Detroit Summer Smash 2008 Picture by Ellifont
Athens, GA Audience at the Flicker Bar
Wednesday, September 10, 2008
Whistling School For Boys Pictures of Live Shows
Detroit Summer Smash 2008 Picture by Ellifont
Detroit Summer Smash 2008 Picture by Ellifont
Athens, GA Audience at the Flicker Bar
Detroit Summer Smash 2008 Picture by Ellifont
Athens, GA Audience at the Flicker Bar
Writers & Critics
Here are links and cut & paste to what "they" wrote about Whistling School For Boys
Detroit Metro Times - Chris Handyside
http://www.metrotimes.com/music/story.asp?id=13185
"So, I'm flipping through the schedule for the generally-annual indie-pop fest Summer Smash coming up this weekend at the CAID (and, yes, if you ask them, they'll be glad to tell you about how they're still standing up for truth, justice and the American Way even after being raided by The Man). It's a weirdly-inspired bag of scene-loved usual suspects, genuinely awesome eclectiae (made up a word there), and boys with guitars lineup-filler sprinkled with intriguing sounding non-locals. There's no real "through-line." But that's alright. Here's the thing: I'm on the Web site, clicking through to bands about which I know nothing and I end up (by dint of mouse click) bursting my own chauvinistic claim from last week re: one-lady bands being rare-ish. On the bill for Summer Smash is one Whistling School for Boys from Athens, Ga. It's the handiwork of LeSabri (a lady named Sabrina, apparently) and she's all about the aural collage, noisy hook-flirting experimental tinkering. It's playful and hypnotic and analog and homemade — all that good stuff. Should be a swell way to start the afternoon. Check her out for yourself!"
--------------------------------------------------
Athens Exchange - Jaime Henson
http://www.athensexchange.com/articles/860
"At eleven Whistling School for Boys came out, which is to say she stepped on stage and pushed play. This set was the second strangest show I have ever seen in my entire life (the first involved two guys with grapes inside of their long john onezies, playing a Doobie Brothers song for like 17 minutes or so). Whistling School for Boys came out with a cat mask on (not that weird but not too shabby of a start), during her show passed out bread with sugar on it (and I’m pretty sure about seven people now have diabetes), and then proceeded to launch loads of stuffed animals from the front and back of the bar (and I hope nobody lost an eye or anything). All of this happening while her Books-like samples were quite nicely filling out the bar and her videos were playing. The videos reminded me of my old roommate’s art school videos she would do, complete with color distortion and stop motion. These, however, were a little bit above the norm for this sort of thing: the videos would fit quite nicely with the music (or the music fit the videos, I’m not quite sure).
I respect Whistling School for Boys for doing something different from anything else we’ve seen so far (not that that was her intention but nonetheless nice), I admire her effort in coordinating the timing on that amount of video and audio, and most of all I really liked her music."
---------------------------------------------------
Athens Exchange - Casey DeHoedt
http://www.athensexchange.com/blog/300
"Rambling into Little Kings around eleven p.m., not quite sure who’s next on the docket, there’s a woman sprawled at the foot of the stage. Clad in a white slip and surrounded by an array of stuffed animals, she begins to writhe around while ambient music sounds from the speakers and a video screen displays a single circle pulsating a spectrum of colors.
The din from the set change has not yet subdued. Few have gathered closely to view the twisting silent female in a kitten mask – an expression of confusion adorns their faces. This is the Whistling School For Boys.
The music shifts between experimental electronica to typical techno as performer Sabrina Cuadra dances briefly in a normal but somehow unsettling way. The video screen displays images varying from Cuadra cowering in the woods, sliding down stairs and slowed footage of a Latin-esque disco(?) ballroom dancers.
Cuadra moves about confidently as she distributes slices of bread around the room. Back on stage she stands to the side of the screen as she repeatedly lines her arms with clear lipgloss or perfume. Returning to the floor she tosses her stuffed animals with goodie bags crammed in the mouths out into the audience. Some are caught nervously, some left to the floor, others are played with. With an armful of toys Cuadra moves to the entrance of Little Kings where she begins to hurl her playthings back at the audience.
The audience is flatly confused by what’s happening. Some simply appreciate and respect. Some are amused by the feeling of absurdity. Some are perplexed to the point of annoyance. Yoko Ono may have been more expected.
You have to give it to Cuadra, her deadpan face fringed with childlike innocence never faltered or belied anything non-performative. The set lacked a whimsy that would have made Whistling School a Bjork cliche.
At some point a bit of reflection could be lent to the consideration of Cuadra’s performance... Notions of musical performance is stretched – if not obliterated – since the music itself was not actually performed in the moment. Was it simply performance art? If so, what was Cuadra expressing?"
--------------------------------------------------
Detroit Metro Times - Chris Handyside
http://www.metrotimes.com/music/story.asp?id=13185
"So, I'm flipping through the schedule for the generally-annual indie-pop fest Summer Smash coming up this weekend at the CAID (and, yes, if you ask them, they'll be glad to tell you about how they're still standing up for truth, justice and the American Way even after being raided by The Man). It's a weirdly-inspired bag of scene-loved usual suspects, genuinely awesome eclectiae (made up a word there), and boys with guitars lineup-filler sprinkled with intriguing sounding non-locals. There's no real "through-line." But that's alright. Here's the thing: I'm on the Web site, clicking through to bands about which I know nothing and I end up (by dint of mouse click) bursting my own chauvinistic claim from last week re: one-lady bands being rare-ish. On the bill for Summer Smash is one Whistling School for Boys from Athens, Ga. It's the handiwork of LeSabri (a lady named Sabrina, apparently) and she's all about the aural collage, noisy hook-flirting experimental tinkering. It's playful and hypnotic and analog and homemade — all that good stuff. Should be a swell way to start the afternoon. Check her out for yourself!"
--------------------------------------------------
Athens Exchange - Jaime Henson
http://www.athensexchange.com/articles/860
"At eleven Whistling School for Boys came out, which is to say she stepped on stage and pushed play. This set was the second strangest show I have ever seen in my entire life (the first involved two guys with grapes inside of their long john onezies, playing a Doobie Brothers song for like 17 minutes or so). Whistling School for Boys came out with a cat mask on (not that weird but not too shabby of a start), during her show passed out bread with sugar on it (and I’m pretty sure about seven people now have diabetes), and then proceeded to launch loads of stuffed animals from the front and back of the bar (and I hope nobody lost an eye or anything). All of this happening while her Books-like samples were quite nicely filling out the bar and her videos were playing. The videos reminded me of my old roommate’s art school videos she would do, complete with color distortion and stop motion. These, however, were a little bit above the norm for this sort of thing: the videos would fit quite nicely with the music (or the music fit the videos, I’m not quite sure).
I respect Whistling School for Boys for doing something different from anything else we’ve seen so far (not that that was her intention but nonetheless nice), I admire her effort in coordinating the timing on that amount of video and audio, and most of all I really liked her music."
---------------------------------------------------
Athens Exchange - Casey DeHoedt
http://www.athensexchange.com/blog/300
"Rambling into Little Kings around eleven p.m., not quite sure who’s next on the docket, there’s a woman sprawled at the foot of the stage. Clad in a white slip and surrounded by an array of stuffed animals, she begins to writhe around while ambient music sounds from the speakers and a video screen displays a single circle pulsating a spectrum of colors.
The din from the set change has not yet subdued. Few have gathered closely to view the twisting silent female in a kitten mask – an expression of confusion adorns their faces. This is the Whistling School For Boys.
The music shifts between experimental electronica to typical techno as performer Sabrina Cuadra dances briefly in a normal but somehow unsettling way. The video screen displays images varying from Cuadra cowering in the woods, sliding down stairs and slowed footage of a Latin-esque disco(?) ballroom dancers.
Cuadra moves about confidently as she distributes slices of bread around the room. Back on stage she stands to the side of the screen as she repeatedly lines her arms with clear lipgloss or perfume. Returning to the floor she tosses her stuffed animals with goodie bags crammed in the mouths out into the audience. Some are caught nervously, some left to the floor, others are played with. With an armful of toys Cuadra moves to the entrance of Little Kings where she begins to hurl her playthings back at the audience.
The audience is flatly confused by what’s happening. Some simply appreciate and respect. Some are amused by the feeling of absurdity. Some are perplexed to the point of annoyance. Yoko Ono may have been more expected.
You have to give it to Cuadra, her deadpan face fringed with childlike innocence never faltered or belied anything non-performative. The set lacked a whimsy that would have made Whistling School a Bjork cliche.
At some point a bit of reflection could be lent to the consideration of Cuadra’s performance... Notions of musical performance is stretched – if not obliterated – since the music itself was not actually performed in the moment. Was it simply performance art? If so, what was Cuadra expressing?"
--------------------------------------------------
Here are Music Videos for Whistling School For Boys
Live at Athens Pop Fest 2008
SandS
White Out
Kittens
Tofu and Microphone
Away
Chargeit
Live at Athens Pop Fest 2008
SandS
White Out
Kittens
Tofu and Microphone
Away
Chargeit
Tuesday, July 29, 2008
Short Summer Tour
I'll be playing Athens, Pop Fest Wednesday August 13, 2008 at Little Kings 10pm
then, Detroit Summer Smash on Saturday August , 2008 at the CAID 2pm (Early early)
then, Detroit Summer Smash on Saturday August , 2008 at the CAID 2pm (Early early)
Hello July 29, 2008
My name is Sabrina. This blog is about my experimental music & video project: Whistling School for Boys. Also, I host the jumping pictures community on livejournal. In addition, I make fan videos of music I like. Furthermore, I eat vegetarian. To continue, this blog will document my travels and share what I am up to. In conclusion, I am Whistling School for Boys
Subscribe to:
Posts (Atom)
