Sun Worship VII on the Horizion

   Sun Worship no. 7 is coming up in less than four weeks!  I have to admit, the Winter Solstice one is my favorite.  And just days after this event, we will be treated to a full moon on the solstice.

The Sun Worship is going to be a bit more work than usual but I'm looking forward to the results.  Based on the collaborative participation effect Laura Lulof's installation had on the previous Sun Worship event, it seemed like it just wouldn't be the same to go back to the same old Buoy Gallery for the next one.  So I have enlisted area artists Peter Donovan, Al Mead, and Greg Kowalski to help transform the space once again into another collaborative installation.  Performers  that evening will include Peace, Loving from Jamaica Plain, after a very heavy year of touring.  Also appearing will be Maine's veterans of improvisational sound, Mystic Out Bop Review, Walter Wright's Loup Garou, Lou Bunk and Lou Cohen from the Open Sound series in Somerville will bring 2Lous, and of course, an installation of the Offset Needle Radius.  Greg Kowalski (previously of Qfwfq Duo) will be returning to add beautiful improvised projections throughout the evening.  Come one come all to another convergence of the Sun Worship! 

Copies of the poster on heavy semi-gloss paper will be available for purchase at the event or get in touch with me.

Offset Needle Radius: Letter Of Intent

Offset Needle Radius began in February of 2008 as I transitioned into solo improvised experimental performance from a lifetime of punk rock and metal influences. Where I still find comfort in these areas of music, my creative intent has shifted.
My goal as a performer, is to present a language of sound influenced by current events and states of being, both personally and globally. I pursue the goal of conveying emotion, a sense of connection with the listener beyond words. My hope is to invoke a state of deep connection through inspiring more critical level of listening than we are used to employing when exposed to more conventional styles of music.
At times quiet, meditative, slow moving, my intention is to draw witnesses into a deeper sense of hearing, ultimately inviting listeners to transcend their physical presence and moment in time.
In more intense performances, I strive to convey more difficult emotions, exorcise demons that otherwise restrict personal growth and well being.
These intentions are not merely narcissistic public exhibitions, but hopefully a shared experience between performer and audience; for this is how I relate to the performances of others.
This is not music intended for the purpose of inspiring dance or nostalgia for music from our past. It is an invitation to join in a collective transcendence of time and space, a shared departure from the present moment.