Bio:For the past five years, Los Angeles-based sound artist Kevin Greenspon has sculpted cinematic compositions and miniature film soundtracks that draw from ambient, shoegaze, drone, classical, field recording and harsh noise composition.
Arranged over the span of a year, "Betrayed by the Angels" is a new 12" record and live performance piece that serves as a personal reflection on finding where one belongs in the chaos of leaving. The story is told by an intimate orchestra of guitar and synthesizer voices singing out against a backdrop of crackling rumble, accompanied by video projections synchronized to each nuance, movement and texture.
Greenspon's work is primarily intended for live interaction in non-traditional environments. His extensive touring history includes over 400 performances nationwide in countless living rooms, DIY art spaces, galleries, universities, museums and unconventional venues including buses, factories, parking garages, a bomb shelter in Salt Lake City, a meat locker in Oakland, a rooftop in Wisconsin and the levee wall of an abandoned naval base in New Orleans.
Selected Press:"[His] interaction is made up of an almost solipsistic communication with compositional structures, evolving abstract spaces of sound and melody the listener may get lost in until the construction occasionally collapses by means of sudden, unexpected interference of tape manipulation or other noise production... exactly the musical category where he has established a position among the most outstanding contemporary artists."
- No Fear Of Pop
"A thoughtful, precise, and conceptual composer. You will rarely see an experimental/ambient musician play tracks live exactly as they sound on record, but that is what you might get at a Kevin Greenspon show."
- Tiny Mix Tapes
"['Machine Shop' is] a sonic feast devoured in three all-too-short minutes composed of deliciously delayed guitar pickings and crunchy crescendo-ing soundscapes."
"'Common Objects' is an incredibly restrained affair that embraces a songwriting approach to music that is commonly improvised. Greenspon has totally mastered this technique creating a controlled and thoughtful take on blissful ambient drone that occasionally threatens to explode into violent outbursts of noise."
- Norman Records
"A gorgeous record— at times heartbreaking, at times unforgiving— and it is a remarkable accomplishment... beautiful, and tranquil sounds are juxtaposed against harsh, unrelenting feedback, creating a jarring and honest listen."
- Anhedonic Headphones
"One of the most unabashedly gushed about records of last year. Full of warm and inviting guitar tones with a dangerous streak of harsh noise running beneath 9 songs of gorgeous, hazy guitar drones that have nary an equal... a strong contender for album of the year."
- Tome To The Weather Machine
"Intentionality is where Greenspon diverges from the pack, as his compositions feel considered at each moment, and fully under his control. On 'Common Objects', he takes the tones and methods common to ambient, and builds more memorable and more repeatable tracks permeated by a soft hookiness."
"A highly personal, articulated album... On this long-player, he has certainly crafted a beautiful series of textured landscapes."
- Impose Magazine
Interviews:Interview in The Pitch
Interview for I Used To Be Cool
Interview for Sound Colour Vibration Society
Mixtape and piece for Workin' Nights
Feature in the Madison Daily Page
Interview on Wisconsin DIY
Interview on Epitonic.com
Interview on Guide Me Little Tape
2-hour radio interview and label spotlight on KUSF
Interview on Denver Thread
Interview on Adequacy Music
Interview on Tome To The Weather Machine
Interview on Stronabe (scroll down for English translation)
Interview on Sean Carnage
Feature on No Fear Of Pop
Feature/interview in Ascension Magazine (pages 13-17)
Interview with Jon Barba and I on Sean Carnage
Interview and label feature on No Fear Of Pop
Interview on Microphone Memory Emotion
Interview on Hellhole Entrance
Mixtape on Warmer-Climes: words / download
Feature in Flaunt Magazine
Feature in Pitchfork article