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past 611 shows
negativland dinner order!!
Not Technically a 611 show. But nonetheless must be saved here.
Clavius Productions proudly presents an evening with one of its biggest inspirations, the legendarily hilarious and subversive Negativland:
Sunday, August 5
Warehouse Theater
1017 7th St NW WDC
http://www.warehousetheater.com
$15, all ages!
doors at 8pm, show at 9pm
Legendary trickster band Negativland brings a new version of their weekly radio broadcast (Over the Edge, on the air since 1981) to the live stage for the very first time, mixing music, found sounds, found dialog, scripts, personalities, and sound effects within a “radio” theater-of-the-mind. "It's All In Your Head FM” is a two-hour-long, action-packed look at monotheism, the supernatural God concept, and the all-important role played by the human brain in our beliefs. Dr. Oslo Norway is your “radio” host, and Christianity and Islam are the featured religions, as Negativland asks you to contemplate some complex, serious, silly, and challenging ideas about human belief in this audio cut-up mix best described as a “documentary collage”. “IAIYH FM” is a compelling and uniquely fun presentation of sticky theological concepts, which has actually been known to provoke arguments for days after the show is over.
Negativland
http://www.negativland.com
Since 1980, the 4 or 5 or 6 Floptops known as Negativland have been creating records, CDs, video, fine art, books, radio and live performance using appropriated sound, image and text. Mixing original materials and original music with things taken from corporately owned mass culture and the world around them, Negativland re-arranges these found bits and pieces to make them say and suggest things that they never intended to. In doing this kind of cultural archaeology and "culture jamming" (a term they coined way back in 1984), Negativland have been sued twice for copyright infringement.
Over the years Negativland's "illegal" collage and appropriation based audio and visual works have touched on many things -- pranks, media hoaxes, advertising, media literacy, the evolving art of collage, the bizarre banality of suburban existence, creative anti-corporate activism in a media saturated multi-national world, file sharing, intellectual property issues, wacky surrealism, evolving notions of art and ownership and law in a digital age, and artistic and humorous observations of mass media and mass culture.
While it is true that, after being sued, Negativland became more publicly involved in advocating significant reforms of our nation's copyright laws, Negativland are artists first and activists second. All of their art and media interventions have intended to pose both serious and silly questions about the nature of sound, media, control, ownership, propaganda and perception. Their work is now referenced and taught in many college courses in the US, has been written about in over 30 books (including NO LOGO by Naomi Klein, MEDIA VIRUS by Douglas Rushkoff, and various biographies of the band U2), cited in legal journals, and they often lecture about their work here and in Europe.
Since 1981, Negativland and an evolving cast of characters have operated “Over The Edge,” a weekly radio show on KPFA FM in Berkeley, California. “Over The Edge” continues to broadcast three hours of live, found sound mixing every Thursday at midnight, West Coast time, with online access. In 1995 they released a 270-page book with 72 minute CD entitled "FAIR USE: The Story of the Letter U and the Numeral 2." This book documented their infamous four-year long legal battle over their 1991 release of an audio piece entitled "U2". They were the subjects of Craig Baldwin's 1995 feature documentary SONIC OUTLAWS and created the soundtrack and sound design for Harold Boihem's 1997 documentary film THE AD AND THE EGO, an excellent in-depth look into the hidden agendas of the corporate ad world and the ways that we are affected by advertising. In 2004 Negativland worked with Creative Commons to write the Creative Commons Sampling License, an alternative to existing copyrights that is now in widespread use by many artists, writers, musicians, film makers, and websites. In 2005, they released the elaborately packaged NO BUSINESS (with CD, 15,000 word essay, and custom made whoopie cushion), and debuted "Negativlandland" - a large visual art show of over 80 pieces of their "fine art" works, video, and home-made electronic devices, at New York City's Gigantic Art Space. That exhibit continues to travel and appear around the country. More recently Negativland have been touring a new performance piece called “It's All In Your Head FM”, a two-hour-long audio cut-up mix about monotheism, the supernatural God concept, and the all-important role played by the human brain in our beliefs. Christianity and Islam are the featured religions, as Negativland asks it’s audience to contemplate some complex, serious, ridiculous, and challenging ideas about human belief in a show best described as “documentary collage.”
Negativland is interested in unusual noises and images (especially ones that are found close at hand), unusual ways to restructure such things and combine them with their own music and art, and mass media transmissions which have become sources and subjects for much of their work. Negativland covets insightful humor and wackiness from anywhere, low-tech approaches whenever possible, and vital social targets of any kind. Foregoing ideological preaching, but interested in side effects, Negativland is like a subliminal cultural sampling service concerned with making art about everything we aren't supposed to notice.
7/6 Mike Tamburo (Music Fellowship)/Nick Schillace (Primitive American fingerpicker from Detroit)/Tunnels (solo experimental guitar, mem. of Jackie-O Motherfucker)/Acre/Yellow Crystal Star (psychedelic guitar noise symphonies from Tallahassee FL)/Black History Moth (percussion drone) \\Full write-up//
Tue 6/12/07: Madagascar (instrumental gypsy folk from Baltimore, mem. of The Big Huge)/Lord Fyre (mem. of John Wilkes Booze, Emperor Jones)/ Normanoak (mem. of Impossible Shapes, Secretly Canadian)/ The Horns of Happiness (mem. of Impossible Shapes, Secretly Canadian)/Ryan Jewell (experimental percussionist from Columbus OH)
\\Full write-up//
Sunday 6/3: Emeralds (drugged-out drone from Ohio)/Birds of Delay (heavy UK drone)/Plain Lace \\Full write-up//
Friday 5/4: Gianni Gebbia (Italian improv sax)/John Berndt/Ilya Monosov/Yximalloo (solo Japanese noise guitar \\Full write-up//
Thursday 3/29: Jack Rose/Branch-Riordan-Sexton (trumpet/sax/drums free-jazz trio from Chicago)/ Microwaves (spastic no-wave noise-rock from Pittsburgh)/George Steeltoe Ensemble (free jazz from Lexington, KY) \\Full write-up//
Friday 3/16: Susan Alcorn (improv pedal-steel guitarist from Houston)/Ilya Monosov/ Trockeneis (dry ice/bowed metal improv ensemble from Baltimore)/Audrey Chen (cello/vocals/electronics solo improv from Baltimore) \\Full write-up//
Fri 3/2 Carpark Records weekend w/ Ecstatic Sunshine/Lexie Mountain Boys/Cache Cache \\Full write-up//
Thu 2/22 Eric Carbonara (solo flamenco/raga guitar from Philly)/Owl Xounds (NYC free jazz, mem. of La Otracina/Blizzards)/Ryan Jewell (solo experimental guitar from Ohio)/Layne Garrett (of Cutest Puppy in the World) \\Full write-up//
Thu 2/15 Micah Blue Smaldone (ragtime fingerpicker from Maine)/Christopher Teret (from Company)/Aidan Baker (Alien 8 Rec., of Nadja, solo guitar ambient drone)
\\Full write-up//
1/12: Northern Valentine (PA ambient drone a la Landing/Windy & Carl/Flying Saucer attack)/PD Wilder (of Austin's Hotel, Hotel)/Insect Factory
12/2: Peter Wright (Last Visible Dog, experimental psych/drone from New Zealand)/Antony Milton (from New Zealand)/Insect Factory/Callers (Providence folk/psych duo) *full write-up*
11/21: Charalambides (Siltbreeze/Kranky)/Volcano the Bear/Kohoutek/The Cutest Puppy in the World
11/3: Crude (New Zeland solo noise, Ecstatic Yod/Flying Nun)/Capital Hemorrrhage/The New Flesh/Kingshit
10/26: Black Meat (ex-Harry Pussy, with Tom Smith of To Live and Shave in L.A.)/Clang Quartet /American Band(mem. of Facedowninshit)
10/13: Ting Ting Jahe/Ben Owen/MPLD/Radio_Ruido/Radio 4x4/AM Salad
*more info*
9/16: Free Folk Phantasmagory III w/ Little Howlin' Wolf/Ilya Monosov & Preston Swirnoff (Eclipse)/PG Six/Christina Carter (of Charalambides)/Max Ochs (Takoma)/Shawn David McMillen (of Ash Castles on the Ghost Coast)/Fern Knight (VHF)/Dan Higgs (of Lungfish on guitar? Jew's Harp? poetry?)/Lida Husik (Shimmy Disc)/anti:clockwise (of Tono-Bungay)/Neg-Fi (NYC noise)/The Big Huge (Secret Eye)/Death Chants (Time Lag)/Kohoutek
8/29: Larkin Grimm (Secret Eye, psych/folk from Providence)/Mike Tamburo (Music Fellowship, experimental acoustic guitar, from Pittsburgh)/Pepi Ginsberg (solo folk from Philly)/Slim Castle (solo electric guitar with tight jeans)
7/20/06: Kohoutek/Skeletons & The Girl-Faced Boys/Eagle-Ager
5/19: Mike Tamburo (Music Fellowship)/Keenan Lawler (Eclipse)/Nick Schillace/Seahorse Staircase
Saturday, April 29th: 6pm start
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4/14: :::write-up::: La Otracina (mem. of Lust Ionics/Owl Sounds)/Tall Firs (Ecstatic Peace)/Pepi Ginsberg (Philly solo folk)/Kohoutek
Saturday, April 8: Dogme 95 (Secretly Canadian)/Twodeadsluts Onegoodfuck (Boston noise)/The Triumph Of Gnomes/Snake Hips/Cash Slave Clique/sc.all/Piasa
Saturday, March 25: Apothecary Hymns (Locust Music, NYC psych/folk)/Function (Australia)/
Coach Fingers (mem. of No Neck Blues Band/Suntanama)
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Wednesday, March 1, 2006: Owl Sounds (NYC free jazz, featuring Arrington de Dionyso of Old Time Relijun)/Spaceships Panic Orbit/36 (mem. of Cash Slave Clique/Nimrod/Steve Mackay/Acid Mothers Temple)/Warning Danger Of Death
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Wednesday, Jan.
25: Little Howlin Wolf/Facemat/Jason Simon
8pm, $5 suggested donation
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| james pobiega lives on the southwest outskirts of chicago, where he has spent a great deal of time playing as a street musician. his aliases include little howlin' wolf, deacon blue, buccaneer bob and shadow drifter. he described himself as a musicologist. he has an extensive list of credits, including street theater and his long career as a do-it-yourself musician. if you are fortunate enough to meet him and spend some time listening, he will proudly share with you accounts of other adventures... as a bounty hunter, scuba diving instructor, activist with the solidarity movement, secret agent, even working in character as a children's entertainer in pirate guise. famous names are sprinkled thru the conversation, mentioned as both friends (mr. t) and those who have derived inspiration from his activities (steely dan). during the time i spent with him, he was kind enough to share several of his recordings, some released, some unreleased. he also had a huge quantity of documentation of his career, including clippings from newspapers, magazines, cartoons, man on the street interviews, pictures of him playing in europe. he has primarily worked within the blues & freeform jazz idioms, but is very open to other influences... cajun, voodoo, pirates included. his recordings are hard to come by, and are much sought by collectors. the one lp i have, the cool truth, is a melange of styles: drums with chants in tongues i cannot recognize, multi-tracked blues songs that seem to threaten to fly apart, but hold together somehow, growling buccaneer-speak and channeled new orleans spirits. i have to mention the hand-painted & lettered cover as well, becuase it reflects the quality and personality of the music in the grooves perfectly. hopefully, james pobiega's work will become more available in the next year or so, as the destijl label is set to release shadow drifter lp, and there is hope that his live performances with nautical almanac will become available at some point. james pobiega discography as little howlin' wolf * the guardian as shadow drifter * shadow drifter |
Friday, 12/9:
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Mike Tamburo (Music Fellowship) Chris Grier (of To Live And Shave In L.A.) Seahorse Staircase (DC guitar/percussion duo) + a team FILO film screening by Luke/Jim (of Kohoutek) |
Mike
Tamburo
http://www.miketamburo.com/
Mike Tamburo has created a pristine document of new American ethnic
guitar music channeling energies similar to the likes of Fahey, Windy
and Carl, Six Organs of Admittance, Gastr del Sol, Charlemagne Palestine,
Loren Connors, and Tower Recordings. Tamburo approaches guitar with
the constant joy of discovering new sounds and techniques. As one
of the main players behind Meisha and Arco Flute Foundation, Tamburo
has dedicated himself to exploring the nuances of his guitar in a
group setting. With his first solo release, Tamburo combines guitar
with sounds from a wide range of sources, including organ, keyboard,
electronics, Tibetan bowl, alarm clock, accordion, piano, ebow, bowed
guitar, mandolin, percussive guitar, electric piano, effects, and
other engineering, to explore and hone in on a more singular sound
and vision.
Seahorse Staircase
An acoustic guitar and percussion duo who play
open-tune drones and psychedelic riffs, influenced by Gnaoua trance
music, English acid pastoral, and New York Fluxus experiments.
Chris Grier
DC-based writer and member of To Live And Shave In L.A. whose guitar
pieces saddle both the beautiful and bloody. His early recordings
layer fuzzed-out rhythms and charming string plucking.
FILO (Friendly Intervention
Liberation Organization)
http://www.teamfilo.org
We practice friendly interventions, or positive disruptions, of people's
lives. A happy by-product of TEAM FILO's patented performance therapy
is our recent video product, "BLOWBACK (Season 1)." In making
a film typically the desired end of effort is the film itself, but
in this case the film is only a document of the core priority: The
process of getting adults back into 6th grade sleepover head -- the
mode of eating junk food, playing pranks, and making yourself pee
from laughing. The process is the point.
Friday, 11/25:
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Mikroknytes
(DC violin/electronics duo on Scarcelight, Crank Automotive) |
| Sharks
With Wings http://www.sharkswithwings.com First off, I have to give a lot of credit for the packaging/covers of this CD-R. Spraypainted gatefold sleeves with silkscreened front, back, and inside covers. Add to that, they silkscreened the vinyl sleeves it all goes in. Definitely top-notch packaging. So this got my hopes up for the music itself. Sharks With Wings are a bit schizophrenic -- sometimes it suits them well, other times it seems contrived. When the band is at their noisiest, they are at their best. A majority of these tracks are composed around harsh, electronic rumbles that will shake the ground you're standing on. Other times, though, they try to add some semblance of structure and it falls flat. It's like they're trying to be cute, or something. The thick sludge and shock treatment percussion of "PM on the Scene" is fucking great. It's abrasive in all the right ways. Glitchy soundscapes highlight "Sweet Sweet Pony," and it works. In fact, on this track, Sharks With Wings manage to get some cohesion going, but in the right way. These are the sounds and moments I hope they pursue on future releases, because a full album of stuff like this would be quite well-received by these ears. This is a very solid start from an intriguing band, and with the fantastic packaging added in - this is worth seeking out. (Brad Rose, Foxy Digitalis) |
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Sunday, 11/13, 8pm:
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Michael
Chapman (legendary UK folk/psych singer/songwriter on Harvest/Decca) |
The
guitar and voice of Michael Chapman first
became known on the Cornish Folk Circuit in 1967. Playing a blend of
atmospheric and autobiographical material he established a reputation
for intensity and innovation. Signed to EMI's Harvest label he recorded
a quartet of classic albums. LPs like Rainmaker and Wrecked Again defined
the melancholic observer role Michael was to make his own, mixing intricate
guitar instrumentals with a full band sound. The influential album Fully
Qualified Survivor, featuring the guitar of Mick Ronson and Rick (Steeleye
Span) Kemp's bass, was John Peel's favourite album of 1970. Survivor
featured the Chapman 'hit', "Postcards of Scarborough", a
characteristically tenderly sour song recounting the feelings of nostalgia
and regret.
A label change to Decca brought a change in sound. Electric guitar,
still with that distinctive Chapman fluidity, featured more prominently.
Tracks like "New York Ladies" and "Firewater Dreams"
on Millstone Grit showed a guitar master pursuing sounds and textures.
Michael continued to build his live reputation, touring solo and with
a variety of groups, recording the live album Pleasures of the Streets,
a strong mix of solo and band performances. He was a regular session
contributor to Radio One, and BBC TV broadcast two Chapman Band performances
as part of their Sight and Sound series.
A lively and accomplished improviser, Michael gained a reputation for
re-working material, both before an audience and on record. Songs were
seen as standards, themes to be explored, extended, and varied on stage
and in the studio. The Don Nix-produced Savage Amusement featured versions
of the Chapman songs "Shuffleboat River Farewell" and "It
Didn't Work Out". Different musicians and a different sound breathed
new life into earlier material, showing Michael to be a jazz musician
in spirit if not in sound. The Man Who Hated Mornings showed the respect
Michael commanded among musicians with supporting performances from
Andy Latimer of Camel, Keith Hartley, and violinist Johnny Van Derek.
1978 brought another label change and the release of Playing Guitar
The Easy Way, a guitar tutorial record that explained in simple terms,
methods of playing the guitar using 12 different instrumental pieces
each with a different open tuning. The critically well-received albums,
Life On The Ceiling and Looking For Eleven, showed that Michael had
fully absorbed elements of rock as he had done folk during the '60s,
to produce a hybrid that mixed folk, jazz phrasing, rock, and elements
of what became known as New Age Music.
In response to public demand, Michael recorded a solo album Almost Alone,
presenting the relaxed eclectic mix that was a Chapman club gig. The
'80s saw Michael back with Rick Kemp. Touring as a duo they released
the live album Original Owners, whose version of "Shuffleboat River
Farewell", stripped back to guitar and bass, showed that old dogs
could teach new tricks. Anyone hearing the anger of the newer material,
coupled with the volume and energy of the Chapman Kemp band Savage Amusement,
formed in the mid '80s, was left in no doubt that here was an elder
statesman growing more acid, rather than mellower with age. After a
period of reflection and lower-profile releases, Michael captured the
mood of the time with his '87 album Heartbeat, a groundbreaking thematic
album featuring a continuous 38-minute piece of music. This was an ambition
made possible by the advent of CDs.
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Experiments
with sequencers and sampling on the '90s track "Geordies Down
The Road", an anthem to the death of employment in the North
East, assaulted the listener with foundry atmospherics and industrial
guitars, showing that Michael wasn't standing still. The albums
Still Making Rain and '95's Navigation presented a man whose world-weary
voice, given a patina by life and hard living, delivered sensitive,
emotional songs. While aware of his past, reinterpreting his hit
"Postcards of Scarborough", Michael looked to the future.
The playing was more considered than ever before. Fewer notes and
space for music to breathe, gave songs like "The Mallard"
and "It Ain't So" an almost hymn-like intensity. 1995
also saw the publishing of Michael's first novel "Firewater
Dreams", a thinly veiled autobiography, which fleshed out some
of his highly personal songs and explored his themes of regret,
travel, and loneliness. Reviews of his recent album Navigation show
the high regard for Michael Chapman: Mojo 11/95 "Twenty-one
albums and he is still amazing"; Q 12/95 "**** (four stars
out of a possible five) and his best album in years". Dreaming
Out Loud followed again to good reviews. Twisted Road with the brilliant
"Memphis in Winter" closed the century with reviewers
calling it a return to the standard of Fully Qualified Survivor
30 years earlier.The new century brought two live albums, a series
of reissues, and retrospectives with the Growing Pains series, documenting
early live recordings and archive material. Travels in the USA and
a love of photography informed Americana and Americana 2, instrumental
snapshots with stunning sleeves and breathtaking guitar playing. This self-styled old white blues guy from Yorkshire is one of the most underrated heroes of our time. With his uniquely English melancholic perspective and emotive guitar style he deserves wider recognition. |
Clavius
Productions presents an evening of transcendent solo acoustic
guitar, honoring the release of the Imaginational Anthems compilation,
which includes all three performers on the bill. |
Friday
10/14, 8pm:
Sonic Circuits DC 2005 and Clavius Productions presented:
The 202804 Noisefest
w/ Nautical Almanac (Load/Heresee), PSI, Life Partners (Twisted Village),
The Trust Riots (mem. of Accelera Deck), Lust Ionics
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Nautical Almanac http://www.heresee.com/nauticallink.htm "Spliced from the same mutant gene pool as soundscrape engineers Wolf Eyes and even sharing the occasional member in James "Twig" Harper, Nautical Almanac traffic a weirder psychedelic extremity via even more abstract gadgets. Transplanted from the midwest to Baltimore, Harper and partner Carly Ptak have set up their own private alternate dimension in the city where Poe died. From their base at the self-named Tarantula Hill, the pair helms the HereSee record label, hosts gigs by fellow traveling fuzzniks and, of course, commits their own cracked frequencies to tape." (Dusted) "The future is a vast apoorcalyspe turning the earth into a beautiful wasteland of rewired ideolgys, hacked and reconstituted technologys tword a nomadic existance. Either your with us or against us. Don't fight with the reformers, it just prolongs the cycle of human evolution, you are here+now for a reason, feed the flames so the melting pots will boil and the shit will rise to the top. Now scrape the scum off and look at it closely, shove wires in it and listen to how it sounds. This is what Nautical Alamanac brings to the table at the mostly blindfolded bofoon dinner party called 'modern culture'. Armed, with, piles, of, wires, cables, homemade,electronixs, 1,000, filtering, oscillators, runing, thru, metal, detectors, pumped, fists, of, pure, psychic, abilty.... they are crawling into your crummy city and connecting those cultural dots and then smashign them in one herky-jerky swoop." psi http://www.evolvingear.com/ psi is Jaime Fennelly (electronics), Chris Forsyth (guitar), and Fritz Welch (drums, cymbals & objects). Brooklyn, New York based. Cathartic, hermetic, meditative noise that slowly evolves into nothing. Jaime Fennelly is an electronicist from Brooklyn, New York whose ongoing practice includes working with psi, Pee In My Face with Surgery, Nicolas Field, Miguel Gutierrez, Shawn Hansen, Chris Heenan, Sean Meehan, and Chris Peck. During his recent summers, he has traveled to the mountains to mentor with the Ancient Ones Frozen in Eternal Fire. Guitarist Chris Forsyth lives in Brooklyn, NY, USA. His work is mainly concerned with exploring the limits and usage of sound as music and the guitar as a sound-generating device. He is a founding member of psi. Other activities include the "small speakers" project Wrasses; a long-running collaboration with Ernesto Diaz-Infante; the mysterious and rarely spotted quartet Phantom Limb & Bison; duo with Chris Heenan; and the civil twilight cover band Dirty Pool. He has performed in many corners of the US and Europe in all manner of venue. Fritz Welch is an artist whose practice is equally divided between the sonic and visual realms. These concerns have been manifested in sound/sculpture/drawing installations, live improvisation, performance art, and studio recordings. He has exhibited in galleries and kunsthalles in the United States and Europe and has toured widely with groups including nihilistic improvisers psi and comedy/noise actionist Crank Sturgeon. His approach to non-specialization allows a cross-pollination feedback loop that heightens each creative act with clarity and immediacy. A nightmare contains the tools to sing the fields of focused chaos. Each individual work or gesture contains the sparse remnants of ruination that coexists within the rebuilt substructures of everyday life. Life Partners (aka Crystal Cock Over Canada) "There are some stories where every girl has a movie star face and a dirty book body. There are some stories where every guy can be God if he has the balls to stand there with 30 friends and strut around. The lives of the Life Partners are as lurid and unwitting as their music is gaudy and crude. Two boys, one blond and one brunette, went on a road trip to Texas with 250 dollars all in ones. They listened to the same Marty Robbins record over and over all the way across the state. They saw a pig get shot. They visited a hall covered in mirrors and commemorating the fame of Oral Roberts. By the time they came home they knew their American experience had made them partners for life, so they called themselves the Life Partners. The first thing they decided to do was start a fake band that would pass its recordings off as improvisations by 1970s Jamaican teen punks whose dads all worked at an army base. They recruited a girl who was obsessed with classical pianist Glenn Gould and wanted the brunette to marry her. Then they met a fantastic Canadian metal guitarist who was also the champ of his roller-hockey team, even though his dream was to play ice-hockey. The boys asked him to play drums, and the band was complete. An instant hit among the happening music scenesters around town, they play in the basements, the record stores, the abandoned warehouses, and the dive bars all over Boston. Their fans include dope-fiends who sell stolen VCRs out of the backs of cars, record collectors with restraining orders against then, art-school dropouts with misgivings about hygiene, and more. The Life Partners now have a record which conjures the ghosts of James Chance, the Collins Kids, and the Electric Eels, but ultimately sounds not quite like anyone else." The Trust Riots http://www.scarcelight.org/ Mike Karadimos - bass/guitar/feedback/tapes Chris Jeely - guitar/feedback/drums/tapes The musical partnership of Chris Jeely and Mike Karadimos began in 1994 in the basement of Mike's parents' house, when Chris asked Mike to learn how to play bass. Over the last eleven years their individual paths have seen Mike play in a handful of bands (Trading Shirts, The Ashley Tremolo, [both w/ Chris] and Cherry Valence), while Chris later went on to record solo guitar work as Accelera Deck. A few attempts over the last five years have been made to record some of Mike's solo work, and recently Mike began engineering and producing the forthcoming Skulllike album, Wide Awake. From this fertile background has sprung The Trust Riots, which is a meeting point for both artists based on a mutual love of guitar feedback, and a desire to capture the spirit of early punk rock. Their sound revolves around the use of live processed guitars, laptop, and multiple tape players creating an atmosphere that is equal parts drone, noise, and found sound. Lust Ionics http://vorg.net/csr/artistssonsoffire.htm LUST IONICS is Adam Kriney, Ed Chang, and Motoko Shimizu. Here's what everyone does: Adam Kriney: drums, percussion Ed Chang: alto sax, electric guitar, homemade instruments Motoko Shimizu: voice, toys, percussion, electric guitar We play super destroying improvised music that ranges from grind-punk to improv-garage-rock to free-jazz to harsh-noise to free-metal. "Live Singles In Providence aka Bloody-Fucking-Gore-Improv-No-Wave-Skronk-Meltdown presents a limited to 49 copies 3" of ecstatic-free-metal blowouts from these liberated-to-the-point-of-psychosis New York heads, featuring drummer Adam Kriney of Owl Sounds et al, Ed Chang on homemade reed instruments, ‘demonized’ alto sax, toolbox percussion, and ferocious noise guitar, and Motoko Shimzu on post-Patty Waters/Junko-styled high/death vocals. 9 short blasts of primitive Hijokaidan/Abe-Takayanagi attack strategies played by punks that don’t know any better. This is as crude as all hell." |
Δ
Jack Rose
(VHF/Eclipse, ex-Pelt)
IΔ Fursaxa (Ecstatic
Peace/Time Lag)
IIΔ Tono-Bungay
(Twisted Village/Squealer)
IIIΔ Samara Lubelski (of
Hall of Fame, ex-Sonora Pine)
IIIIΔ Paul Metzger
(avant-banjo on Chairkicker's Union, from Minneapolis)
IIIIIΔ Forgotten Works
(Erik Wivinus of Salamander playing guitar solo)
IIIIIIΔ Timothy, Revelator
(of Stone Breath)
IIIIIIIΔ Sunwards (members
of Rake)
IIIIIIIIΔ Facemat
IIIIIIIIIΔ Kohoutek
IIIIIIIIIIΔ Donny Hue & the
Colors
Jack
Rose
http://www.vhfrecords.com/jackrose/
Jack Rose is -- without exaggeration -- one of the premier fingerpickers
on this revolving chunk of dirt called Earth. From delta blues and
bluegrass to Hindustani raga drone and avant-garde composition, Jack's
songs touch upon numerous cultures, eras, and moods, culminating in
an overarching statement of personal _expression. His ability and
melodic sensibilities completely belie his thirty-something years.
“Drink a couple shots of neat Kentucky whiskey and see if you
don’t slur raag and rock into the same guttural syllable. While
I can’t comment knowledgably upon Jack Rose’s substance
intake during the sessions that comprise Raag Manifestos, his third
LP of acoustic steel-stringed guitar music, he certainly managed to
mash those sounds together so solidly that they bond into an entity
heavy enough to exert its own gravitational pull. That he does this
with neither an amplified instrument, nor any formal training in Indian
classical music, only heightens his accomplishment.
With each successive record, Rose has stepped further from the Mount
Rushmore-sized shadows cast by John Fahey, Robbie Basho, and Sandy
Bull. Sure, you can hear their influence in his choices of instrument
and material; and like them, he plays steel-stringed acoustic guitar,
and blends American blues and folk styles with Eastern and Western
elements.
But Rose, unlike the rest, came to fingerpicking fairly late in his
personal musical evolution. He grew up listening to classic rock and
graduated to punk without ever cutting ties with his old school. Pelt,
the band in which he came of age as a player, used punk’s anything-goes
ethic as permission to use Indian instruments, as well as minimalist
forms, without going through any lengthy dues-paying process.
There’s no denying Rose’s command of the guitar. On “Tower
Of Babel,” for example, his nuanced articulation and resonant
tone combine to stir the emotions. But he hasn’t lost that punk
attitude. Not only does Rose make good on the record’s name,
staking his claim farther into the hinterland of the Indo-blues territory
any of his Takoma forebears did, he does it with unsurpassed aggression.
His slashing attack on “Black Pearls From the River” and
brutal chording on “Hart Crane’s Old Boyfriends”
is pure rock and roll, and it’s the weight in his playing that
makes this album stand out in a year packed with solo acoustic guitar
records.” (Bill Meyer, Dusted)
Fursaxa
http://www.fursaxa.net/
Tara Burke is a Farfisa chord organist and singer formerly of Clock
Strikes Thirteen, Ted Casterline and his Perfectly Perfect Pieces
of Fruit, and the legendary (at least in mid-'90s underground psych
circles) Siltbreeze band The Un. She now performs solo as Fursaxa.
Tara has an album called Mandrake that Kawabata Makoto (from Acid
Mothers Temple) produced and released, plus recordings on Time Lag
and Ecstatic Peace. Burke's folk-psych is informed by early western
musical concepts (Gregorian chants, Hildegard von Bingen, fugues,
etc.) and Nico's The Marble Index.
"Everyone thinking of buying a Fursaxa album should be aware
that Tara Burke has the ability to put listeners into a trance-like
state. Her voice is somewhere between a tenor and an alto, and when
she ventures in the lower ranges, she might as well be a hypnotist.
Burke got my attention years ago because there weren't many women
making weird, experimental, psychedelic music. There still aren't
many, but Burke continues to put out excellent album after excellent
album. Madrigals in Duos was recorded over two years ago but has finally
been properly released by the Time Lag imprint. After one listen,
I'm even more convinced that Tara Burke is a mystic. There are dozens
of familiar sounds all over this record. From her trademark Farfisa
to that opiate voice, this is the territory I have grown accustomed
to when playing a new Fursaxa record. This music is often formless,
drifting in and out of structure like one fades in and out of consciousness
during lazy summer afternoons. It's this last aspect of Madrigals
in Duos, though, that most resonates with me. It's weird to think
of this as any sort of "feel good" music, but during these
first weeks of summer, this is my perfect accompaniment to days spent
lounging in my pajamas, doing little but writing emails and watching
TV. There's something under the surface here that lends itself to
the transition into the full ascent of the hottest season, a time
when I am generally more productive." -- Brad Rose (Foxy Digitalis)
Tono-Bungay
http://www.tensionheadache.org/tonobungay.htm
Bob Bannister - guitar, violin, synth
Tony Cenicola - drums, electronic percussion
Robert Dennis - guitar, bass, records & tapes
Tony and Robert have a long history of improvisation, from the earliest
days of Tension Headache. Usually flopped out on one living room floor
or another, they'd put on headphones, hook up every piece of gear
they could find and just cut loose. In the late ‘80s, Robert
met Bob when he joined the indie rock mirage called Fire in the Kitchen.
Sooner or later, it would have to come to this...
At some point in 1992, Robert and Tony decided to get off the living
room floor and make use of room 705, the FITK rehearsal space. Bob
joined them on that occasion, and now it's today. Tono-Bungay have
not as yet recorded at Tension Headache as a group, but we hope that
studio improvements will allow for such a session to take place.
"Over the past few years, their intermittent releases have seemingly
attempted to touch all bases of format possibility – starting
with a 7" single, they released an LP, a 10”, a split 10”
(with the Tower Recordings), and most recently a compact disc; all
are worth hearing, excerpts from extended instrumental jams arranged
for maximum damage. They also show up on the recent Pearls Before
Swine tribute LP, in a moody melodic vein (a la Bob and Tony’s
work with Fire in the Kitchen back in the late ‘80s/early ‘90s).
And while I’m listing, Bob occasionally can be found going the
solo route with abstract guitar and subtle vocal melodies, all highly
engrossing.
But it’s the live setting where the three come into their own,
extemporizing ever-expanding soundscapes of great beauty and depth,
psychedelic as all get-out but tied to few genre conventions, sailing
through improvisational prog-space in a fashion pretty much unmatched
these days. In fact, it’s occasionally possible to believe that
the last 30 years of experimental ‘rock’ were but a prelude
to these guys, loosening the world up for their unbound charting of
the inner and outer spaceways." (Deep Water)
Samara Lubelski
http://www.thesocialregistry.com/
Samara Lubelski steps outside the context of long time collaborators
Hall Of Fame, Metabolismus, The Sonora Pine, The Tower Recordings,
& Jackie-O Motherfucker to deliver a solo vision from an alternate
psychedelic folk universe.
Samara is a native New Yorker who grew up in the haze of artist infestation
of Soho. She has been involved with various projects ever since she
was allowed to cross the street on her own for an egg cream and spilled
it on John Cage. Through the time of playing in various groups, she
has compiled an impressive resume that covers a myriad of genres,
such as her work with the avant/psych/folk outfit Hall Of Fame, into
the lair of those bohemian German musos Metabolismus, and onto the
indie rock interpretations of The Sonora Pine, with some serious treks
into the world of The Tower Recordings and off-world with Jackie-O
Motherfucker, to name just a few.
This album is a new level where Samara controls all aspects of the
sound, started at the compound of Metabolismus in the forests outside
of Stuttgart, Germany with the help of Moritz Finkbeiner and David
Mueller. She returned to the U.S. and to her part-time place of work
to complete her album at the Rare Book Room. Joining her were two
of her old chums from the Tower Recordings, PG Six, and Tim Barnes.
Add to the mix the guitar aficionado Marc Moore, who has had his hand
in Cat Power and the Lynnfield Pioneers and various other projects'
cookie jars. Cynthia Nelson, who has played from one coast to the
next performing solo material and collaborating with others, showed
her verve on the flute.
What all these elements have added up to on Samara’s album is
a cycle of songs that are almost deceptive in their catchiness. Layers
of sound that are delicate without being fragile. There is a resilience
that makes this album balance on the edge of being the type of LP
that is perfect on both rainy mornings and breezy spring days. With
all of her experience and skill, Samara has learned how to create
atmospheres of depth within her pieces. They do not rely on the virtuosity
of the players, but on them unifying with each other and the words
to create an ambience that is gentle and pulls you deeper into its
folds. When it ends you are carried along on its last currents. You
will be looking forward to the return of The Fleeting Skies as it
settles into your memory.
Paul Metzger
http://www.paulmetzger.net/
In a time where an increasing deluge of acoustically-oriented recordings
are being pumped up with words like “iconoclastic” or
“transcendental,” it can sometimes be difficult for the
adventurous listener to have any clue as to how to separate the wheat
from the chaff. Hype and hyperbole be damned; this is the real deal.
Metzger’s title “modified banjo” could tend to confuse
even the most discerning among us. While it is indeed true that a
visual inspection will reveal an instrument so mutated that it bears
little resemblance to that simultaneously venerated and reviled backwoods
icon that it once was (he has added more than a dozen strings, a sitar
bridge, and otherwise mutated a traditionally limiting instrument
into something entirely unique), it is ultimately one’s ears
that will yield the most incredulous reactions and ask the hardest
questions after being fed their particular set of stimuli, as it is
ultimately Metzger’s approach to the instrument and the sounds
and melodies he wrenches from it that are the greatest and most significant
modifications being made here. Metzger’s singular, irreverent
approach and fluid dexterity in attack are made evident in his seamless
hybrids of North Indian and Asian influences, jazz and folk forms
through a vehicle that typically ruts its wheels in Americana hill
country and are truly unprecedented. Recorded within the acoustically
resonant confines of Duluth’s Sacred Heart studio (itself once
a church), his three lengthy improvisations venture into the meditative
sublime, a deeply cognitive set of compositions that exit miles beyond
what one normally expects from the banjo.
"The music Metzger makes -- whether he’s strumming, fingerpicking,
plucking, or bowing -- is unlike any Americana you’ve ever heard.
From one moment to the next, Metzger’s banjo can sound like
a violin, koto, flute, oud, or sarod, and though these three solo
improvisations are listed separately, each one flows seamlessly into
the next, like one long raga that takes the album’s full 58
minutes to build, climax, and fade into silence." (Magnet)
"Metzger has located a quivering space between the raga open-string
drone and the ear-warping harmonic meditations of Tony Conrad, and
the combined logic puts us both out of time and right in the body
of the misshapen instrument." (Pitchfork)
Forgotten Works
http://www.cameraobscura.com.au/Bios/cambios_salamander.htm
Explorations for six- and twelve-string guitar by Erik Wivinus of
Salamander
Minneapolis outfit Salamander began as a duo in the summer of 1992
featuring Erik Wivinus and Sean Connaughty on guitars and vocals.
They played mostly mellow drone-based instrumentals that in retrospect
sounded much like contemporaries Labradford or Low. Doug Morman joined
on bass in early 1993. They recorded and played gigs as a drummer-less
trio until Bryce Kastning joined on drums and keyboards in early 1994.
Then followed a period of heavy psychedelic improvisation and four-track
recording, leading to a trip to POD studios in 94/95 to lay down some
material on 16-track. The first stage of these sessions was released
as Red Ampersand by Camera Obscura in 1997. By the time of this release,
Salamander had become a part-time entity, as members pursued studies
and various side projects. Red Ampersand created great interest as
it showed a band that was clearly very early out of the blocks with
a heavy droning improvisation psych style that stood comparisons to
the early work of Bardo Pond and Cul De Sac, but also was capable
of fine songcraft.
Forgotten Works is the moniker of Erik Wivinus when working in a largely
solo and predominantly acoustic capacity. These performances tend
towards long-form, raga-tinged mystical improvisations for 6- and
12-string guitars, with occasional forays into vocal territory. Erik
currently plays or has played with such groups as Salamander, Skye
Klad, Gotterdammerung, Thunderbolt Pagoda, Gentle Tasaday, Barlow/Petersen/Wivinus,
and Stone Breath, releasing over a dozen full-length recordings since
1997 to good critical acclaim on both sides of the Atlantic.
Timothy, Revelator
http://www.somedarkholler.com/pathway.html
http://www.lostgospel.org/
Timothy was born on a small farm, on Dark Hollow Road, in the rural
north of Maryland, USA. He believed the house, and indeed the entire
hollow, was haunted. From a young age, he was fascinated by the folktales
of ghosts, giant black cats, and witch-trees, which formed the fabric
of this rural community.
Timothy plays and sings music with Prydwyn, Sarada, and RA Campbell
in the bands Stone Breath, Breathe Stone, and The Spectral Light &
Moonshine Firefly Snakeoil Jamboree. He also performs and records
as a solo artist, draws, paints, constructs/modifies musical instruments,
writes fiction, non-fiction, and poetry, and quite often prays.
Timothy lives in Glen Rock, Pennsylvania, USA. He is father to twins,
Gideon David and Ursula Rose. He extends all love and praise to the
Holy Trinity, Blessed Virgin Mary, all of the saints and angels in
Heaven, and the Poor Brothers and Sisters of the Holy MLV.
Sunwards
http://www.rake.info/
http://www.vhfrecords.com/
BK and VVGG of Rake dueling it out in any way they see fit
Kohoutek
http://claviusproductions.alkem.org/kohoutek.html
Improvised psych with noise tendencies and abstraction. Sonic explorations
in any combination of drums, percussion, guitar, bass, laptop, homemade
electronics, field recordings, contact mics, chord organ, and household
appliances. Have been described as "if Can were a 4AD band"
and been compared to Jessamine, Acid Mothers Temple, and Skullflower,
for what that's worth.
plus special guests
Facemat
and Donny Hue & The Colors
Friday, 8/19: Rake (reunion show!)/Jana Hunter/Mouth of Leaves/Meadows/Lights
Friday, 8/5: Double
Leopards (Eclipse)/The Skaters/Earthen
Sea (Jacob from Black Eyes)/Insect Factory/Daniel
Martin-McCormick
Double
Leopards
http://www.doubleleopards.org
"This digital version contains the exact same tracks as the double
LP (now out of print) and is a mini-replica of the gatefold LP version.
tempted to shove this in alongside such shadowy double albums as Wickham
& Young's Lake, The Dead C's Harsh 70s Reality, Charalambides' Market
Square, and Twenty-Six's This Skin Is Rust, but even those gave you
a little breathing room now and then; Halve Maen smothers all light
from the get-go as it burrows into the bowels of the earth below. Very
tactile from the first needle-drop, the everyday objects at the old
loft space move of their own volition, at the edges of the feverish
eyes. Household items like chord organs, plastic toys, and wind chimes
suddenly lurch to the fore during “The Fatal Affront”, before
all the room's paraphernalia disintegrates into the more solemn and
murky affair, “Druid Spectre”. The last side is given over
to “The Secret Correspondence 1 & 2”, plopping us into
the vertiginous tides of the Dead Sea, where the silty, unseen bottom
is stirred up something fierce. Cymbals are struck but quickly sink
below the briny waters. Tremors of ghostly orchestras are constantly
conjured by the guitars, a mass grave of vindicative strings that howl
and die only to be resurrected for the finale. The instruments and processed
moans of the group commune with a far more surly and slurred spiritual
world than previously glimpsed, heavily sedated and hovering with a
menacing glint just at the threshold of sanity. As it all slips away
at record's end, I'm left questioning the mental stability and half-life
of this trip. What I believed to be firmly in my grasp slithered away,
a disquieting residue left behind on my hands and in my eyes and ears.
Overwhelming in its morose synesthesia and downright bleary at times,
Halve Maen is like those little yellow pills I popped so long ago: Ingestion
will definitely fuck you up." (Andy Beta)
Julyish 05:
The
Peppermints
(Pawtracks, from San Diego)
S.T.R.E.E.T.S. (garage-thrash from Vancouver)
E-Zee Tiger (costumed one-man band from the
Bay Area)
Le Flange Du Mal (costumed noise-psych quartet
from the Bay Area, mem. of Subarachnoid Space)
The
Peppermints
http://www.paw-tracks.com
http://www.geocities.com/peppomiz
The Peppermints have been bratting around the world since 1997. Born
in Bonsall, California (world avocado capital), they soon slithered
into San Diego, world capital of military bases and wet burritos. They
slimed their way through the music-scene muck to become the queens and
king of what they call "experimental barfy trash-rock," having
brutalized many a town, blown out many a speaker, and blistered many
an eardrum. Their sound has been compared at times to the likes of GG
Allin, The Fall, Melt Banana, Joan Jett, The Coachwhips, The Soft Boys,
Wire, and Noh Mercy, but critics have been flummoxed trying to define
the Peppermints. Their first releases were cassettes on the Ivy Oh!
imprint. Later, they put out a 7" on Pet Set Records, then an EP
on Ivy Oh! and NGWTT. On April Fools' Day, 2003, out came Sweettooth
Abortion (with guest appearances by members of Kill Me Tomorrow) on
Pandacide Records. They have toured the west coast too many times to
count, including a 2004 fall tour with the Hot Snakes, and have done
the US at least three times that they can remember. One Peppermint has
led another life in the band T Tauri. And the rest is yet to come...
S.T.R.E.E.T.S.
http://www.streetsrock.com
A curb-grinding blast of sheer Vancouver hardcore from scene-slaying
skate punks SKATING TOTALLY RULES EVERYTHING ELSE TOTALLY SUCKS. A shred-mashing
sklash of pit-pouncing late-'80s-early-'90s-styled crossover hardcore
thrash blazed in the spirit of D.R.I. and the Faction.
The undisputed raging kings of the Vancouver punk underground (as opposed
to the crappy mall rat punk overground scene) ready to take on the world.
Crossover thrash reminiscent of C.O.C. or D.R.I. only with more periods:
S.T.R.E.E.T.S.- that stands for, Skateboarding Totally Rules Everything
Else Totally Sucks, bring back the familiar sounds of metallic punk
to skateboarding. Features in Vice, Discorder, Terminal City, upcoming
articles in Skate Canada and songs in various skate videos insure S.T.R.E.E.T.S.
will be seen and heard everywhere this year. The CD contains 12 songs
covering such important issues as partying, getting busted, and skating.
These guys are definitely veterans enough to have been moshing in the
'80s to learn their moves firsthand. Throwback crossover infinitely
more enjoyable than most of what passes itself off as punk on these
sheets week after week. Hysterically bad/great cover art too. Hit the
S.T.R.E.E.T.S.!
E-Zee Tiger
http://www.kimosciotic.com/ezeetiger_press.htm
San Francisco has spawned thousands of brainy music freaks but none
more compelling than E-Zee Tiger (aka Anthony Petrovic). This one-man
band is an experience that fans of Lightning Bolt, Friends Forever,
and 25 Suaves should not miss. Surrounded by more equipment than most
four-piece rock bands, Petrovic jumps sporadically from one instrument
to another like a mad genius. Guitar loops, vocal samples, delayed noise,
drum solos, whistles, bells, and magic buttons are punched together
into one chaotic rocking song after another.
Le
Flange du Mal
http://www.kimosciotic.com/flange_press.htm
Le Flange du Mal began in September 2003 as a celebration of American
ignorance. The original line-up of Chris Rolls (Zeigenbock Kopf, earwicker)
and Chris Cones (Subarachnoid Space, earwicker) set out to encode its
formula of drrty distorto-booty bass noise and odes to mind-controlled
sex slavery on state-of-the-art blownout 4-track tape. These recordings
eventually made the jump to the much vaunted "cdr" format
with the mini-tour release of What Does Not Kill Me, I Hate.
The brain-damaged duo quickly joined forces with Jason Stamberger (Crack
W.A.R.) on keys and Liz Allbee (Murder Murder) on trumpet, keys, and
vocals. Their first show was at the Hemlock Tavern on October 28 with
Alarmist. Since then, they have played with such bands as Japanther,
Not Breathing, BLK:JPN, 16 Bitch Pile-Up, Point Line Plane, Spector
Protector, and Eats Tapes.
Somewhere along the way, Stamberger began referring to Le Flange du
Mal as a "synth-doom juggernaut." Some have referred to the
sound as live IDM on glue. Still, others prefer unintelligible seizure-core.
With the hyper-advanced compositional capabilities of Stamberger and
Allbee, the four began forays into the outer unseen realms of noise-jazz
and dance-metal.
Saturday, May 7
|
|
Sir
Richard Bishop
(of Sun City Girls!!!) Since 1981, Richard Bishop has been traveling the spaceways as 1/3 of Ethno-Improv Pioneers, Sun City Girls. The Girls have released nearly 100 albums and tapes over the last 25 years, many of which are now very difficult to obtain. Sun City Girls have managed to perplex, amaze, and alienate their audiences over the years (as planned) and though they toured heavily in 2004, they will be taking this year off as a trio to work on other projects both at home and abroad. Sir Richard Bishop is taking advantage of this opportunity and will gladly fend for himself with his first solo US tour which begins in April and will continue well into the month of May. His only weapon will be one magic wooden guitar and with this sole instrument he will perform unique and startling wonders and will present a series of mysterious displays and unaccountable mysteries, which have been given in the presence of the Crowned Heads and Nobility of Europe, and before large and intelligent assemblages throughout the civilized world! These mysterious powers have astonished the wisest of all countries, and the most learned have been forced by overwhelming evidence to acknowledge them as inexplicable. There will be no complicated or glittering apparatus for deception used. This rare tour is all about playing the guitar…in ways that it should be played and ways in which it has never been played. Each performance is likely to be diffferent from any of the others so we recommend seeing as many shows as possible. Shows are also likely to include a few rarely played Sun City Girls pieces, as well as a selection of North African and East Indian style music, both original compositions and improvisations. Double
Leopards (NYC, Eclipse Rec.) "This digital version contains the exact same tracks as the double LP (now out of print) and is a mini-replica of the gatefold LP version. tempted to shove this in alongside such shadowy double albums as Wickham & Young's "Lake", The Dead C's "Harsh 70s Reality", Charalambides' "Market Square", and Twenty-Six's "This Skin Is Rust", but even those gave you a little breathing room now and then; "Halve Maen" smothers all light from the get-go as it burrows into the bowels of the earth below. Very tactile from the first needle-drop, the everyday objects at the old loft space move of their own volition, at the edges of the feverish eyes. Household items like chord organs, plastic toys, and wind chimes suddenly lurch to the fore during "The Fatal Affront", before all the room's paraphernalia disintegrates into the more solemn and murky affair, "Druid Spectre". The last side is given over to "The Secret Correspondence 1 & 2", plopping us into the vertiginous tides of the Dead Sea, where the silty, unseen bottom is stirred up something fierce. Cymbals are struck but quickly sink below the briny waters. Tremors of ghostly orchestras are constantly conjured by the guitars, a mass grave of vindicative strings that howl and die only to be resurrected for the finale. The instruments and processed moans of the group commune with a far more surly and slurred spiritual world than previously glimpsed, heavily sedated and hovering with a menacing glint just at the threshold of sanity. As it all slips away at record's end, I'm left questioning the mental stability and half-life of this trip. What I believed to be firmly in my grasp slithered away, a disquieting residue left behind on my hands and in my eyes and ears. Overwhelming in its morose synesthesia and downright bleary at times, Halve Maen is like those little yellow pills I popped so long ago: Ingestion will definitely fuck you up." (Andy Beta) Mouthus (NYC, Ecstatic Peace Rec.) "Somewhere between electronic noise, drone, and psychedelic rock, you will find the Brooklyn duo, Mouthus, coiled and ready to strike. On "Loam", Brian Sullivan's impenetrable guitar stirs your emotions and Nate Nelson bangs a primeval beat that pounds through your chest to your very being. Sinister vocal sounds on "Must Anubis" threaten to spin you back to your caveman past. The movement of sound from chaos to structure is Venus emerging, not from the ocean, but from primordial ooze, then melting back into the goo." |
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| Sunday, 4/17 |
Clavius Productions presents a night showcasing Kranky Records artists sandwiched between adventurous free jazz and noise. Greg Davis, Keith Fullerton Whitman, and Bird Show will be performing as a series of solos, duos, and trios in their inimitable electro-acoustic styles. It isn't too often when six musicians this talented share a bill, so see for yourself what kinds of sounds they conjure up on a spring evening in DC. DAVID
GROSS
(reeds, Boston)
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