Saturday, October 10, 2009, Shows start at 8pm

Bio

Michelle Friedman is Spy Magnet. Michelle writes all the songs, plays all the instruments, sings, and records everything. Synthesizers and drum beats forever...

http://www.myspace.com/spymagnet

For eight years, Zachary Hollback has been playing solo rhythm-heavy electronic music under the name Push Button Action Man (utilizing a tabletop full of hardware) and experimenting with acid house as Chief Acid Officer (with minimal assistance from a laptop).  

Formerly of Atlanta bands I Almost Saw God in the Metro, Brodie Stove and Tenth to the Moon, as well as several other local bands in the early '90s, Zachary left Atlanta in 1996 for Columbus, OH and then Chicago, where he played in several more bands. He amassed a small collection of analog and digital electronic gear and effects, and in 2001 he recored his debut CD Turn On, Tune In, Line Out in his Chicago living room. He relocated to Atlanta later that same year and began playing live shows as PBAM, interacting with tables of synths, drum machines, guitar pedals, FX units and theremins.  His live shows as Chief Acid Officer find him flying between hardware and ReBirth (via MIDI controller) for a taste of the classic acid house sound that influenced him in the '80s.

In addition to performing with the likes of Captured! by Robots, Novamen, Sendex, $tinkworx, DJ Overdose and Manhunter, Zachary has remixed several Atlanta bands including I Almost Saw God in the Metro, Untied States, The Secret Life and Blue Screen Love Scene.

Zachary plays out occasionally, records rarely, annoys frequently and makes people dance once in a while.

http://www.myspace.com/pushbuttonactionman

http://www.myspace.com/chiefacidofficer

Klimchak loves opposites. That may explain why he's played with bands as diverse as disco diva RuPaul and avant hipster Bruce Hampton. "I think of music as a crazy-quilt of different styles and patterns. I'm the thread that holds the whole mess together," says the Atlanta-based composer and percussionist. "I love the clash of colors and opposing patterns. That's where the music comes alive."

On his new solo CD, The Beat and The Buzz, he works the difference between electronic and acoustic music styles. Electrobeat buzzes clash with soulful hand drumming. An urban funk groove explodes into a hoedown of jaw harp and handclaps. Tuvan throat singing provides a sound bed for a flowering samba ensemble featuring the pig-like grunting of the Brazilian Cuica. This could be the loops of sample-hungry turntable collagists and laptop-toting poindexters. But it's not. One of the important qualities of Klimchak's music is that he plays it all himself. "I don't have anything against buying and using samples and loops of other people's music. For what I'm doing it's easier and quicker just to record myself playing the instrument."

Of course that is easy for Klimchak to say, since he owns and plays literally hundreds of instruments. "I've been collecting sound-makers since the late 1970's. When I have some free time, I usually sit down and learn to play a new flute or percussion instrument." It could be an early electronic instrument like the sci-fi staple, the theremin or a low-tech rawhide frame drum from the Middle East. It's all grist for the sound-mill. "In the modern world of Ebay and the internet, locating exotic instruments for cheap and getting instructions on playing them is a lot easier than it used to be."

Klimchak has been working exclusively in this style since the mid-eighties. Between stints with RuPaul, Hampton, and his two bass-vocal-percussion band, Fab Area, he began working on solo works for modern dance and theater. He uses his knowledge of exotic instruments and the sounds they make to provide a live underscore theater productions. Many of his recent works have been at the Georgia Shakespeare Festival. He has written and performed scores for the plays: Othello, Henry IV, Hamlet, Tartuffe, A Midsummer Night's Dream and Cymbeline. In addition, he's done scores for Shakespeare's Coriolanus at Shakespeare Santa Cruz, a live score for No Exit at Le Neon Theater in Washington, DC (nominated for a Helen Hayes Award for best sound design), and a live score for Malinche performed at the Bovenzaal Stadsschouwburg in Amsterdam.

Klimchak's dance work is equally important to his style. His recent work includes scores for Jane Comfort ("Three Bagatelles for the Righteous, excerpt (Election Update 2004)", performed in NYC at the Joyce Theater by Jane Comfort and Co in September) and Jawole Willa Jo Zollar of Urban Bush Women ("Are We Democracy?", performed in November at Emory University's Schwartz Center for the Performing Arts). He regularly composes for faculty and guest choreographers at Emory University.

http://www.myspace.com/klimchak

Collaboration with Sounds is Wendy Owens from Greenville, South Carolina. She describes her music this way. I love sounds. I like to make my own. The sounds I make come from many diffrent sources. I take an organic approach with some of my projects. I also take an ultra human robotic approach. I use a wide variety of tools hard ware and soft ware etc..

My set up is: 3 Electribes a Moog Rouge and Micromoog, LSDJ, Nanoloop, Reason, Live, circuit bent kids toys and key boards, Novation Midi synth, soft synths, a digital recorder...micro organisms, alien vocal samples... and other random noise makers.

To me sound and creativity is a moment into my being and imagination. Music is a reflection of the soul.['']

http://www.myspace.com/collabrationwithsounds