Prior to this event I have only felt the Lady Noise in the contexts of art venues. The first time I experienced Lady Noise was at the Barker Hanger in Santa Monica during Art Los Angeles Contemporary in 2010, situated amongst shipping crates, each player sitting at different eye levels. I procured a copy of their first CD recording, the cover art a visual nod to Neu.
Lady Noise and I have collaborated on a few performances (Feminist Schaudenfreude and This Is Why We Can’t Have Nice Things/Material Utterances) at LACE and Human Resources. I appreciate the aperture that the collective affords me—they provide the soundtrack to the space with anxious staccato bursts and undulating fissures creating a sonic canvas upon which to be ugly and vulnerable. Collaborating with Lady Noise is like panicking at the water rising in an air-sealed phone, a brass ring for performance artists.