past 611 shows

 

dinner order!!
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.

SONIC OUTLAWS ON NETFLIX

WIKI

NOBUSINESS

BOOPER SYMPHONY

SQUANT

GIMME THE MERMAID

MASHIN OF THE CHRIST

KPFA

RECENT OVER THE EDGE SHOWS - STREAM

yeah NEGATIVLAND.COM

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*

m. henderson

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

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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

k

 

5/19: Mike Tamburo (Music Fellowship)/Keenan Lawler (Eclipse)/Nick Schillace/Seahorse Staircase
1

Saturday, April 29th: 6pm start

thill

4/14: :::write-up::: La Otracina (mem. of Lust Ionics/Owl Sounds)/Tall Firs (Ecstatic Peace)/Pepi Ginsberg (Philly solo folk)/Kohoutek

javascript:popUp('inshow/4_14_06.html')

Saturday, April 8: Dogme 95 (Secretly Canadian)/Twodeadsluts Onegoodfuck (Boston noise)/The Triumph Of Gnomes/Snake Hips/Cash Slave Clique/sc.all/Piasa

58kinthebank

Saturday, March 25: Apothecary Hymns (Locust Music, NYC psych/folk)/Function (Australia)/
Coach Fingers (mem. of No Neck Blues Band/Suntanama)

apoth

 

OWL SOUNDISH

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
+Full write-up+



 

Wednesday, Jan. 25: Little Howlin Wolf/Facemat/Jason Simon
8pm, $5 suggested donation


BYOFrangia!

Little Howlin Wolf
(legendary outsider blues from Chicago)
look here or here

Jason Simon
(of Dead Meadow solo)

Facemat

(DC's reigning kingz of noize)
plus possible special guest

hey

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
lp (1980 solidarity?)
* i move the underworld b/w talkin turban
(198? blackstone)
* stranger mon' b/w sunny come early (mambo voudoux)
(198? beacon)
* oul nei piesc ostatni morzu b/w oul nei piesc stracony aureola
(198? solidarity)
* black orchid chant (zen deka zeza) b/w the last word
(198? solidarity)
* the birds of capistrano> b/w white flamingo
(198? alcatraz)
* i done made your heart rebel b/w old glory
(198? solidarity)
* hung done in high shadow b/w gray ghost (bamus baguia)
(198? justice)
* cool truth
lp (1985 solidarity)

as shadow drifter

* shadow drifter
lp (forthcoming 2003 destijl)


Friday, 12/9:

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:

Mikroknytes (DC violin/electronics duo on Scarcelight, Crank Automotive)
Mountains (NYC electro-acoustic experimentalists on Apestaartje)
Dan Higgs (Lungfish vocalist playing solo acoustic guitar)
Sharks With Wings (Philly no-wave psych ensemble)

Mikroknytes
http://www.mikroknytes.com
Mikroknytes began sometime in 1998. Derek Morton and John Coursey (aka Commie 64 and Redknyte respectively) began improvising with keyboards, violins and f/x pedals. Like Commie's other freeform lo-fi electronic groups, Music Arch de Lux and Commodore 64, m_Knytes followed the path of the tripped-out-power-drone. Soon however, the Mikroknytes yearned for new directions, and new sounds. Redknyte began acquiring f/x for his violin to explore other sonic possibilites. By Spinus 99 (an unreleased CD-R demo) the group was experimenting with cheap sampling devices to augment the 8-bit beats of their beloved Casios.

Mountains
http://www.staartje.com
Mountains is an ongoing collaboration between Apestaartje cofounders Brendon Anderegg and Koen Holtkamp. Having worked in parallel and often overlappingcontexts within their respective solo projects (Aero & Anderegg), Mountains was initially created as an outlet for live performance. After numerous performances they decided it was time to document the experience and this their debut album was born. Four lengthy pieces composed around acoustic instrumentation and field recordings gradually blend with subtle electronics and live sampling to create an extremely dynamic and detailed listening experience that ranges from quiet crackling to dense layers of harmonic texture. Psychedelia, Americana and classical Minimalism are just a few of the genres referenced in this epic suite of resonant frequencies. "Infinite sheets of grainy sound build and renew themselves to immensely pleasing effect." (The Wire)

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)

Sunday, 11/13, 8pm:

Michael Chapman (legendary UK folk/psych singer/songwriter on Harvest/Decca)
w/ Benjy Ferree
Donny Hue & the Colors


Michael Chapman first became known on the English folk circuit in 1967 and recorded a quartet of classic albums for EMI's Harvest label. These releases defined the melancholic observer role Michael was to make his own, mixing intricate guitar instrumentals with a full band sound. His 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. This will be his first ever DC appearance, as this is his first US tour.

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.

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.

 

Max Ochs (Md. fingerpicker on Takoma's first compilation)
Glenn Jones (of Cul De Sac, Strange Attractors)
Sean Smith (West Coast fingerpicker)

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.

Saturday, November 5
611 Florida Ave NW WDC

Max Ochs (from Baltimore/Annapolis, original Takoma fingerpicker!)
Glenn Jones (from Boston, of Cul De Sac, on Strange Attractors)
Sean Smith (from California, on Isota Records)

The newly-formed, NYC-based indie label Tompkins Square Records plans on officially kicking things off on October 25th with their first CD release, Imaginational Anthems. A collection of acoustic guitar music, the 16-track set spans 40 years of performances from 1965 through 2005. Compiled by Tompkins Square founder/former Sony Music executive Josh Rosenthal, the album will feature the talents of obscure six-string wizards like Harry Taussig, Steve Mann and Max Ochs alongside better-known artists like John Fahey and Sandy Bull. In several instances, the long-lost musicians unearthed by Rosenthal recorded their first tracks in decades exclusively for Imaginational Anthems. "I've been a devotee of solo acoustic guitar music since I bought my first John Fahey record when in high school," Rosenthal told Billboard. "About two years ago, I found a very rare LP, Contemporary Guitar, Spring '67, on Takoma. The album featured Bukka White, Robbie Basho, Fahey, Max Ochs and Harry Taussig. I was haunted by the Ochs and Taussig tracks and needed to know what happened to these two artists in particular, as I could not find any info about them. I wanted to unearth some great players from that exciting experimental time in music and juxtapose them with today's torchbearers." Tompkins Square will be releasing albums by some of these exciting guitarists in the future, and a second volume of Imaginational Anthems is already planned for next year, featuring unreleased tracks from John Fahey, Robbie Basho and Fred Gerlach as well as new recordings by Sharron Kraus, Peter Lang, James Blackshaw and Jesse Sparhawk.


Max Ochs
Max Ochs was featured on the very first Takoma Records compilation, Contemporary Guitar, Spring '67, and has since been criminally unrecorded. He was born in Baltimore, is Phil Ochs' cousin, was responsible for turning Robbie Basho on to folk music, and played in the seminal, if obscure, ESP raga band Seventh Sons. Admittedly enamored with Pete Seeger, Ochs until recently operated Annapolis' 333 Coffeehouse, where he occasionally performed. This is, incredibly, his first DC appearance in years. More information on Max can be found in this interview:
http://www.bayweekly.com/year04/issuexii12/lifexii12.html


Glenn Jones
“I'm sure you know who Glenn Jones is, but just in case: Glenn's full-time band, Cul de Sac have amassed a huge following and have been releasing records since well into the Grunge Administration. Despite their long running career, they have only just recently hit their peak with the stunning Death of the Sun (also released by Strange Attractors). And, while this is Glenn's first solo release, he has been playing solo shows for some time around the Northeast, perhaps most notably at the notorious (was it?) Brattleboro Free Folk Festival a couple years back. He also recently lent his guitar prowess to Jack Rose for a track on his second LP, Opium Musick.

This collaboration is very fitting for Glenn, as his solo music is very much in line with Jack Rose's. Jones has an incredibly adept control of the guitar. Over the course of this album's 43 minutes, his guitar soars, stomps, and burrows its way through your speakers with many faces. It opens with the blues-tinged title track, which mournfully moans its way into the deeply moody "Sphinx Unto Curious Men" which was originally released, in greatly truncated form on Cul de Sac's most recent effort, The Strangler's Wife. "Linden Avenue Stomp" has a ragtime feel and may sound familiar: it is the only song on this album with a guest appearance (Jack Rose), and it is the song that Glenn co-wrote for Jack Rose's album (though it is a different take than the song on Opium Musick). "The Doll Hospital" shows Glenn's obvious love for Fahey's music, and "One Jack Rose (That I Mean)" is a richly melodic take on Americana.

Glenn's technical abilities are above any kind of criticism. The first time I saw him play, I was literally watching in disbelief, as the movement of his fingers didn't seem to be matching up with the music coming from his guitar. And I've played guitar for 10 years. I'm generally able to pick apart basically everything I see performed live. But I wasn't prepared for that first time seeing Glenn. But, beyond that, he has the musical wherewithal to release an album like this, packed full of hints, influences, and references to a myriad of world and especially traditional American musics, but make it all so hard to pin down to a single thing.” (Sean Hammond, Fake Jazz)


Sean Smith
http://www.seansmithlives.com/

"Guitarist Sean Smith plays strictly instrumental music in the tradition of Fahey, Basho and Peter Lang, but he alludes to that same sensation of connection in the song notes to his new self-titled CD. For one piece he writes, 'Looking through the pines upon the pseudo-disguised industrial/commercial developments, I glanced to a dark grove of trees and realized, with indescribable visions, that I had begun to be dealt coincidental consequential challenges and would not soon be rid of them. Perhaps, for the first time, my existence was affirmed and presented to me.' For another, he quotes architect/author Gyorgy Doczi: 'When we look deeply into the patterns of an apple blossom, a seashell or a swinging pendulum...we discover a perfection, an incredible order, that awakens in us a sense of awe that we knew as children.'" (SF Gate)

 

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


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)
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, solo acoustic fingerpicking)/Mouthus (insane guitar/drums duo from NYC on Ecstatic Peace)/Double Leopards

Sir Richard Bishop (of Sun City Girls!!!)
www.suncitygirls.com

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.)
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)

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."

 
 
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/Michael Bullock/Tucker Dulin Trio (avant-jazz improv from Boston)
Greg Davis
(Kranky)

Keith Fullerton Whitman
(Kranky)
Bird Show
(Kranky, Ben Vida of Town & Country)
Horse Sinister
(noise trio from Boston)
Jesse Kudler
(solo noise from Philly)
   

DAVID GROSS (reeds, Boston)
Labeled as "One of Boston's steadfast explorers," by Bob Blumenthal of the Boston Globe, saxophonist and clarinetist David Gross discovered improvised music while studying with Yusef Lateef at Hampshire College. He has performed with Le Quan Ninh, Eddie Prevost, Bob Marsch, Martin Tetrault, Glenn Spearman, Raphe Malik, and many members of the Boston free-improv scene including Bhob Rainey, Greg Kelley, and Laurence Cook. Currently, Gross is transforming the saxophone into exactly what it is: a metal tube with keys, mouthpiece, and a reed. Reviews of his recordings, on his own Tautology label with ensembles EED and FETISH, have ranged from "the range of textured noise that he cajoles from his instrument is impressive" to "lengthy episodes of fingernails ripping at a blackboard."
MICHAEL BULLOCK (contrabass, Boston)
http://www.mikebullock.com
Free improvisor Michael Bullock has played bass in eight countries, on a dozen records, and in a variety of bands, touring extensively both solo and as part of various ensembles. He has also played with well-known improvisors Eddie Prévost, Lê Quan Ninh, and Peter Kowald, in addition to working with numerous members of Boston's improvised music community. Two of his current obsessions include IIbasSpit, an electro-acoustic trio with Tucker Dulin (trombone) and Seth Cluett (bass, voice) which is planning a CD release this year; and an ongoing curiosity with acoustic feedback. Bullock has released recordings on such diverse labels as Emanem, Rounder, and Naxos.
TUCKER DULIN (trombone, Boston)
Improvisor. Trombonist. Noise artist. Has had performances all over the country in many contexts including the Boston Philharmonic, SONOR, Klaresque Ensemble, Callithumpian Consort, Mass Eye and Ear, and the Masashi Harada Ensemble.
Working on DMA in contemporary music at UCSD with Miller Puckette, Ed Harkins, and Charles Curtis. Specializes in post-war solo and chamber repertoire for the trombone. Most recent performances with Steve Roden, Nick Hennies, Bhob Rainey, Phil Wachsmann, Martin Blume, Wolfgang Fuchs, Torsten Mueller, and Anne LeBaron. Trio, IIBasspit, with Seth Cluett and Mike Bullock, has performed throughout New England and may never have an album.
Projects include: a commission by San Diego New Music for an interactive installation for computer and ambience, an 18 hour performance of unconventionally-notated scores, and a linux cluster sound war installation at NWEAMO, SDSU. Currently lecturing at UCSD on contemporary music. Forthcoming spring 2004: 3-night event using resonant qualities of Geisel library, UCSD, as structure.


GREG DAVIS
http://www.kranky.net/artists/davisg.html
http://www.autumnrecords.net
Greg Davis has made recorded appearances on numerous singles and compilations, played around the world, and is best known for his two albums on the Carpark label: "Arbor" and "Curling Pond Woods." Those two albums, as impressive and well-received as they are, don't tell the whole story of Davis' omnivorous interest in music (he studied composition and jazz studies at DePaul University and composition at the New England Conservatory of Music) and considerable abilities.

"Somnia" collects drone-oriented material Davis has been working on over the last two or three years with the final track, "Mirages (version 2)" being a recording from spring 2004 using a schaaf pnch card music box and computer. Each track features a single instrument (bowed psaltery, acoustic guitar, harmonica, Fender Rhodes, Magnus chord organ) played by Davis and then filtered through a computer. The tones that come out of the process bear little immediate resemblance to the instrument of origin, taking on extended and diffuse forms of their own.

"In skilled hands, the music comes off as a perfect fusion of silicon and psilocybin inspiration." (Dave Segal, Portland Mercury)
"He's grown nimble enough in his approach to pull out the computer and make it sound like anything but." (Andy Beta, Pitchfork)

KEITH FULLERTON WHITMAN
http://www.keithfullertonwhitman.com
Keith Fullerton Whitman started his path through music at an early age (9) by intentionally 'versioning' Commodore Vic20 basic sound programs to yield raw computer-speak skronk. Growing up at record-collector fairs throughout northern New Jersey in the late ‘80s, Keith had access to just about every phylum of underground music imaginable...declaring allegiances early on to European free improvisation, progressive and psychedelic rock, breakdance-themed urban machine music, the post-World War II orchestral avant-garde, and the early electronic experiments of the WDR and INA-GRM camps.

A few years after moving to the fertile creative ground of Boston in 1991 to study Computer Music with Richard Boulanger at the Berklee College of Music, he proceeded to form rock-based ensembles in a smattering of forms (the Fluxus-pranks-meets-Hasil-Adkins duo El-Ron, the Dub/Sahko/Jungle beep-vibes of The Finger Lakes, the electro-acoustic/freely improvising 'power trio' Sheket/Trabant), most rehearsing bi-weekly for months in preparation of a single gig (after which, mission being accomplished, the ensemble would break up). After barely acquiring his Bachelors in Music Synthesis in 1996 due to some...confusion regarding his final piece/thesis "Error" (three hours of broken DAT machine connections, skipping CDs, corrupt signals of all walks, DC offset, barely audible clicking, etc.), he set out on his own to bridge the gap between the academic avant-garde and the fan of sound at large through a series of subversive tracks credited to dozens of homonyms...the main of which, Hrvatski, was lifted off of a billboard for the Boston Language Institute for it's similarity to one of Keith's favorites...the hip hop collagist Steinski.

It wasn't until the release of Hrvatski's debut album "Oiseaux 96-98" in 1999 that things really started taking off...the album was voted #9 in The Wire's year-end bests poll under the electronic music category, and did very well in both the dance and experimental music scenes (just like he hoped it would). There was an exposé in The Village Voice. People started calling around wanting to interview Hrvatski, at this point an imaginary figure. Word of Keith's...talents started gaining momentum, eventually leading to a slew of singles, remix commissions, and compilation spots on such labels as Apartment B, Diskono, Leaf, Lo, Lucky Kitchen, Planet-Mu, Tigerbeat6, Tonschacht, and V/VM, all of which Keith produced for free, if at all. References soon followed in high-profile publications such as Spin, Rolling Stone, Spex, XLR8R, etc.

BIRD SHOW
http://www.kranky.net/artists/birdshow.html
Though best known for his work in Town & Country, Ben Vida has been a prominent player in the Chicago music scene, placing himself at the nexus between improvised and acoustic minimalist musics. Ben Vida has played and recorded with the experimental chamber group Terminal 4 with Fred Lonberg-Holm, Jeb Bishop, and Josh Abrams. He is in the improvising group Pillow, formed in 1996 with Michael Colligan, Liz Payne, and Fred Lonberg-Holm. There will be a new Pillow album out later this winter. Ben Vida and his brother Adam (who also drums in U.S. Maple) founded Central Falls with Jason Adasiewicz and Steve Doreke. That group has recorded two albums and toured. And he is a member of the rock group Everyoned with Chris Connelly and Tim Kinsella.

Ben Vida plays guitar, cornet, and harmonium in Town & Country, who have been experimenting in acoustic resonance, minimalist composition, and world folk musics for the past seven years. Town & Country continue to record and tour, most recently with Tony Conrad in spring 2004. Ben Vida has brought the deliberation and repetitive structures of Town & Country to “Green Inferno” and augmented it with somnambulant vocals, a trellis of percussion, and psychedelic drone.

Subsequent to recording the album, Vida began Bird Show. Bird Show intend to pick up on and extend the material on “Green Inferno” and plan to tour as soon as the album is released. Although recorded entirely by Ben Vida, “Green Inferno” is being attributed to the band Bird Show.

HORSE SINISTER
http://www.horsesinister.com
These Boston lads rip through the sonic butter with a knife of fierce subtlety. Their live shows: a mixture of hypnotizing power drones, pummeling beats, and feedback-fueled primal screams. Formed in 2001 from the ashes of The David Dukes of Hazard, a power-noise trio from Florida, Loren and Harvey first performed as a duo before recruiting Ken, a sampler-wielding, synth-building wunderkind. Now the time has come for these humble dictators to once again hit the road.

JESSE KUDLER

http://www.white-flag.org
Studied music at Wesleyan University with Ron Kuivila, Alvin Lucier, and Anthony Braxton. He eventually became active as an organizer and performer in improvised, experimental, and electronic music, forming a regular duo with Jonathan Zorn and leading the large electronic improvising ensemble Phil Collins. Kudler has also worked as a recording engineer for various projects. His solo work often operates on the extremes of volume, demonstrating an interest in the subtleties that can arise from intense softness or loudness. He is also interested in allowing complex processes or setups to develop on their own, with minimal intervention from the performer.


Friday, 3/26:

Clavius' birthday show w/ Jack Rose (Eclipse/VHF Rec.)/PG Six (from NY, mem. of Tower Recordings, folk/psych)/Harris Newman (from Montreal, on Strange Attractors)/Glenn Jones (de Cul de Sac) /The Michael Dimmick Joy Band (from SW Virginia, featuring Mike Gangloff of Pelt)..
 
birth of frizz, birthed was he. birthed on the day, of the frizziest days. and what did he say? on his birthed of day? he said "hey" it's my fuckin birthday.
 

 

Jack Rose
http://www.klang.org
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)

P.G. Six
http://www.perhapstransparent.com/artists/artist.php3?authorid=30
Along with his identity as P.G. Six, Pat Gubler is also a founding member of Tower Recordings. Tower Recordings took its name from a loft space in Port Chester, New York called "Tower Gallery" where Helen Rush and Matt Valentine were living in the early nineties. Pat soon was living there too and it was in this loft space that the core of the Tower Recordings collective began putting songs and improvisational sessions to tape. The group put out the Rehearsals for Roseland LP (in a limited edition of 500 copies) on Superlux (Lux 003) packaged in hand-painted covers in 1995. Stylistically the record takes cues from contemporary bands like Sebadoh, GBV, Palace, Silver Jews, and The Fall. Following this record came The Fraternity of Moonwalkers on Audible Hiss (AH 16) which sounds more reminiscent of sixties folk and psych, as well as bands like the Godz and Amon Duul. This record was followed by the amazingly beautiful Planet T.R. release Let the Cosmos Ring on Spirit of Orr (SO 8) where, along with a few "group" songs, each Tower member is showcased on their own tracks. P.G. Six’s "The Seventh Member" reveals a beautiful droning folk sound, reminiscent of a loosely improvisational traditional folk tune. This was followed by the full length Furniture Music for Evening Shuttles on Siltbreeze (SB 54). Most recently, a one-sided 12” entitled Folk Scene (Shrat Field Recordings) documents the expanding Tower line-up, which now includes Tim Barnes, Samara Lubelski, and Dean Roberts, to name a few.

Prior to his involvement in Tower, in the early nineties, Pat Gubler studied music at SUNY Purchase. While at Purchase, he met Matt Valentine and Marc Wolf, who formed the Captain Beefheart and Pussy Galore-inspired Memphis Luxure. Memphis Luxure did some live shows around the Northeast with like-minded noise outfits like Danbury, CT’s Bunnybrains and released two seven-inches on Superlux (Lux 001 and 002), a label started and run by Matt Valentine, Helen Rush, and Pat. In 1995, Pat also released "Book of Rayguns" (Lux 005) on Superlux, which is P.G. Six’s formal debut. This 7" is a Branca-esque piece of concert music for the electric guitar performed with Tom Keller and P.G. Six. At one point in its development, Pat had twelve guitarists rehearsing in the basement of SUNY Purchase Music Division. The Superlux 7" features an edited version of this larger concept and composition. Parlor Tricks and Porch Favorites is a continuation of P.G. Six’s development.

Pat has also played with one of his musical heroes, Robin Williamson of the Incredible String Band. The influence of Williamson is clear throughout Parlor Tricks and Porch Favorites, especially on the Pentangle-inspired "When I Was a Young Man," with its echoes of Irish and Scottish folk music. P.G. Six covers Anne Briggs' "Go Your Way," as well. P.G. Six also shares a strong connection to folk instrumental virtuosos like Sandy Bull and John Fahey, especially on "The Divine Invasion" and "Unteleported Man." The bluesy sound of the American Christian backwoods is evident on the "The Shepherd." Like most American art forms, the record has experimental flourishes and, in this case, Pat references minimalist theory, on the drone epigraph/epilogue "Letter to Lilli St. Cyr" and free improvisational playing on "Quiet Fan for SK." "The Fallen Leaves That Jewel the Ground" is clear P.G. Six, melding the harpsichord-like sounds of a wire-strung harp and electronic drone.

Harris Newman
http://www.harrisnewman.com
“Way back in the early/mid-‘90s, tired of all the lo-fi and indie rock that had been just about everything I had listened to in recent years, I wanted to get out of all that and my way out was through the genius of John Fahey. Admittedly, it took some time before I really saw the mastermind of Fahey but hearing some of his music truly opened doors that I didn’t even know existed. Canadian Harris Newman has a similar approach to music in the sense that he goes out of his way to merge different musical styles and cultures. Unlike the deeply spiritual (and highly recommended) predecessor, Newman’s brand new album Accidents With Nature and Each Other goes far beyond being another Fahey-esque guitar album. We still get plenty of fingerpicking along the Takoma axis but the package is way more grand and complex this time out. The languid guitar structures are flavored with a fair bit of tasty experimentalism and acoustic drones. The way the sounds move back and forth from the abstract and droning to the compositional and folky makes me feel like I'm in some weird state of awareness where it’s hard to make out of if I am dreaming or if the vision for my eyes is the actual reality. The ghostly droning steel string landscapes of “It’s a Trap (Part 1)” provides just that sort of dreamlike hypnosis, but before you know it we’re all back in the midst of Newman’s quietly intense, subtly dynamic and desolate acoustic guitar sound. The result of all this is a rather diverse trek through the outer possibilites of the acoustic guitar and if you ask me it just doesn’t get much better. Definitely an early contender for upcoming top 2005 lists.” (Mats Gustafsson, Broken Face)

“The critical consensus on Montreal-based steel string guitarist Harris Newman's debut CD, 2003's Non-Sequiturs, was that it showcased a nascent stylist with little of the idiosyncratic bent and voracious ability of heavy-hitting post-Fahey players like Jack Rose, Glenn Jones, and Matthew Valentine. However, its follow-up, Accidents With Nature and Each Other, is a different bag entirely. Here Newman unravels the rudimentary basics of his technique into some beautifully hypnotic spools, combining tough solo conceptions in the mode of John Fahey with some group-thing and a few deeply psychedelic tone poems. Newman's core approach is based around working repeating single note patterns into accumulatively potent forms, anchoring each composition with an implied undercurrent of drone. At points here, his writing is as evocative as great Fahey compositions like "Joe Kirby Blues" -- second track "Cloud City" has the same complex aura of attempted emotional neutrality almost overwhelmed by poignant remembrance -- while at others he steps outside of the canon altogether. "It's A Trap (Part 1)" works long singing tones into a phased devotional mass that sounds like something from Popul Vuh's Hosianna Mantra, while the closing "Driving All Night With Only My Mind" adds some subtle swing thanks to Godspeed You! Black Emperor member Bruce Cawdron's brush glockenspiel work. Indeed, the addition of Cawdron provides a clutch of the record's highlights, especially on "Lords & Ladies," where his drumming helps meld motorik German rock and American primitive guitar in a way that's as evocative as Cul De Sac's pioneering work. Newman really plays the hell out of his guitar here and his approach has taken such a massive leap, both technically and conceptually, that it's enough to blow any latent accusations of piggybacking or opportunism out of the water for good. This is the real deal.” (David Keenan, The Wire)


Glenn Jones

"I'm sure you know who Glenn Jones is, but just in case: Glenn's full-time band, Cul de Sac have amassed a huge following and have been releasing records since well into the Grunge Administration. Despite their long running career, they have only just recently hit their peak with the stunning Death of the Sun (also released by Strange Attractors). And, while this is Glenn's first solo release, he has been playing solo shows for some time around the Northeast, perhaps most notably at the notorious (was it?) Brattleboro Free Folk Festival a couple years back. He also recently lent his guitar prowess to Jack Rose for a track on his second LP, Opium Musick.

This collaboration is very fitting for Glenn, as his solo music is very much in line with Jack Rose's. Jones has an incredibly adept control of the guitar. Over the course of this album's 43 minutes, his guitar soars, stomps, and burrows its way through your speakers with many faces. It opens with the blues-tinged title track, which mournfully moans its way into the deeply moody "Sphinx Unto Curious Men" which was originally released, in greatly truncated form on Cul de Sac's most recent effort, The Strangler's Wife. "Linden Avenue Stomp" has a ragtime feel and may sound familiar: it is the only song on this album with a guest appearance (Jack Rose), and it is the song that Glenn co-wrote for Jack Rose's album (though it is a different take than the song on Opium Musick). "The Doll Hospital" shows Glenn's obvious love for Fahey's music, and "One Jack Rose (That I Mean)" is a richly melodic take on Americana.

Glenn's technical abilities are above any kind of criticism. The first time I saw him play, I was literally watching in disbelief, as the movement of his fingers didn't seem to be matching up with the music coming from his guitar. And I've played guitar for 10 years. I'm generally able to pick apart basically everything I see performed live. But I wasn't prepared for that first time seeing Glenn. But, beyond that, he has the musical wherewithal to release an album like this, packed full of hints, influences, and references to a myriad of world and especially traditional American musics, but make it all so hard to pin down to a single thing.” (Sean Hammond, Fake Jazz)

Friday, 3/4:
thank d. morton

Uncle Woody Sullender
Since migrating to Chicago from North Carolina in 1999, Woody Sullender has been performing improvised music on the banjo under the not-so-clever moniker of "Uncle Woody Sullender". His most recent recorded appearances include Nothing is Certain but Death, an album of banjo improvisations, Sound Writing, a lathe-cut record compilation/art object, and Instant Landscape, the first studio release by Fred Lonberg-Holm’s large improvisation ensemble the Lightbox Orchestra. He has also recently collaborated with sound artist Maryanne Amacher, incorporating his banjo recordings into an installation scheduled for Spring 2005 at the Palacio de Bellas Artes in Mexico City. In addition to performing and composing in Chicago, Sullender is currently completing a Master of Fine Arts degree in Music/Sound at Bard College.
http://www.deadceo.com/unclewoody/

Otono Brujo (Eric Carbonara)
"While studying classical Indian music at the Ali Akbar College of Music, under the guidance of Sri Arup Banerjee (disciple of Ali Akbar Khan), I became fascinated with the concept of Nada Brahma (sound god), the belief that sound is the voice of the divine, and music, being the organization of sound through time, is the language with which the divine speaks. So, for the past few years, I have tried to create music with this philosophy, with much emphasis on the space between dissonance and resonance and the malleable chaos of molecules. Sounds that I hold dear are: Terry Riley, Steve Reich, Paco Pena, Manitas de Plata, Eno, Ali Akbar Khan, and Ornette Coleman's Chappaqua Suite. I have one album entitled Selections From the Void, and three others I have yet to finish. Selections consists of two pieces created from a signal delay system similar to that of Pauline Oliveros and Robert Fripp." --Eric Carbonara
http://www.brujomusic.org/

 

Saturday: 2/12, 8pm

phonography symposium
- a gathering of foundsound practitioners -

scott smallwood
andy graydon
omnid (albert casais)
andy hayleck
scott allison
derek morton
violet (jeff surak)
ben owen

comet!!!

Scott Smallwood
Scott Smallwood was born in Dallas, Texas, and grew up at 10,000 feet in elevation in the Colorado Rockies. When Smallwood was 10 years old, he received his first tape recorder, and ever since he has been fascinated by the possibilities of recorded sound.

Traditionally trained as a pianist and composer, Smallwood has at various times found himself composing concert music, improvising in free-music contexts, recording and manipulating field recordings, and making dance music. He has been active as a composer/performer with several New York-based ensembles, including Nyquist, Brown Cuts Neighbors, and Evidence. He holds music degrees from Miami University of Ohio and Peabody Conservatory. He has performed with a variety of improvisors including Curtis Bahn, Dan Trueman, Leroy Jenkins, Joe McPhee, Phil Gelb, Todd Reynolds, and Pauline Oliveros.

His work has been presented in a variety of national and international venues including the Kitchen in NYC, the Knitting Factory in NYC, Lincoln Center, Roulette, Mobius in Boston, the 2003 ICMC in Singapore, and the 2003 Conference on World Acoustic Ecology in Melbourne, Australia. He has produced numerous recordings on Wavelet Records, Televaw, and Deep Listening. From 1997-2003, he served as studio engineer and technical director at the iEAR Studios of ensselaer Polytechnic Institute, where he was also on the faculty teaching computer music and technical production. Scott is currently a doctoral fellow in the music department of Princeton University.
http://music.princeton.edu/~skot/

Andy Graydon
Andy Graydon (b. 1971, Maui, Hawaii) is a film and video maker and sound artist based in New York City. He is currently a resident in the visiting artists program at the Computer Music Center at Brooklyn College. His work often focuses on potentials and problems in the interaction of sound and image, taking the form of videos and live video mixes, sound works, music and movement performances, and installations. This performance will feature a new version of Conductant, a video reinterpreted here for performance, with a new live improvised
soundtrack.
www.andygraydon.net

Omnid (albert casais)
New Jersey based sound artist working with treated field recordings. Graduate of the Institute of Audio Research Nyc 1995. Releases on many labels including but not limited to: Authorised Version, Retinascan, The Shadow Puppet Recording Company, & Stasisfield.
www.geocities.com/omnid2003/omnid2003.html

Andy Hayleck
Andy Hayleck plays/improvises on the following instruments: gong, saw, bowed cymbal, computer. He is also a sound recordist who uses hydrophones, contact mics and microphones to capture sounds in gases, liquids and solids. Frequent collaborators are Neil Feather, Ian Nagoski, and Dan Conrad. Has lived in Baltimore, MD since 1998. Recordings include "Various Recordings Involving Ice" on Heresee, "Gong/Wire" on Earlids and "The Disappearing Floor" on Recorded as well as individual tracks on compilations and several CD's which document the High Zero festival.
www.earlids.net
www.recorded.com
www.heresee.com

Derek Morton
Derek Morton has generated and manipulated sound since the early 1990's. From his days as a rock guitarist and record label owner to more recent forays into performance curating and gallery installation, he has relentlessly investigated the possibilities of audio in all contexts. He is equally interested in live improvisation, studio research, exploratory composition, and electronic reconfiguration. Morton's sound experiments have attacked everything from cutting-edge technologies like surround-sound to reinvented tools like Gameboy video game consoles. His work with violinist John Coursey in the duo Mikroknytes has resulted in numerous performances around the U.S. as well as two full-length CDs.

His organization of a variety of performance series, most recently the ongoing Tech Club, has given a forum to D.C.-area sound artists and explored the relationships between performance, improvisation, and collaboration. Morton's approach to sound as environment, experience, and pure physical object continues to seek new venues and results.
www.mikroknytes.com

Violet
Violet is the current moniker for solo works by Jeff Surak, who has played in such projects as v., Normal Music, Critikal, Second Violin, -1348-, and New Carrollton and a multitude of collaborations. Organic irrational compositions, using electro-acoustic instruments and tape/cd/vinyl manipulations. Violet has performed across the USA and in Europe.
www.zeromoon.com

Ben Owen
Ben Owen works with projected slide film manipulations and experimental electro-acoustic sound composition. His collaborations can be found with Ting Ting Jahe, tiptip, and radio transmission works with free103point9 and broadcastatic. Ben first explored the theme of instability and decay through his work with stone lithography printmaking. He has continued to work with these themes. This theme is evidenced by Ben's decision to focus on (mostly) unmanipulated location (field) recordings, thereby underscoring the ephemeral and unpredictable nature of sound. Ben arranges these sound-fields both as raw captures and digitally processed fragments.
www.seasonalbk.net/b.html

Saturday: Jan. 8, 8pm

Birchville Cat Motel

(solo noise from New Zealand, Ecstatic Peace/Drunken Fish/Last Visible Dog)
Mikroknytes
(DC violin/electronics duo)
Howard Stelzer
(manipulated tape looper from Boston)
/Donna Parker (lo-fi pedal abuser from Boston)

 

2004

 

12/19: ORTHO/Facemat/Kohoutek + sc.all

 

 
Clavius Productions presents A White Noisemas:

Come celebrate the birth of Noise, and the last 611 Florida show of 2004, with Brooklyn's ORTHO, a multi-media extravaganza who create sound through various electronic devices whilst traipsing around in bizarre costumery and props such as plastic spaceships. Representing the atonal underworld of DC is Facemat, and Kohoutek, with their esteemed partner in dissonance, sc.all, will offer up praise to the Lord of Cacophony with a set of sounds unheard as of yet. If you're lucky, a robot may serve you a cup of magic egg nog. Noisemas!
 
 

 

ORTHO (NYC, members of Lo-Vid)
ORTHO will change your life. Hailing from New York and the Solar System, ORTHO uses homemade costumes, props, and electronic instruments to tell their tales and espouse scientific theories.

Viduo is a live video mixing project of Tali Hinkis and Kyle Lapidus.
Hinkis is primarily a video artist, while Lapidus has traditionally focused on music and more recently become involved with video. The two have collaborated for several years, working on live performances involving sound, video, costumes, and food, as well as single channel video works. They have toured together in the northeast, southeast, and across America with several projects including their current sound and video collaboration, LoVid.
A collaborative video with performance documentation and some animation was released in 2001 on Ignivomous, a recent videotape by LoVid was released on Kaboom! Press. Hinkis and Lapidus are involved with independent projects, including ORTHO, The Cook Sisters, and Seasonal Affect. They have performed widely in America and Europe, as well as Japan and Israel. In New York, they have performed in many types of venues, from the Knitting Factory and Tonic, to the Lunatarium and Culture Project, as well as bars such as Remote, Baktun, Local, and the Right Bank.

Facemat (DC noise duo)
Noise duo from DC utilizing analog and digital devices, layered with tweaked vocals and lo-fi beats.

Kohoutek + sc.all
Improvised psychedelia via guitar/bass/percussion, inspired by Krautrock, free jazz, abstraction, shoegaze, drone, etc. Textures and mood over technical proficiency. 611 Florida’s house band. With Scott Allison (sc.all) on laptop and sinus and ring modulations.



12/5: DCM Trio (Dierker/Cherry/Makihara Trio)/DCIC

Dierker-Cherry-Makihara (DCM) is a Baltimore-based avant-garde jazz trio which has been active since the late 1990s. The trio features 2 of the Baltimore's best jazz artists, John Dierker (tenor saxophone, bass clarinet) and Vattel Cherry (bass), along with Philadelphia's Toshi Makihara on drums. The trio performs dynamic improvised music influenced by both Traditional Free Jazz and European Free Improvised Music. DCM truly pushes the boundary of traditional jazz forms by incorporating dynamic sonic integration, extended techniques and passionate spirits. The result is truly powerful and remarkably beautiful experience.

* John Dierker (tenor saxophone, bass clarinet)

Baltimore's "Most Valuable Player," John Dierker's ongoing inspiration
covers a huge range of music, from rock-and-roll and surf music to arcane
forms of jazz and free improvisation. Unpretentious and extremely
passionate, the evocatively high integrity screech and warble of Dierker's
horn can be heard most nights of the week at venues throughout the city
with groups like The Swingin' Swamis, New Volcanoes, il culo, and The Can
Openers. He has a highly distinctive sound and is increasingly known
outside of Baltimore in free jazz circles and through collaborations with
musicians like Jeff Arnal, Sean Meehan, and Lafayette Gilcrhist.

* F. Vattel Cherry (bass)
F. Vattel Cherry has has studied with bassists Linda McKnight, Keter Betts
and Fred Hopkins. He has worked with many brilliant musicians including,
Charles Gayle, Brother Ah (Robert Northern) , John Tchicai, William Parker,
David Murray's Big Band, Cecil Taylor's PTHONGOS and Charli Persip's
Superband. has two CD's as a leader, "is it because i'm black" and "For
Those Who Heal" both on Commercial Free Jazz. Cherry earned a BA from the
Manhattan School of Music. He is the bass instructor at Morgan State
University and the Development Assistant at the Children's Chorus of
Maryland.

* Toshi Makihara
Toshi Makihara is one of the major voices in Philadelphia's New Music scene
today. As an aspiring youth, Makihara studied drums, percussion and
improvisation with Sabu Toyozumi, a prominent percussionist in Tokyo. Since
arriving in the United States in late 1970s' he has worked with various new
music ensembles as well as with numerous dance and theater companies
internationally. Makihara has provided original music to Arden Theater
Company, Diversions Dance Company (Wales), Pennsylvania Ballet, ZeroMoving
Dance Company and Leah Stein Dance Company among others, and has worked
with musicians including Steve Beresford, Peter Brotzmann, John Butcher,
Nels Cline, Eugene Chadbourne, Tom Cora, Amy Denio, Thurston Moore, William
Parker and John Zorn. He has also collaborated with poets, visual artists,
filmmakers and performance artists widely.
DCIC

Mysticism abounds when the DC Improvisers Collective (DCIC) holds a musical séance. The performers delve into remote realms, conjuring up inventive music with sorcerous cunning. This searching association of experimental artists affords its members the opportunity for open-ended exploration in various-sized group scenarios.
On this recording, the DCIC features four free spirits. Mike Sebastian awakens the ghosts of music present and future through his fierce woodwind flights; Jon Ozment offers weighty acoustic and electric piano brews; Mark Merella executes jarring percussive resonance; and Jonathan Matis adds bracing stimuli through his guitar. Electronics play an important role as well, with Ozment, Merella, and Matis each negotiating the amplified terrain for special effects.
The program, as could be expected from the band’s name, is fully improvised. These instant composers thrive on the spontaneity of the moment, allowing their innate sense of adventure to dictate the direction the music takes. It goes off in multiple streams of consciousness that slide into hallucinatory states, often through alternating pairings that fold into full quartet activity. (All About Jazz)
 

 

October 2, 2004:

The Free Folk Phantasmagory
a celebration of folk, psych, and improv

611 Florida, NW Washington DC


Δ excepter
IΔ sabir mateen
IIΔ sharron kraus
IIIΔ from quagmire
IIIIΔ the big huge
IIIIIΔ eric carbonara
IIIIIIΔ niagara falls
IIIIIIIΔ madagascar

Excepter
www.excepter.com
From NYC, ex-No Neck Blues Band

Sabir Mateen
From NYC, free jazz legend, member of Test (Eremite/Ecstatic Peace)
Has played with numerous luminaries such as Thurston Moore and Yo La Tengo
Performing a set of solo sax/woodwinds


Sharron Kraus
www.sharronkraus.com
From the UK, currently in Philadelphia
Camera Obscura Records


From Quagmire
www.fromquagmire.com
From DC, ex-Rake, ex-Laconic Chamber
VHF Records


The Big Huge
www.thebighuge.com
From Baltimore, acoustic psych/folk duo
Magic Eye Records


Eric Carbonara
www.ericcarbonara.org
From Philadelphia
Solo flamenco/classical/raga guitar

Daniel McCormick-Martin
From DC, ex-Black Eyes, member of White Flight

Performing solo improv guitar

Saturday, May 22 - 8pm
: simon wickham-smith, from quagmire, sharron krauss

 

simon wickham-smith
improv laptop
from quagmire
vox/nylon string strumming/violin/bowed cymbals
sharron kraus
appalachian death ballads accompanied by guitar/banjo/whistle

This Saturday is shaping up to be one of the most diverse events at 611 Florida yet, spanning traditional musical styles from centuries ago to contemporary modern technology. Since 1990, Simon Wickham-Smith has been recording both acoustic and digital compositions, ranging from loose, abstract improvisations to rigidly academic constructions. On this rare tour of the United States, he'll be performing improvisations on laptop. Be sure to ask him about transgendered astrology, the Sixth Dalai Lama, and font design. From Quagmire features Dorothy Geller and James Wolf (ex-Laconic Chamber) and Vincent Van Go-Gogh (ex-Rake), who build delicate songs around Geller's haunting, whispery vocals and Wolf's keening violin, complemented by Go-Gogh's unpredictable array of sawed cymbals, bizarre percussion, and electronic warblings. As a whole, and like the covers of both their albums (The Tropic of Barren and Caught in Unknowing), their aura is enshrouded in mystery and impressionism. Currently residing in Philadelphia after years of studying at Oxford, Sharron Kraus may be this generation's answer to those highly revered interpreters of traditional British folksong, Sandy Denny and Shirley Collins. Like Gillian Welch, Kraus writes her own ballads, though hers are steeped more in the Child and Sharp ballads of England instead of the Appalachia of Welch (which of course derive from the same sources). Kraus has recorded two phenomenal albums for Camera Obscura and plays solo, accompanied only by guitar, banjo, or whistle.

 

 


 

Thursday, April 22 (8pm) : Six Organs of Admittance, Jack Rose

Clavius Productions is extremely proud to present an evening of transcendent psychedelic folk with Six Organs of Admittance and Jack Rose. Six Organs, the brainchild of Ben Chasny (also of Comets on Fire), has recently signed to the venerable Drag City label and is poised to conquer the indie world with its mysterious blend of idiosyncratic fingerpicking, bells and drones, hushed chanted vocals, and pagan whimsy. A veteran of the supreme psych festival Terrastock, Six Organs references John Fahey and Takoma Records, Popul Vuh, Tyrannosaurus Rex, and Pentangle, without sounding like any of them. Returning to 611 is Jack Rose, who rendered the audience speechless and awe-struck last November with Landing. Jack is -- and 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.

This very well might be the last time Six Organs of Admittance play a house show in this area for a while, and paired with the masterful Jack Rose, this is an event you will not want to miss. Bring your own alcohol or preferred Dionysian aid. Slide projectors and painted bodies welcome.

Tuesday, March 30 2004

Tape
Anderegg & Aero
Ben Owen
sc.all

Tape, a trio from Stockholm, Sweden who concoct mesmerizing electro-acoustic, traditional folk-based pyschedelia from computers, field recordings, and unique instruments such as harmoniums, melodicas, glockenspiels, zithers, bells, accordions, and dulcimers [played]. They have been compared to acts as disparate as Gastr del Sol, John Fahey, Faust, Fennesz, and even Talk Talk (I hear a bit of Movietone and Crescent in there as well). I am looking forward to hearing their impressionistic, pastoral sound experiments shade our walls with Scandinavian mist, and so should you.

Opening are Anderegg & Aero (Brooklyn), Ben Owen (Brooklyn via Richmond), and sc_all (DC). Anderegg & Aero both run the fantastic experimental label Apestaartje, whose recordings have been extensively reviewed in magazines like The Wire. Their modus operandi is similar to Tape's, though perhaps more laptop-based. Ben Owen and sc_all (Scott Allison, who helped organize this event) will kick off the festivities with their own brands of digital psychedelia.

As always, bring your own beer (and more if you know what's good for you). No needles, unless you're going to replace the one on the record player in the living room.

Inaugural event
March two thousand something
FLAHERTY/CORSANO
EBSK

There is more music that happened.