Tom Carter, Dux

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Tom Carter, Dux
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Tom Carter, Dux says
*doors at 8, show at 9*

Tom Carter
Tom Carter's electric guitar work weaves strands of melody, drone, fuzz, and charged silence into intricately detailed instant compositions.

Best known for his work with iconoclastic acid-folk improvisers Charalambides (which he co-founded with Christina Carter in 1991), Tom Carter has focused on solo performances and recordings since 2012. His 2015 double LP on Three Lobed Records Long Time Underground is the final installment of a trilogy begun in 2009 with The Dance From Which All Dances Come and continued with 2014's Numinal Entry.
Tom Carter frequently collaborates with other musicians. His regular projects include a duo with No Neck Blues Band co-founder Pat Murano, free-rock improvisers Eleven Twenty-Nine (Carter, Marc Orleans, and Michael Evans), Spiderwebs (with Houston guitarist Sandy Ewen), Sarin Smoke (with Peter Swanson), Badgerlore (with Rob Fisk, Ben Chasny, and others), and various ensembles with Bay Area sound artist and composer Robert Horton. Other fellow travelers have included Gate, Loren Connors, Jandek, Bardo Pond, Tom Surgal, Thurston Moore, Steve Gunn, Dredd Foole, Pip Proud, Tim Barnes, Aaron Rosenblum, Dora Bleu, Sam Shalabi, Marcia Bassett, Christian Kiefer, Paul Flaherty, Tetuzi Akiyama, Shawn David McMillen, Inca Ore, Starving Weirdos, Ensemble Economique, Helena Espvall, Robert Millis, and Matt Valentine, among many others.

To concoct the duo's searing music, Dunn's cello is hooked up to a contact mic, which feeds into Battaglino's synths. With a converter, the pitch of Dunn's cello manipulates the tone's volume, frequency, and more, creating the Frankenstein of music. Battaglino is the electrical conductor, distributing the signals, but the experiment depends on Dunn, the sound's source. The resulting invention is unpredictable, and under such sensitive conditions, Dux never sounds the same way twice. "Every show is different," Battaglino says. "It makes the sounds chaotic and unpredictable, but also controllable."

Calling Dux a "duo" is misleading, bit only slightly — conceptually. Unlike a rock band, where members sing or play different instruments in harmony, Dunn and Battaglino guide a single sound. "We end up as one instrument playing," Battaglino says.

For Dunn, there's a balance of vulnerability and command of the music; she's the origin of the sound, but there's a give-and-take with Battaglino that allows both members to control the sound, not just one. "We're interacting with our instruments in ways that we're not controlling all aspects of it," Dunn says.
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By: Eyedrum Art & Music Gallery