Tim Feeney Burrow.jpg

Tim Feeney’s Burrow

November 9, 2018. 8PM @ArtShareLA


What is it?

Tim Feeney performs a solo segment from his recent Marginal Frequency release Burrow, and improvises in quartet with singer Jessika Kenney and multi-instrumentalists Laura Steenberge and Mustafa Walker.

Burrow is four improvised poundings: a drum, a pair of sticks, a metal plate, a pair of dowels, a heavy cymbal, a large room, a small squirrel, a static listening, a punishing listening, a boring listening, a quickening listening.

Who is Tim Feeney?

Carillon is proud to present improviser, composer, and interpreter Tim Feeney, who has recently moved to Los Angeles, and joined the California Institute of the Arts’ distinguished faculty. Tim seeks to explore and examine the possibilities inherent in unstable sound and duration. Tim began working in this thread in 2002, within Boston’s community of improvisers interested in austere combinations of sounds and silences, and has since performed and recorded with musicians throughout the United States and abroad. He frequently collaborates with artists including the trio Meridian, with percussionists Sarah Hennies and Greg Stuart, pianist Annie Lewandowski, cellist and electronic musician Vic Rawlings, vocalist Ken Ueno, saxophonist Andrew Raffo Dewar, banjo and electronic musician Holland Hopson, trumpeter Nate Wooley, sound artists Jed Speare and Ernst Karel, video artist Jane Cassidy, and many others.

He has presented work at experimental spaces throughout the United States, such as the Red Room in Baltimore, Boston’s Institute of Contemporary Art, the Knitting Factory New York, and The Stone, as well as the Center for New Music and Audio Technology at UC-Berkeley, the Stanford Art Museum, Princeton University, and Dartmouth College. Within this community, he has recorded for the experimental Caduc, Accidie, Rhizome.s, Full Spectrum, Sedimental, homophoni, Audiobot, Soul on Rice, lildiscs, and Brassland/Talitres labels.

Tim also builds sound installations, concerned primarily with the acoustic properties and geographies of neglected or nontraditional spaces. His recent work has been presented by festivals at locations including Silo City, the abandoned grain complex along the Buffalo River in western New York, Boston’s Metropolitan Waterworks Museum, the preserved steam pumping station that processed the city’s drinking water, and the Bernheim Research Forest, outside Louisville, Kentucky, as well as by more formal events at the Contemporary Art Center New Orleans and the University of Richmond.