{"id":8328,"date":"2024-05-05T14:10:51","date_gmt":"2024-05-05T19:10:51","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=8328"},"modified":"2024-05-05T14:10:57","modified_gmt":"2024-05-05T19:10:57","slug":"electric-gabby-fluke-mogul","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/electric-gabby-fluke-mogul\/","title":{"rendered":"Electric Connection: A Conversation with gabby fluke-mogul on ‘GUT’"},"content":{"rendered":"\n

Since the first electric violins hit the market in 1930, the concept of electronically manipulating the violin has maintained an aura of mystery. While musicians including Joe Venuti and Stuff Smith readily adopted amplification to their instruments over the decades, there has remained a resistance among many to change one of the most virtuosic touchstones of acoustic excellence. Arguably, such reluctance comes, in part, due to the rigorous path a practitioner must undertake to perfect their tone and the relationship they form with their instrument throughout the process. The hesitancy has seemingly applied to even some of the most ardent experimentalists. gabby fluke-mogul, who regularly explores the spaces between free jazz, improvisation, and noise, has long avoided electrifying strings. Instead, fluke-mogul chose to produce similar effects through extended acoustic techniques. But the artist\u2019s perspective seems to be changing of late. This is perhaps best seen in the upcoming  May 6, 2024 performance of \u2018GUT\u2019 at Roulette Intermedium. <\/p>\n\n\n\n

At its core, \u2018GUT\u2019 is a solo violin work. In the traditional sense, there is the lone instrument presented. But fluke-mogul\u2019s marrying of electronic manipulations and extended techniques often renders the strings to appear as if their sound came from a larger ensemble. In part, this volumizing of performers is produced by \u2018GUT\u2019\u2019s use of fourteen – each representing a day of the two-week span during which the piece was composed – speakers. The effect is further amplified through the distinctive approach to live processing provided by Danishta Rivero. But merely focusing on any perceived divide between electronics and acoustics gives \u2018GUT\u2019 short shrift. Instead, as with fluke-mogul\u2019s output more generally, one must appreciate the spiritual, emotional, and philosophical depths of the work. These elements emerge throughout our conversation with the violinist, whether reflecting upon the relationship children have to the sound world or upon the horrors in Gaza. Since the first electric violins hit the market in 1930, the concept of electronically manipulating the violin has maintained an aura of mystery. While musicians like Joe Venuti and Stuff Smith readily adopted amplification to their instruments over the decades, there has remained a resistance among many to change one of the most virtuosic touchstones of acoustic excellence. Arguably, such reluctance comes, in part, due to the rigorous path a practitioner must undertake to perfect their tone and the relationship they form with their instrument throughout the process. The hesitancy has seemingly hit even some of the most ardent experimentalists. gabby fluke-mogul, who regularly explores the spaces between free jazz, improvisation, and noise, has long avoided electrifying strings. Instead, fluke-mogul chose to produce similar effects through extended acoustic techniques. But the artist\u2019s perspective seems to be changing of late. This is perhaps best seen in the upcoming  May 6, 2024 performance of \u2018GUT\u2019 at Roulette Intermedium. <\/p>\n\n\n\n

At its core, \u2018GUT\u2019 is a solo violin work. In the traditional sense, there is only one instrument presented. But fluke-mogul\u2019s marrying of electronic manipulations and extended techniques often renders it a work that sounds like it came from a larger ensemble. In part, this volumizing of performers is produced through \u2018GUT\u2019\u2019s use of fourteen – each representing a day of the two-week span during which the piece was composed – speakers. The effect is further amplified through the distinctive approach to live processing provided by Danishta Rivero. <\/p>\n\n\n\n

But merely focusing on any perceived divide between electronics and acoustics gives \u2018GUT\u2019 short shrift. Instead, like fluke-mogul\u2019s output more generally, one must appreciate the spiritual, emotional, and philosophical depths of the work. These elements emerge throughout our conversation with the violinist, whether reflecting upon the relationship children have to the sound world or upon the horrors in Gaza. <\/p>\n\n\n\n

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PostGenre:\u00a0You suggested in another interview that children are the best improvisers because they are closest to the spiritual world. Would you mind elaborating further?<\/strong><\/p>\n\n\n\n

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gabby fluke-mogul: Children have and continue to teach me the most. The idea that children need to be taught how to listen as opposed to the idea that children are listening from when they\u2019re inside the womb, when they come earthside, and that they continue to come into knowledge of their bodies, spirits, and power are pretty oppositional in my opinion. I think wombs can be spiritual places, and I think children are closest to perhaps the deepest tones, vibrations, and frequencies due to their proximity to wombs, to bardos, to spirit worlds, and to nature. That said, everyone gets socialized or enculturated differently depending on all the sociopolitical intersectional lines of identity. <\/p>\n<\/blockquote>\n\n\n\n

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