San Francisco! We're beyond excited to announce that Mercury Soul is returning to the Bay Area with a show at Ruby Skye on Fri October 2nd! This time we're featuring performances by some amazing indie-classical musicians: Del Sol String Quartet, Thalea String Quartet, and members of Elevate Ensemble, interspersed with DJ sets by DJ Masonic (Mason Bates), DJ Justin Reed of illmeasures (Chicago), and DJs from the SF-based collectives Housepitality SF and Vinyl Dreams! This will be an incredible, thumping party, filled with immersive lighting, digital projections and more, so don't miss out - get your discounted earlybird tickets while they last!
San Francisco-based pianist Elyse Weakley performs music for piano and electronics by celebrated composers Mason Bates and Anna Clyne, and will include the world premiere of George Hurd’s piece, Vivarium. Weakley is a champion of new music in the Bay Area and beyond, and has performed innovative new music for piano around the world including the 2013 Atlantic Music Festival, and the 2012 Switchboard Music Festival. She has performed with SF- based electro-acoustic group The Hurd Ensemble for the past five years. Rounding out the evening is brass ensemble Tamalpais Brass performing music led by Aaron Priskorn and Graham Taylor, they will be joined by Sisu BrassLand, a seven-piece ensemble that will perform originals by Aaron Priskorn. On Second Fridays at the Center for New Music, the Switchboard Presents concert series features split bills drawn from a roster of Switchboard Music Festival alumni, Festival artists, and other musical acts who fall between genre lines.
Bio: Currently residing in San Francisco, Elyse Weakley has taken part in a wide array of musical projects and has served in many roles including: music director, pianist, vocalist and composer. Throughout her career she has performed many contemporary works and has frequently collaborated directly w...See Full Bio
"Electronically manipulated harp melodies shadowed Weakley’s live piano playing relentlessly, yielding a kind of mercurial heterophony between the two elements. Eventually the pianist abandoned the keyboard to access the more blurred sonorities of clusters and strings stroked directly by hand before returning to the opening moto perpetuo and bringing the piece to a rounded close."