When flutist Anne La Berge left the U.S. for Amsterdam in 1989, she put aside her aspirations as a composer and set out on a circuitous path that would lead her to a niche in the netherworld between improvisation, electronics, and noise. I first heard La Berge in 2000, when she played here with Gert Jan-Prins in the duo United Noise Toys, and her amplified, processed flute sounded just as harsh and abstract as her partner’s electronics. On the 2011 album Speak (New World), she augmented her flute with text and computers; “Drive” combines a fictional interview with Mary Anderson (an Alabama woman who invented the windshield wiper after riding a New York trolley whose driver had to stop and get out to clear snow off his windows) with sputtering digital clicks, distorted flute, ominous industrial drones, and sampled discussions of the female reproductive system. The heart of La Berge’s practice is improvisation, though, and she’s been an important part of the Amsterdam scene for years; she not only founded the wide-open Kraakgeluiden series with Steve Heather and Cor Fuhler, but she also plays in the latter’s shape-shifting Corkestra. In this rare Chicago concert she’ll improvise with some of the city’s most genre-averse talent: bassoonist Katherine Young, clarinetist James Falzone, modular synth player Brian Labycz, and bassist Jason Roebke. —Peter Margasak $8 suggested donation
Last year Steve Hauschildt, at the time still a member of recently disbanded Cleveland experimental trio Emeralds, released the most lush and developed work of his career. The credits to his album Sequitur (Kranky) list voice and 18 pieces of electronic gear, and its richly layered songs push forward his fusion of post-Tangerine Dream kosmiche and meandering retro-New Age music by injecting it with Technicolor pop. Hauschildt’s voice, disguised by vocoder, often occupies the foreground, and according to the album’s press materials its neutered sound is meant to suggest the androgyny fostered by high technology—a stale conceit I could’ve done without, given that the music’s plasticine hedonism does all its own messaging. More recently Hauschildt released S/H (Editions Mego), a sprawling double CD of relatively minimal material made between 2005 and 2012, and most of its 37 pieces—some previously unreleased, all of them hard to find—feel like sketches or experiments, in contrast with the meticulous compositions on Sequitur. “Thumbprints,” from October 2012, shares the pulsing, beat-driven feel of the Sequitur tracks, but it’s leaner and rawer. For this solo performance, the final concert in Lampo’s fall season, Hauschildt will be in experimental mode, performing publicly for the first time with the Buchla Lightning, a MIDI controller designed by synth pioneer Don Buchla that translates the movements of two wands into signals Hauschildt can use to manipulate his rig. —Peter Margasak Free with RSVP at eventbrite.com/e/lampo-steve-hauschildt-tickets-8593787249.