

Some downtown NYC free improv-racket fun from White Out with Jim O'Rourke and Thurston Moore is available on Ecstatic Peace. 'Senso' is a 2CD Set that was recorded at the Tonic Club New York back in 2004. It's totally all over the place clattering drums and oddball guitar and other unidentifiable sounds,effects. They sound like they're having a blast. It's quite out there with even a free jazz edge to the percussion. At various points it sounds totally deranged which is always good.


Get it from play.com HERE for £9 if you're in the UK or HERE for 12 euros if you're in Europe (free postage in both cases).

Foxy Digitalis review:

Ecstatic Peace

Long running NYC experimental duo White Out bring these two up and comers Jim O’Rourke and Thurston Moore onto the stage at the Tonic and bash out two sets of long free playing. White Out sticks to the bare bones of drums, synth and autoharp while O’Rourke grabs hold of a synth and if I have to tell you what Moore is playing, you’ve got larger problems than a website can solve.

First disc “Fear Of Fear (Of Fear)” does not assault in the way you think it might. It’s a certain kind of layered chaos that does not rely on feedback’d violence to relay it’s message. With the warm tones of the two synths, the excellent manipulation of sounds that go from R2D2 squalls to soft reeds, the disc starts off sounding like the Arkestra on a particularly bent night. After about twelve minutes, Moore’s guitar really starts to dominate but his playing is still spare.

Second disc “The Eyes The Mouth” has more of a woozy feel to it. The sway of interactions, the low frequencies started to make me feel a little bow legged. The set turns to something a little jazzy after a minimal beginning and then diverge entirely into another Moore dominated leading, this time sounding more akin to his Sonic Youth work.

The only complaint I have is that the sets tend to sound kind of similar in their approach. I don’t think it was structured this way, but they wind up coming off like mirrors of each other. Maybe that is less obvious if you give some space to when you listen to the two discs instead of back to back like I did, but overall this is a pretty exciting and enjoyable listen. 7/10 --

http://mog.com/badseed57/blog/1596655

Interview with NYC Experimental duo White Out

Posted about 12 hours ago

• Artist:
  White Out
• Album:
  Senso

This one's been a work in progress between my lack of time with the new baby and the busy schedule of a band, I'm just glad Tom Surgal and Lin Culbertson were able to give me a few minutes for this quick interview.
Sonic Dissonance: I wanted to thank you guys for taking the time to talk with me about your new album, Senso. This type of experimental/improvisational music isn't for the masses, instead of the cookie-cutter studio sound, you've managed to put two 45 minute songs on this album. What's the recording process like? I imagine there aren't many more than 1 take to get it on record.
LIN: This was a live performance at the club Tonic, recorded by the very talented Kari Erikson, so yes, there was only one take, the performance itself. That's how we accomplish all our recordings. We are improvisors and do not preconceive anything before we start playing.

TOM: Well of course Senso is a live album recorded in front of an audience at the now defunct Tonic club, so there's no starting over. We played two long sets and chose the best pieces from each show.TOM: I immersed myself in the works of the great improvising masters at the age of 13, and I've devoted much of my subsequent life to collecting their recorded output and observing them play live. That's my musical education. I'm not a trained musician, it is only natural that I play the music that I grew up listening to.
SD: Living in Omaha most of my life, I've never had a chance to see someone perform something like this live, at least not beyond the 5-10 minute improv jam you might see from Nels Cline, Thurston Moore or somebody like that. What can somebody expect from a White Out show?
Read the rest @ SonicDissonance.com

I like Senso.

i got it!! really great!!