Killick plays Appalachian Trance Metal on stringed instruments with an emphasis on unquantifiable rhythms, intuitive intonation, and shamanistic ROYGBIV. He’ll be joined by Orlando Johnson, a Baltimore multimedia artist who plays mandolin and dances in the Move Move Collaborative.

Opening the night will be a group of Baltimore string players: Ruby Fulton, Kate Porter, Liz Meredith, and newcomer Daniel Lin.

Killick Hinds lives in Athens, Georgia. His music is Appalachian Trance Metal with an emphasis on unquantifiable rhythms, intuitive intonation, and shamanistic ROYGBIV. He plays a variety of unusual stringed instruments with a comprehensive approach to genres known and as-yet-unlabeled. Specific focus includes sympathetic string activity; microtonality; pantonality; natural harmonic fretting; playing between the fretting hand and nut; and emerging technologies to facilitate new musical pathways. Reinvention has been the constant throughout his creative output. He has toured extensively as a performer (since 1985, hundreds of club/gallery/school/festival appearances in Maine, Vermont, Massachusetts, New York, New Jersey, Pennsylvania, Maryland, Virginia, North Carolina, South Carolina, Georgia, Florida, Alabama, Tennessee, Illinois, Colorado, California, Louisiana, Argentina, Denmark, Finland, and Italy) and is an active organizer and promoter of lesser-heard music. He founded record label Solponticello in 2001, and now runs H(i)nds(i)ght Studio for his musical and written word pursuits. Pop-culture mashups and ancient and obscure forms infuse his music; his song titles are integral to the works they embody: they result from free association without censorship, refined until they capture the tenor of a given piece of music.

Killick has deeply rooted classical technique as a player, but broadens his music by stretching and contracting phrases temporally, conceptually, dynamically, and stylistically. The effect more closely resembles speech patterns and emotionally-drawn architecture than it does conventional Western music. Despite its eclectic nature, the music is surprisingly familiar and accessible to audiences of all ages and levels of musical involvement.

(www.killick.me)

Orlando Johnson is known for his musical and dance performances. He has collaborated with the Arm, and contributed choreography to Michael Hersch’s opera and we, each. You can hear some of his playing on Performance In the Virtual Realm.

Kate Porter is a Baltimore native and cellist (BSA1994!). As elementary teacher in Baltimore City Schools (West Side!), she’s been teaching Music then Art now Theater since 2007 (AI used to = Arts Integration!). Since the H&H was sold in 2022, where she lived for 16 years (5D!), she has been living a lovely and much quieter existence in the county with her most beloved and magnificent cat (Bear!). She played High Zero 2006, 2009 and 2017, she is very excited to make music with old friends and new friends (Red Room!)

Ruby Fulton (b. 1981), composer and musician, writes music which invites listeners to explore non-musical ideas through sound. Her musical portfolio includes explorations of mental illness, Buddhism, philosophy, psychedelic research, addiction, and chess strategy; and profiles of iconic popular figures like the artist Jean-Michel Basquiat and musicians Syd Barrett and Whitney Houston. She has collaborated on interdisciplinary projects with thinkers and makers in the sciences and literary, movement and visual arts. She plays violin and trumpet, and teaches music at the College of Southern Maryland.

Liz Meredith is a violist, improviser and composer from Baltimore, MD. Her music explores intersections between acoustic chamber music, instrumental improvisation, electro-acoustic composition, and ambient music. Liz’s recordings include 4 solo albums, The Disposition of Vibrant Forms, a 5 LP set in collaboration with John Somers, and various solo and collaborative works on cassette. Her most recent solo albums Repro – Ext (Hard Return), Forth & Repro (s P L e e N C o F F i N) have received critical acclaim from publications such as Tiny Mix Tapes, Vital Weekly, ATTN Magazine, and the Sound Projector. In addition to performing her own music, Liz has premiered new works by emerging composers, and has also contributed her sound to recordings by a wide range of artists.

Liz’s performance record is fittingly diverse. She has performed at rock clubs, D.I.Y. spaces, art galleries, chamber music venues, music festivals, and academic conferences throughout the United States. Career highlights include performances at Signal Flow Festival, Mills College; High Zero Festival (Baltimore, MD); several performances at the Baltimore Museum of Art; The Walters Art Museum (Baltimore, MD); and The Stone (New York City, NY).

Daniel Lin (he/him) is a multi-disciplinary cellist, pianist, improviser, composer, and memory worker. Daniel is active in jazz and Black Creative Music communities, most recently performing with Bill Cole, Taylor Ho Bynum, Ras Moshe, Warren Smith, Bill Lowe, Tomeka Reid, Alexander Hawkins, Joseph Daley, Althea SullyCole, Lisette Santiago, and Eli Hecht. His practice emphasizes collective improvisation and deep listening, drawing inspiration from the music’s histories of liberation, social justice, and radical organization and solidarities. Now based in Baltimore, MD, he spends his time playing/composing music, acting/music directing for theater, and thinking about archives.

Event location:

Red Room at Normals Books and Records