what BookerT said. i think i still prefer black mountain a wee bit more – they're slightly heavier and more eclectic – but pink mountaintops were very consistent and catchy. the warlocks comparison is accurate, though PM are not quite as slow.
Warehouse Next Door
Clavius Productions presents a very special evening with two up-and-coming California bands in the vein of Comets On Fire and Mudhoney. Vincent Black Shadow just got "album of the month" on Julian Cope's website Head Heritage. And local noise merchants Facemat will tear it up, with a special guest from Kohoutek on percussion. A Sunday night not to be missed:
Sunday, June 11
Warehouse Next Door
1017 7th St NW WDC
$8, all ages
doors at 8:30, show at 9:15
Residual Echoes (Holy Mountain, heavy garage psych from Santa Cruz CA)
Mammatus (Holy Mountain, stoner psych from Santa Cruz CA)
Facemat (DC improv noise/psych)
Vincent Black Shadow (Baltimore garage psych)
Residual Echoes
http://www.holymountain.com/echoes.htm
The Residual Echoes were formed by Adam Payne after he moved to Santa Cruz and met the encouraging forces of Ethan Miller (Comets on Fire) and Ben Chasny (Six Organs of Admittance). They have blossomed into one of that city's finest groups. Their sound is a vibrant collage of everything that has ever happened in music, all deftly manipulated and manicured by Mr. Payne into some of the most farfreaking-out jams ever heard.
Santa Cruz, California – known for abandoned military bases where rumors persist of strange mind control experiments a la Montauk – is an area that was at one time the "serial killer capitol of the world." I know, I missed that sign, too. Anyway, you've got these mountains full of getting-away-from-the-city-type cults and communes rife with pure magical evil and ritual sacrifices. Whoa, Maury Terry; hold on there, Preston Nichols – what's this got do with a high-energy psychedelic rock band? Have you heard about these experimental drugs that afflict enemy soldiers with intense halitosis, or cause their hair to fall out, or the one that makes everyone super-horny? This album is like a really small dose of that kind of drug. Go to one of their shows. The band gets crazy and the people who see them get even crazier.
Phoenecian Flu And Ancient Ocean is another seething mish-mash of psychedelia, krautrock and free-noise – the perfect follow-up to last year's highly regarded self-titled debut LP. Partially self-recorded and partially recorded in the studio, Phoenecian Flu and Anciet Ocean is full of absolutely staggering material. The endless riff-sanity of "Death Comes for the Archbishop" is followed by billowing smoke, then a fuzzy-wuzzy pop number that finally shoots itself when the smell of smoke turns out to be an amp that was on far too loud for far too long. That piece of reverbed noise insanity might've been all were it not for the depraved psychedelic dub and Monoshock tribute that follows. Odes to the acoustic guitar and former gods of the six-string close the album. What does it sound like? Everything and nothing, baby.
Mammatus
http://www.mammatus.org/
Whoa, heavy!! This is a whole-body-vibrating, brain-melting, serious amplifier-worship ceremony! The first time I (Allan) saw these guys, last year sometime at the Hemlock here in San Francisco, I was blown away…I'd been told they were a heavy "stoner rock" outfit from Santa Cruz and worth checking out, but I didn't realize they were gonna be quite so AMAZING. Hairy backwoods hippy dudes, the drummer wearing what looked to be a home-made Whysp t-shirt, guitars turning the air to cottage cheese a la Blue Cheer while creating a trance-zone worthy of Finland's Circle!! So good that I immediately bought the live cd-r they were selling…we were gonna try to get some for the store, in fact, but then we found out that local label Holy Mountain run by our pal JW was on the case already and would be issuing Mammatus's debut studio full-length CD Stateside (with Rocket Recordings, home to the most recent Ufomammut, putting it out in Europe).
So yeah, heavy stoner rock this is, but waaay psychedelic and Hawkwindy, kinda like what maybe you thought Circle side-project Pharaoh Overlord was gonna (and sometimes does) sound like. Loud, massive and mesmerizing, swirling sludge psych! Their songs, often of epic length, are ever chugging skyward, dripping molten goo, full of feedback and fx. Their energetic riffage and warm drones are adorned by drifting vox (not unlike Dead Meadow, with whom they share certain proclivities) and fantastic, metallic, progtastic imagery. Take note of titles like "Dragon Of The Deep" (parts one and two!) and the Roger Dean-esque cover art by Arik "Moonhawk" Roper.
Further musical comparisions aren't hard to come up with – Mammatus belong in the company of such bastions of cosmic heaviness as Sleep, Boris, YOB, Ufomammut, Earthless, old Monster Magnet, Acid Mothers Temple (at AMT's heaviest, like on Starless & Bible Black Sabbath), Tarantula Hawk, and even Amon Duul (especially on the druggy, krautrocky jam "The Outer Rim"). And of course they're now labelmates with OM, which also makes perfect sense. If you love many, or even just any, of those bands and the sounds they make, this comes highly recommended. (Aquarius Records)
Vincent Black Shadow
http://www.heartbreakbeatrecords.com/
"…Moreover, with regard to the sound made by Vincent Black Shadow, their unrighteous Israeli Wall of Sound issuing forth behind this Great Stone Eater is an ultra confident stop-start micro-Detroit machine-shop of the highest order, nay the newest order! Mix one part of Blue Cheerâ??s â??Out Of Focusâ?? with two parts early Pa Ubu (â??Non Alignment Pactâ?? via â??Cloud 149â??), then filter all through Beefheartâ??s â??Moonlight On Vermontâ??. Drain and serve on a bed of Terry Knight production values, and you got this debut LP by Vincent Black Shadow…
VINCENT BLACK SHADOW is a monumental debut, and damn me if it ainâ??t righteous the way they bring in the whole ship and cargo at just over thirty minutes. Place yourselves in central Greece, brothersâ??nâ??sisters, for that is where our tale â??The Legend of Side Aâ?? begins with â??Child Of Orionâ??. High on the broken battlements of Orchemenos sits the heroic bearded figure of Bobcat Rufus Platt, each drum having been hefted, dragged, threatened and cajoled up to the citadel from the Boeotian Plain below. Bobcat commences a massive soul stomp in the Don Brewer/Scott Krauss manner, and wakes from its slumber the whole of Boeotia, home of Orion. And itâ??s up here high upon the citadels of Orchomenos, ancient capital of Boeotia, that we first glimpse Brother Black Savage searching frantically at the foot of the dusty dry-stone walling for the eyes of his blinded father Orion. Insurgents armed with solid-body-six-strings join Bobcat high on the citadel and proceed to lambaste the scenery with the kind of braying Glitter Band-plays-kazoo marching band guitar snarl that was at its height of popularity in the early post-Christian late 1960s, but which continued to inform the rock genre until the middle of the 22nd century, via the accidental re-discovery in 2078 of the DEVOTION LP, an unlikely 1970 hybrid proto-metal doom epic from the pre-Mahavishnuâ??d mind of John McLaughlin during his forgotten Black Sabbath-informed period on Douglas Records. Thatâ??s Outer Dave Litz standing in the doorway, his dreadlocked longhair streaked with dry egg and cereal, for he is the Guitar Muncher and often makes his most beautiful sounds when heâ??s eating the strings. Parallel with Outer is his shorthaired be-shaded counterpart Dan Van Owen. When heâ??s strangling hoary clichés out of his axe, some call him just Dan Owen, but itâ??s the â??vanâ?? of vanguard that is the key to this man. And when Dan kicks his middle name into gear, The Van accelerates to new heights. Over this fully-loaded twin fuzz Mekong Delta soul stomp, Adam Black Savage fesses up to being the grandson of Poseidon and the son of that great Boeotian hunter who took so much shit from Apollo and Dionysus. Itâ??s a barbarian classic, if youâ??ll â??scuse the oxymoron. The ducking and diving triple riffing of â??Real Woodâ?? kicks in next, a raging Tiger B. Smith dumb punkathon, with stop-start rhythms somewhat akin to â??I Want, Need, Love Youâ?? by the legendary Australian band The Black Diamonds, but played harder as though by ABSOLUTELY FREE-period Mothers. That bass â??- what the fuck? A single torn 8" speaker cone mikeâ??d up by someoneâ??s home tape recorderâ??s microphone. Is the Savage yelling â??Itâ??s hard workâ?? or â??Sod work!â?? Both ways is fine by me, as bottleneck guitars and blistered bluesy fuzz bass underpins the â??American Womanâ??-styled harmony twin lead. The Savage screams over and over: â??Tell me Iâ??m a sucker, tell me Iâ??m a sucker…â?? over and over and fucking over into the ending. Then, with barely a momentâ??s rest: â??Heat rays is what weâ??ve got going onâ?? and the small beginning of â??Blow It Up In The Sunshineâ?? suddenly blows up and opens out into a flattened and shimmering motorik kraut (small â??kâ??) road-trip in an open-topped pre-WW2 Mercedes (black with massive fenders) in the style of Canâ??s â??Mother Skyâ?? or The Stoogesâ?? â??Looseâ??; as the Savage wishes he was a lightning bug because heâ??s out of control, heâ??s out of control, heâ??s out of control. Then, as the urging siren guitars feedback on and into each other in pure coagulating sonic alchemy, the sky turns red and the Savageâ??s lupine howl announces a sunset, as the feedback guitars, panned now hard right and left, decorate the horizon with the good jismick juice. Side One concludes with â??Colours & Feelingsâ??, a kind of one-minute instrumental â??Boris The Spiderâ?? bass-player take on the GET CARTER-theme that swans in, does a once around the block, then sods off quick. I want more…â??Ainâ??t No Lawâ?? kicks off Side B like Joy Division playing a demented Hawkwind song (DOREMI-period), with FX of the Thirteen Floor Elevators persuasion, as the catchy bastard â??Ainâ??t no law, ainâ??t no lawâ?? chorus blasts a seemingly endless repeat, that is until they slow it all down to half-speed (this is becoming an excellent habit) and THEN some (Joey Smith-stylee), as the scything schrieking feedbacking guitars howl and stratospherize the nacht into a towering ack-ack anti-aircraft gun search for enemy planes flying too high to be detected up at 50,000 feet. Then weâ??re off to the pure LOVE IT TO DEATH of â??Raoulâ??, a kind of Alice-meets-side-two-of-the-red-Grand Funk second LP. Darker than usual is the â??Legend of Sexâ?? with its lead bass and Terminal Lovers/Downside Special rock melody over uncanny and strange chords, eventually dropping down into another classic repeated chorus: â??Does anyone know about the body?â?? Some places this band go allow the bass insurgency to climb right up there freaking out alongside the guitars, leaving excellent room for a fuggy haze of chordless free-rock to hang about the air conditioning system, facilitating the entrance of the final song â??Drunk In Spaceâ?? to kick in like early Alice does with the free-rock of â??Return Of The Spidersâ??. â??I know no Godâ?? bawls the Savage over a riff somewhat akin to The Stooges playing a pounding and far more remedial version of the â??Schoolâ??s Outâ?? riff. The Savage would only need to sing â??let me inâ?? at this point for the Alice-Iggy Cycle to be completed, but the twin 15 minutes of this Vincent Black Shadow is already over, Brothersâ??nâ??Sisters. However, Iâ??ll tell you this, gentlemen of the Shadow, youâ??ve achieved one excellent and real motherfucker of a debut. Itâ??s hard as nails, catchy, obsessive, smart and dumber than almost everything out there. This stuff will be on the compulsory listening list in a few yearsâ?? time, of that Iâ??m sure. You catchy motherfuckers deserve to go far." (Julian Cope, Head Heritage)
Sunday, June 11
Warehouse Next Door
1017 7th St NW WDC
$8, all ages
doors at 8:30, show at 9:15
Residual Echoes (Holy Mountain, heavy garage psych from Santa Cruz CA)
Mammatus (Holy Mountain, stoner psych from Santa Cruz CA)
Facemat (DC improv noise/psych)
Vincent Black Shadow (Baltimore garage psych)
Residual Echoes
http://www.holymountain.com/echoes.htm
The Residual Echoes were formed by Adam Payne after he moved to Santa Cruz and met the encouraging forces of Ethan Miller (Comets on Fire) and Ben Chasny (Six Organs of Admittance). They have blossomed into one of that city's finest groups. Their sound is a vibrant collage of everything that has ever happened in music, all deftly manipulated and manicured by Mr. Payne into some of the most farfreaking-out jams ever heard.
Santa Cruz, California – known for abandoned military bases where rumors persist of strange mind control experiments a la Montauk – is an area that was at one time the "serial killer capitol of the world." I know, I missed that sign, too. Anyway, you've got these mountains full of getting-away-from-the-city-type cults and communes rife with pure magical evil and ritual sacrifices. Whoa, Maury Terry; hold on there, Preston Nichols – what's this got do with a high-energy psychedelic rock band? Have you heard about these experimental drugs that afflict enemy soldiers with intense halitosis, or cause their hair to fall out, or the one that makes everyone super-horny? This album is like a really small dose of that kind of drug. Go to one of their shows. The band gets crazy and the people who see them get even crazier.
Phoenecian Flu And Ancient Ocean is another seething mish-mash of psychedelia, krautrock and free-noise – the perfect follow-up to last year's highly regarded self-titled debut LP. Partially self-recorded and partially recorded in the studio, Phoenecian Flu and Anciet Ocean is full of absolutely staggering material. The endless riff-sanity of "Death Comes for the Archbishop" is followed by billowing smoke, then a fuzzy-wuzzy pop number that finally shoots itself when the smell of smoke turns out to be an amp that was on far too loud for far too long. That piece of reverbed noise insanity might've been all were it not for the depraved psychedelic dub and Monoshock tribute that follows. Odes to the acoustic guitar and former gods of the six-string close the album. What does it sound like? Everything and nothing, baby.
Mammatus
http://www.mammatus.org/
Whoa, heavy!! This is a whole-body-vibrating, brain-melting, serious amplifier-worship ceremony! The first time I (Allan) saw these guys, last year sometime at the Hemlock here in San Francisco, I was blown away…I'd been told they were a heavy "stoner rock" outfit from Santa Cruz and worth checking out, but I didn't realize they were gonna be quite so AMAZING. Hairy backwoods hippy dudes, the drummer wearing what looked to be a home-made Whysp t-shirt, guitars turning the air to cottage cheese a la Blue Cheer while creating a trance-zone worthy of Finland's Circle!! So good that I immediately bought the live cd-r they were selling…we were gonna try to get some for the store, in fact, but then we found out that local label Holy Mountain run by our pal JW was on the case already and would be issuing Mammatus's debut studio full-length CD Stateside (with Rocket Recordings, home to the most recent Ufomammut, putting it out in Europe).
So yeah, heavy stoner rock this is, but waaay psychedelic and Hawkwindy, kinda like what maybe you thought Circle side-project Pharaoh Overlord was gonna (and sometimes does) sound like. Loud, massive and mesmerizing, swirling sludge psych! Their songs, often of epic length, are ever chugging skyward, dripping molten goo, full of feedback and fx. Their energetic riffage and warm drones are adorned by drifting vox (not unlike Dead Meadow, with whom they share certain proclivities) and fantastic, metallic, progtastic imagery. Take note of titles like "Dragon Of The Deep" (parts one and two!) and the Roger Dean-esque cover art by Arik "Moonhawk" Roper.
Further musical comparisions aren't hard to come up with – Mammatus belong in the company of such bastions of cosmic heaviness as Sleep, Boris, YOB, Ufomammut, Earthless, old Monster Magnet, Acid Mothers Temple (at AMT's heaviest, like on Starless & Bible Black Sabbath), Tarantula Hawk, and even Amon Duul (especially on the druggy, krautrocky jam "The Outer Rim"). And of course they're now labelmates with OM, which also makes perfect sense. If you love many, or even just any, of those bands and the sounds they make, this comes highly recommended. (Aquarius Records)
Vincent Black Shadow
http://www.heartbreakbeatrecords.com/
"…Moreover, with regard to the sound made by Vincent Black Shadow, their unrighteous Israeli Wall of Sound issuing forth behind this Great Stone Eater is an ultra confident stop-start micro-Detroit machine-shop of the highest order, nay the newest order! Mix one part of Blue Cheerâ??s â??Out Of Focusâ?? with two parts early Pa Ubu (â??Non Alignment Pactâ?? via â??Cloud 149â??), then filter all through Beefheartâ??s â??Moonlight On Vermontâ??. Drain and serve on a bed of Terry Knight production values, and you got this debut LP by Vincent Black Shadow…
VINCENT BLACK SHADOW is a monumental debut, and damn me if it ainâ??t righteous the way they bring in the whole ship and cargo at just over thirty minutes. Place yourselves in central Greece, brothersâ??nâ??sisters, for that is where our tale â??The Legend of Side Aâ?? begins with â??Child Of Orionâ??. High on the broken battlements of Orchemenos sits the heroic bearded figure of Bobcat Rufus Platt, each drum having been hefted, dragged, threatened and cajoled up to the citadel from the Boeotian Plain below. Bobcat commences a massive soul stomp in the Don Brewer/Scott Krauss manner, and wakes from its slumber the whole of Boeotia, home of Orion. And itâ??s up here high upon the citadels of Orchomenos, ancient capital of Boeotia, that we first glimpse Brother Black Savage searching frantically at the foot of the dusty dry-stone walling for the eyes of his blinded father Orion. Insurgents armed with solid-body-six-strings join Bobcat high on the citadel and proceed to lambaste the scenery with the kind of braying Glitter Band-plays-kazoo marching band guitar snarl that was at its height of popularity in the early post-Christian late 1960s, but which continued to inform the rock genre until the middle of the 22nd century, via the accidental re-discovery in 2078 of the DEVOTION LP, an unlikely 1970 hybrid proto-metal doom epic from the pre-Mahavishnuâ??d mind of John McLaughlin during his forgotten Black Sabbath-informed period on Douglas Records. Thatâ??s Outer Dave Litz standing in the doorway, his dreadlocked longhair streaked with dry egg and cereal, for he is the Guitar Muncher and often makes his most beautiful sounds when heâ??s eating the strings. Parallel with Outer is his shorthaired be-shaded counterpart Dan Van Owen. When heâ??s strangling hoary clichés out of his axe, some call him just Dan Owen, but itâ??s the â??vanâ?? of vanguard that is the key to this man. And when Dan kicks his middle name into gear, The Van accelerates to new heights. Over this fully-loaded twin fuzz Mekong Delta soul stomp, Adam Black Savage fesses up to being the grandson of Poseidon and the son of that great Boeotian hunter who took so much shit from Apollo and Dionysus. Itâ??s a barbarian classic, if youâ??ll â??scuse the oxymoron. The ducking and diving triple riffing of â??Real Woodâ?? kicks in next, a raging Tiger B. Smith dumb punkathon, with stop-start rhythms somewhat akin to â??I Want, Need, Love Youâ?? by the legendary Australian band The Black Diamonds, but played harder as though by ABSOLUTELY FREE-period Mothers. That bass â??- what the fuck? A single torn 8" speaker cone mikeâ??d up by someoneâ??s home tape recorderâ??s microphone. Is the Savage yelling â??Itâ??s hard workâ?? or â??Sod work!â?? Both ways is fine by me, as bottleneck guitars and blistered bluesy fuzz bass underpins the â??American Womanâ??-styled harmony twin lead. The Savage screams over and over: â??Tell me Iâ??m a sucker, tell me Iâ??m a sucker…â?? over and over and fucking over into the ending. Then, with barely a momentâ??s rest: â??Heat rays is what weâ??ve got going onâ?? and the small beginning of â??Blow It Up In The Sunshineâ?? suddenly blows up and opens out into a flattened and shimmering motorik kraut (small â??kâ??) road-trip in an open-topped pre-WW2 Mercedes (black with massive fenders) in the style of Canâ??s â??Mother Skyâ?? or The Stoogesâ?? â??Looseâ??; as the Savage wishes he was a lightning bug because heâ??s out of control, heâ??s out of control, heâ??s out of control. Then, as the urging siren guitars feedback on and into each other in pure coagulating sonic alchemy, the sky turns red and the Savageâ??s lupine howl announces a sunset, as the feedback guitars, panned now hard right and left, decorate the horizon with the good jismick juice. Side One concludes with â??Colours & Feelingsâ??, a kind of one-minute instrumental â??Boris The Spiderâ?? bass-player take on the GET CARTER-theme that swans in, does a once around the block, then sods off quick. I want more…â??Ainâ??t No Lawâ?? kicks off Side B like Joy Division playing a demented Hawkwind song (DOREMI-period), with FX of the Thirteen Floor Elevators persuasion, as the catchy bastard â??Ainâ??t no law, ainâ??t no lawâ?? chorus blasts a seemingly endless repeat, that is until they slow it all down to half-speed (this is becoming an excellent habit) and THEN some (Joey Smith-stylee), as the scything schrieking feedbacking guitars howl and stratospherize the nacht into a towering ack-ack anti-aircraft gun search for enemy planes flying too high to be detected up at 50,000 feet. Then weâ??re off to the pure LOVE IT TO DEATH of â??Raoulâ??, a kind of Alice-meets-side-two-of-the-red-Grand Funk second LP. Darker than usual is the â??Legend of Sexâ?? with its lead bass and Terminal Lovers/Downside Special rock melody over uncanny and strange chords, eventually dropping down into another classic repeated chorus: â??Does anyone know about the body?â?? Some places this band go allow the bass insurgency to climb right up there freaking out alongside the guitars, leaving excellent room for a fuggy haze of chordless free-rock to hang about the air conditioning system, facilitating the entrance of the final song â??Drunk In Spaceâ?? to kick in like early Alice does with the free-rock of â??Return Of The Spidersâ??. â??I know no Godâ?? bawls the Savage over a riff somewhat akin to The Stooges playing a pounding and far more remedial version of the â??Schoolâ??s Outâ?? riff. The Savage would only need to sing â??let me inâ?? at this point for the Alice-Iggy Cycle to be completed, but the twin 15 minutes of this Vincent Black Shadow is already over, Brothersâ??nâ??Sisters. However, Iâ??ll tell you this, gentlemen of the Shadow, youâ??ve achieved one excellent and real motherfucker of a debut. Itâ??s hard as nails, catchy, obsessive, smart and dumber than almost everything out there. This stuff will be on the compulsory listening list in a few yearsâ?? time, of that Iâ??m sure. You catchy motherfuckers deserve to go far." (Julian Cope, Head Heritage)
Originally posted by snailhook:I hope some of you are going out to enjoy and support this show. Should be an excellent evening.
Clavius Productions presents a very special evening with two up-and-coming California bands in the vein of Comets On Fire and Mudhoney. Vincent Black Shadow just got "album of the month" on Julian Cope's website Head Heritage. And local noise merchants Facemat will tear it up, with a special guest from Kohoutek on percussion. A Sunday night not to be missed:
Sunday, June 11
Warehouse Next Door
1017 7th St NW WDC
$8, all ages
doors at 8:30, show at 9:15
Residual Echoes (Holy Mountain, heavy garage psych from Santa Cruz CA)
Mammatus (Holy Mountain, stoner psych from Santa Cruz CA)
Facemat (DC improv noise/psych)
Vincent Black Shadow (Baltimore garage psych)
absolutely fantastic show, though nobody came out and supported it. everybody's loss…mammatus and residual echoes were both phenomenal. wolfmother wasn't even close.
Clavius Productions presents:
Friday, June 23
Warehouse Next Door
1017 7th St NW WDC
http://www.warehousenextdoor.com
$8, all ages
doors at 9, show at 9:30
Zodiac Mountain (mem. of Wooden Wand/Davenport)
Religious Knives (mem. of Double Leopards/Mouthus)
Chris Grier (solo electric guitar, of To Live And Shave In L.A.)
Insect Factory (improv drone, mem. of Kohoutek/Go To Sleep)
Rivers In Fields (DC guitar/drums duo)
from the Washington City Paper:
It's no surprise that Joanna Newsom, Devendra banhart, and the rest of today's folk and psychedelic acts get the fun freak-out sound right: After all, one doesn't have to own too many Pentangle records to have a firm grasp on the retro instrumentation and mystical lyricism that have come to characterize nu-campfire. The true explorers of New Weird America, however, are the ones who dig a little deeper. From Delta spirituals to Chicago free jazz, from Appalachian ballads to Louisville noise, Wooden Wand Jehovah and Clay Ruby have never met a musical style they weren't ready to record. Jehovah is best known for his role as the frontman for Wooden Wand and the Vanishing voice. In that lineup – one of several different Wooden Wand incarnations – Jehovah is joined by singer Heidi Diehl, whose gypsy-esque wail anchors hoodoo explorations. Ruby's Davenport Family – the most visible of his innumerable Madison, Wis.-based projects – has a more literal wanderlust: Just one of the collective's dozens of recordings resembles a traditional studio album; the rest are outdoor field recordings from performances, happenings, and other sound experiments. Jehovah and Ruby perform together as Zodiac Mountain, and with the accompaniment of who-knows-how-many artists from their respective extended musical families, the two have set out on a course across the heartland frontier. Zodiac Mountain performs with Religious Knives, Chris Grier, Insect Factory, and Rivers in Fields at 8:30 p.m. at the Warehouse Next Door, 1017 7th St. NW. $8. (202) 783-3933. (Kriston Capps)
Zodiac Mountain
http://www.woodenwand.net/
http://www.23productions.net/
Zodiac Mountain is Wooden Wand & Clay Ruby (Knoxville/Madison), known for fronting Wooden Wand & The Vanishing Voice and The Davenport
Family, respectively. For this tour, the duo (plus occasional special guests like Tovah Olson of Dead Machines and Maya Miller of Double Leopards and Religious Knives) come together to shake the demons out and let the blues muse cruise wild weekend style. In other words, anything goes! No requests for certain songs will be honored and may very well get you shoved around. The boys have been listening to tons of Hawkwind and Velvet Underground bootlegs, to give you an idea of their current mindstate (hedonism/reverence/heaviosity), and they hope maybe you can pick up what they're putting down this time around.
Religious Knives
http://www.doubleleopards.org/
Religious Knives is Maya Miller, Michael Bernstein and Nate Nelson. They spend a lot of their time playing in bands like Double Leopards, White Rock, and Mouthus, and running labels like Heavy Tapes and Our Mouth. This recent incarnation of Religious Knives has been compared to Goblin and Popul Vuh, which is chill, because who wouldn't love that? Electric Piano, Guitar, Drums, Percussion, Tapes, Effects, and plenty of Singing, Moaning, and Screaming all find themselves together at last in Brooklyn, New York. Come and love with them today.
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. Grier can also be found jamming around DC with Don Fleming, Big Cats, and Ultimate Vag, among others.
Insect Factory
http://www.myspace.com/insectfactory
Solo microscopic ambient guitar drone infleunced and inspired by the likes of Terry Riley, Steve Reich, Fripp/Eno, John Fahey, and Coltrane. Hypnotic layers of drone textures.
Friday, June 23
Warehouse Next Door
1017 7th St NW WDC
http://www.warehousenextdoor.com
$8, all ages
doors at 9, show at 9:30
Zodiac Mountain (mem. of Wooden Wand/Davenport)
Religious Knives (mem. of Double Leopards/Mouthus)
Chris Grier (solo electric guitar, of To Live And Shave In L.A.)
Insect Factory (improv drone, mem. of Kohoutek/Go To Sleep)
Rivers In Fields (DC guitar/drums duo)
from the Washington City Paper:
It's no surprise that Joanna Newsom, Devendra banhart, and the rest of today's folk and psychedelic acts get the fun freak-out sound right: After all, one doesn't have to own too many Pentangle records to have a firm grasp on the retro instrumentation and mystical lyricism that have come to characterize nu-campfire. The true explorers of New Weird America, however, are the ones who dig a little deeper. From Delta spirituals to Chicago free jazz, from Appalachian ballads to Louisville noise, Wooden Wand Jehovah and Clay Ruby have never met a musical style they weren't ready to record. Jehovah is best known for his role as the frontman for Wooden Wand and the Vanishing voice. In that lineup – one of several different Wooden Wand incarnations – Jehovah is joined by singer Heidi Diehl, whose gypsy-esque wail anchors hoodoo explorations. Ruby's Davenport Family – the most visible of his innumerable Madison, Wis.-based projects – has a more literal wanderlust: Just one of the collective's dozens of recordings resembles a traditional studio album; the rest are outdoor field recordings from performances, happenings, and other sound experiments. Jehovah and Ruby perform together as Zodiac Mountain, and with the accompaniment of who-knows-how-many artists from their respective extended musical families, the two have set out on a course across the heartland frontier. Zodiac Mountain performs with Religious Knives, Chris Grier, Insect Factory, and Rivers in Fields at 8:30 p.m. at the Warehouse Next Door, 1017 7th St. NW. $8. (202) 783-3933. (Kriston Capps)
Zodiac Mountain
http://www.woodenwand.net/
http://www.23productions.net/
Zodiac Mountain is Wooden Wand & Clay Ruby (Knoxville/Madison), known for fronting Wooden Wand & The Vanishing Voice and The Davenport
Family, respectively. For this tour, the duo (plus occasional special guests like Tovah Olson of Dead Machines and Maya Miller of Double Leopards and Religious Knives) come together to shake the demons out and let the blues muse cruise wild weekend style. In other words, anything goes! No requests for certain songs will be honored and may very well get you shoved around. The boys have been listening to tons of Hawkwind and Velvet Underground bootlegs, to give you an idea of their current mindstate (hedonism/reverence/heaviosity), and they hope maybe you can pick up what they're putting down this time around.
Religious Knives
http://www.doubleleopards.org/
Religious Knives is Maya Miller, Michael Bernstein and Nate Nelson. They spend a lot of their time playing in bands like Double Leopards, White Rock, and Mouthus, and running labels like Heavy Tapes and Our Mouth. This recent incarnation of Religious Knives has been compared to Goblin and Popul Vuh, which is chill, because who wouldn't love that? Electric Piano, Guitar, Drums, Percussion, Tapes, Effects, and plenty of Singing, Moaning, and Screaming all find themselves together at last in Brooklyn, New York. Come and love with them today.
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. Grier can also be found jamming around DC with Don Fleming, Big Cats, and Ultimate Vag, among others.
Insect Factory
http://www.myspace.com/insectfactory
Solo microscopic ambient guitar drone infleunced and inspired by the likes of Terry Riley, Steve Reich, Fripp/Eno, John Fahey, and Coltrane. Hypnotic layers of drone textures.
Clavius Productions presents a night of youthful energy running the gamut from psychedelic improv noise to fierce garage-punk:
Friday, June 30
Warehouse Next Door
1017 7th St NW WDC
http://www.warehousenextdoor.com
$7, all ages
doors at 9:30, show at 10
The Good Anna (improv guitar/drums duo from UK)
The Blizzards (avant-pop trio from NYC, mem. of Castanets/Owl Sounds/La Otracina/Lust Ionics)
Knife Crazy (garage rock from Buffalo, mem. of The Bloody Hollies)
The Good Anna
http://www.myspace.com/thegoodanna
The Good Anna is a free improvisation duo made up of Graham (20) on guitar, and Patrick (22) on prepared drums and amplified objects. The Good Anna came together by chance after Patrick returned from a 6 month stay in India, where he
was taught classical North Indian Tabla by Pandit Nayan Ghosh. As a result of his stay in the East, Patrick began to think about treating the drums more as textural surfaces rather than just an outlet for rhythm. During the same period Graham was taking a contrasting path to Patrick's geographical excursions, but had equally cocooned himself in study. He began absorbing a vast array of new music, furiously digesting jazz harmonic theory, performing locally to trial run fresh ideas and teaching to make ends meet, all the while constantly composing and improvising. They united in Spring 2005 with a burgeoning interest in spontaneous performance and a mutual appreciation of music such as Milford Graves, AMM, LaMonte Young, and John Coltrane. Holed up in a tiny garage in the Midlands recording all sessions on a weather beaten Dictaphone, they set about applying the knowledge they had garnered over the past year to hone their abilities for immediate __expression.
from a review of a live gig:
"Onwards to 'The Good Anna' from Nottingham who played on our festival last year and blew us all away with their power and finesse. This is a duo that combines technique (effortlessly) with the physical Grantham plays with his back Miles Davis style to the audience tonight, focusing on his amp and effects, but jerking and waving his guitar, always moving. And Porkbowl on the drums uses his whole body it seems to get the rhythms and cross rhythms pouring out in a wild, abandoned stream. I've been around, you know as Al Pacino said in 'Scent of a Woman' and I've heard some great drummers in the last year Denardo Coleman and Tony Oxley to name two world beaters (no pun intended) and this young guy is going to be a contender, mark my words. He reminds me a little of the free-jazz drummer Milford Graves in the ways that he uses his hands and other objects as well as sticks and brushes, pummeling, stroking, banging and paradiddling, elbows utilised to mute drum heads and alter timbres, feet up on them at times (interesting socks), at one point exploding whatever implement he was using a maracca or something similar (don't write in it's not that important) in a spectacular shower of dust - I was up front and am still coughing out the debris! Girdle seemed further back in the music than the last time I saw them but still contributed a fiery blaze of guitar that seems to cross from rock to free-jazz while maybe they are just playing Good Anna music screw the labels At times he had a high, squealing series of notes that reminded me of Pharoah Sanders when he used to play with Coltrane The audience were captivated throughout O.K this is 'difficult' music, but played with this intensity and vigour it proves that it can cut through to people prepared to listen."
The Blizzards
http://www.vorg.net/csr/artistsblizzards.htm
Blizzards are a minimalist informed avant-pop trio of musicians usually dabbling in the worlds of free-jazz, noise, stewed electronics,
psychedelic-prog, blissed drones, and imaginary time music. Adam Kriney is the drummer and runs the Colour Sounds Recordings label, plays in the groups OWL XOUNDS Exploding Galaxy (one of Wire magazine's top jazz/improv releases for
2005), La Octracina, Dead Girls, Quivers, Divine Invasion, and is a touring member of Castanets and The Places. Cousins Anthony Lebron and Hektor Fontanez are both the guitarists, vocalists, and electronics wizards of the group, and they have released many dazzling solo and collaboration discs under the monikers of Twi, Liek, and Lil Humble Veli, on the Learning The Language label. Blizzards runs slower than you walk fast!
Friday, June 30
Warehouse Next Door
1017 7th St NW WDC
http://www.warehousenextdoor.com
$7, all ages
doors at 9:30, show at 10
The Good Anna (improv guitar/drums duo from UK)
The Blizzards (avant-pop trio from NYC, mem. of Castanets/Owl Sounds/La Otracina/Lust Ionics)
Knife Crazy (garage rock from Buffalo, mem. of The Bloody Hollies)
The Good Anna
http://www.myspace.com/thegoodanna
The Good Anna is a free improvisation duo made up of Graham (20) on guitar, and Patrick (22) on prepared drums and amplified objects. The Good Anna came together by chance after Patrick returned from a 6 month stay in India, where he
was taught classical North Indian Tabla by Pandit Nayan Ghosh. As a result of his stay in the East, Patrick began to think about treating the drums more as textural surfaces rather than just an outlet for rhythm. During the same period Graham was taking a contrasting path to Patrick's geographical excursions, but had equally cocooned himself in study. He began absorbing a vast array of new music, furiously digesting jazz harmonic theory, performing locally to trial run fresh ideas and teaching to make ends meet, all the while constantly composing and improvising. They united in Spring 2005 with a burgeoning interest in spontaneous performance and a mutual appreciation of music such as Milford Graves, AMM, LaMonte Young, and John Coltrane. Holed up in a tiny garage in the Midlands recording all sessions on a weather beaten Dictaphone, they set about applying the knowledge they had garnered over the past year to hone their abilities for immediate __expression.
from a review of a live gig:
"Onwards to 'The Good Anna' from Nottingham who played on our festival last year and blew us all away with their power and finesse. This is a duo that combines technique (effortlessly) with the physical Grantham plays with his back Miles Davis style to the audience tonight, focusing on his amp and effects, but jerking and waving his guitar, always moving. And Porkbowl on the drums uses his whole body it seems to get the rhythms and cross rhythms pouring out in a wild, abandoned stream. I've been around, you know as Al Pacino said in 'Scent of a Woman' and I've heard some great drummers in the last year Denardo Coleman and Tony Oxley to name two world beaters (no pun intended) and this young guy is going to be a contender, mark my words. He reminds me a little of the free-jazz drummer Milford Graves in the ways that he uses his hands and other objects as well as sticks and brushes, pummeling, stroking, banging and paradiddling, elbows utilised to mute drum heads and alter timbres, feet up on them at times (interesting socks), at one point exploding whatever implement he was using a maracca or something similar (don't write in it's not that important) in a spectacular shower of dust - I was up front and am still coughing out the debris! Girdle seemed further back in the music than the last time I saw them but still contributed a fiery blaze of guitar that seems to cross from rock to free-jazz while maybe they are just playing Good Anna music screw the labels At times he had a high, squealing series of notes that reminded me of Pharoah Sanders when he used to play with Coltrane The audience were captivated throughout O.K this is 'difficult' music, but played with this intensity and vigour it proves that it can cut through to people prepared to listen."
The Blizzards
http://www.vorg.net/csr/artistsblizzards.htm
Blizzards are a minimalist informed avant-pop trio of musicians usually dabbling in the worlds of free-jazz, noise, stewed electronics,
psychedelic-prog, blissed drones, and imaginary time music. Adam Kriney is the drummer and runs the Colour Sounds Recordings label, plays in the groups OWL XOUNDS Exploding Galaxy (one of Wire magazine's top jazz/improv releases for
2005), La Octracina, Dead Girls, Quivers, Divine Invasion, and is a touring member of Castanets and The Places. Cousins Anthony Lebron and Hektor Fontanez are both the guitarists, vocalists, and electronics wizards of the group, and they have released many dazzling solo and collaboration discs under the monikers of Twi, Liek, and Lil Humble Veli, on the Learning The Language label. Blizzards runs slower than you walk fast!
Snailhook, what's the deal with the Vetiver show on Sunday? What time, cost, etc?
TONIGHT!
Clavius Productions presents:
Wednesday, July 12
Warehouse Next Door
1017 7th St NW WDC
$8, all ages
doors at 8:30, show at 9:15
Carla Bozulich's Evangelista (Constellation)
Brandon Butler (ex-Canyon)
Dead Science (Absolutely Kosher)
with a short set by Carla's violist Anni Rossi
Carla Bozulich describes her latest record, Evangelista, as "a sound that you can open your chest with, pull out what’s inside and make it change shapes." Frankly, I think it sounds like the former Ethyl Meatplow and Geraldine Fibbers frontwoman is asking her audience to rip their hearts out of their chests, stick microphones into their still-beating ventricles, and use the damn things as drum machines. It would certainly provide an appropriately minimalist backing beat to the sparse atmospherics Bozulich and her new Constellation Records cohorts serve up on the record’s nine tracks. Yet, as Bozulich explains, "Even inside this void there is sound. You will hear it…the sound of your own pulsing blood." Pray the only human heart on display is the one Bozulich always wears on her sleeve when Carla Bozulich’s Evangelista performs with Brandon Butler, Dead Science, and Anni Rossi at 8:30 p.m. at the Warehouse Next Door, 1017 7th St. NW. $8. (202) 783-3933. (Matthew Borlik)
Carla Bozulich's Evangelista (playing in a full band with members of GYBE and A Silver Mt Zion)
http://www.carlabozulich.com/Evangelistamenu.html
Carla Bozulich needs no introduction. Her work with Ethyl Meatplow, The Geraldine Fibbers, Scarnella, The Red-Headed Stranger (with Willie Nelson), and many others spans over twenty years of uncompromising sound, driven by a voice and
vision that consistently delivers spine-tingling beauty, originality, and directness. You may have seen her on tour with WILCO or heard about her most recent work with members of Godspeed You Black Emperor and A Silver Mt Zion. Carla's new
album (her first on Constellation, and the label's first release by a non-regional artist) is a devastating, elegiac, brutally honest song cycle that finds her voice unleashed with
unprecedented emotive depth and determination. Evangelista is heartrending and gutwrenching, with isolation and desperation redeemed by incantatory sonics and out-reaching, soul-saving
words. One damn compelling exorcism of a record, churning and channeling out of loneliness to heal and rebuild connective tissue through sound – pocketful of beautiful noises and loops with various guest players adding strings, guitars, drums, organ, piano, hums, and other sounds. Constellation Records.
Brando Butler
http://www.brandonbutler.net/
"The name Brandon Butler may not be familiar, but any fan of indie-rock and emo probably is aware of Butler's previous projects. He fronted one
of the most overlooked emo bands of the mid- to late-'90s, Boys Life, which produced two of the finest albums in the vein of Christie Front Drive and Mineral. One album with his next project, Farewell Bend, showed a more hooky indie-rock style with those same emo leanings. Then Butler disappeared for a while, re-emerging with his project Canyon, on which his unique vocal styles took a more country- and folk-based rock sound. Now Butler, on his own, shows a mature, strong songwriter with an extremely unique voice. Butler has a raw, whiskey-soaked voice an octave or so higher than one might expect, and while it may have sounded out of place to some in his earlier rock offerings, it fits here nicely. He has a country-esque twang that doesn't sound at all
forced, and the soft acoustic tracks speak of a harsh Midwestern life. For singer/songwriter fare, it definitely leans toward the country side
of things, but the songs here evoke the rich songwriting style of Neil Young more than Willie Nelson, and Butler pulls it off as if he's lived
a hundred years, his raw voice and stark style proving it."
Dead Science
http://www.thedeadscience.com/
With roots in jazz, art/experimental, and the more accessible side of post-rock, the band creates an enigmatic yet uniquely compelling sound which showcases vocalist SAM MICKEN's
breathtaking tenor over the group's gritty
guitar-drums-upright bass arrangements. Like experimental pop running mates Blonde Redhead, Deerhoof, and Xiu Xiu.
Absolutely Kosher Records.
Anni Rossi
http://www.myspace.com/annirossi
A girl who writes songs on the viola (with vocals ala Joanna Newsom, Regina Spektor). It's slightly out of tune, but not too much, just enough to be rough.
Clavius Productions presents:
Wednesday, July 12
Warehouse Next Door
1017 7th St NW WDC
$8, all ages
doors at 8:30, show at 9:15
Carla Bozulich's Evangelista (Constellation)
Brandon Butler (ex-Canyon)
Dead Science (Absolutely Kosher)
with a short set by Carla's violist Anni Rossi
Carla Bozulich describes her latest record, Evangelista, as "a sound that you can open your chest with, pull out what’s inside and make it change shapes." Frankly, I think it sounds like the former Ethyl Meatplow and Geraldine Fibbers frontwoman is asking her audience to rip their hearts out of their chests, stick microphones into their still-beating ventricles, and use the damn things as drum machines. It would certainly provide an appropriately minimalist backing beat to the sparse atmospherics Bozulich and her new Constellation Records cohorts serve up on the record’s nine tracks. Yet, as Bozulich explains, "Even inside this void there is sound. You will hear it…the sound of your own pulsing blood." Pray the only human heart on display is the one Bozulich always wears on her sleeve when Carla Bozulich’s Evangelista performs with Brandon Butler, Dead Science, and Anni Rossi at 8:30 p.m. at the Warehouse Next Door, 1017 7th St. NW. $8. (202) 783-3933. (Matthew Borlik)
Carla Bozulich's Evangelista (playing in a full band with members of GYBE and A Silver Mt Zion)
http://www.carlabozulich.com/Evangelistamenu.html
Carla Bozulich needs no introduction. Her work with Ethyl Meatplow, The Geraldine Fibbers, Scarnella, The Red-Headed Stranger (with Willie Nelson), and many others spans over twenty years of uncompromising sound, driven by a voice and
vision that consistently delivers spine-tingling beauty, originality, and directness. You may have seen her on tour with WILCO or heard about her most recent work with members of Godspeed You Black Emperor and A Silver Mt Zion. Carla's new
album (her first on Constellation, and the label's first release by a non-regional artist) is a devastating, elegiac, brutally honest song cycle that finds her voice unleashed with
unprecedented emotive depth and determination. Evangelista is heartrending and gutwrenching, with isolation and desperation redeemed by incantatory sonics and out-reaching, soul-saving
words. One damn compelling exorcism of a record, churning and channeling out of loneliness to heal and rebuild connective tissue through sound – pocketful of beautiful noises and loops with various guest players adding strings, guitars, drums, organ, piano, hums, and other sounds. Constellation Records.
Brando Butler
http://www.brandonbutler.net/
"The name Brandon Butler may not be familiar, but any fan of indie-rock and emo probably is aware of Butler's previous projects. He fronted one
of the most overlooked emo bands of the mid- to late-'90s, Boys Life, which produced two of the finest albums in the vein of Christie Front Drive and Mineral. One album with his next project, Farewell Bend, showed a more hooky indie-rock style with those same emo leanings. Then Butler disappeared for a while, re-emerging with his project Canyon, on which his unique vocal styles took a more country- and folk-based rock sound. Now Butler, on his own, shows a mature, strong songwriter with an extremely unique voice. Butler has a raw, whiskey-soaked voice an octave or so higher than one might expect, and while it may have sounded out of place to some in his earlier rock offerings, it fits here nicely. He has a country-esque twang that doesn't sound at all
forced, and the soft acoustic tracks speak of a harsh Midwestern life. For singer/songwriter fare, it definitely leans toward the country side
of things, but the songs here evoke the rich songwriting style of Neil Young more than Willie Nelson, and Butler pulls it off as if he's lived
a hundred years, his raw voice and stark style proving it."
Dead Science
http://www.thedeadscience.com/
With roots in jazz, art/experimental, and the more accessible side of post-rock, the band creates an enigmatic yet uniquely compelling sound which showcases vocalist SAM MICKEN's
breathtaking tenor over the group's gritty
guitar-drums-upright bass arrangements. Like experimental pop running mates Blonde Redhead, Deerhoof, and Xiu Xiu.
Absolutely Kosher Records.
Anni Rossi
http://www.myspace.com/annirossi
A girl who writes songs on the viola (with vocals ala Joanna Newsom, Regina Spektor). It's slightly out of tune, but not too much, just enough to be rough.
Snailhook, what's the deal with the Vetiver show on Sunday? What time, cost, etc?8:30 doors, show at 9:30, $10, two DJs
more info coming soon…
Sad to say I'm gonna miss this…I went to 4 shows in a ROW! I'm so tired and have a cold. LOL
Originally posted by snailhook:
TONIGHT!
Clavius Productions presents:
Wednesday, July 12
Warehouse Next Door
1017 7th St NW WDC
$8, all ages
doors at 8:30, show at 9:15
Carla Bozulich's Evangelista (Constellation)
Brandon Butler (ex-Canyon)
Dead Science (Absolutely Kosher)
with a short set by Carla's violist Anni Rossi
Snailhook, can you book XIU XIU, please?
:)
:)
Easily the most underappreciated singer recording today. I've been a huge Carla Bozulich fan since Ethyl Meatplow and I still think her albums with Geraldine Fibbers are classics. Even if you don't love her sound of the moment (she alternates between alt country, punk, and noise rock), you can't help but be seduced by her smokey vocals. Absolutely worth $8 and dragging your carcass off the couch. It'll be even better than "Rock Star: Supernova" I swear.
Originally posted by snailhook:
TONIGHT!
Clavius Productions presents:
Wednesday, July 12
Warehouse Next Door
1017 7th St NW WDC
$8, all ages
doors at 8:30, show at 9:15
Carla Bozulich's Evangelista (Constellation)
Brandon Butler (ex-Canyon)
Dead Science (Absolutely Kosher)
with a short set by Carla's violist Anni Rossi
Carla Bozulich describes her latest record, Evangelista, as "a sound that you can open your chest with, pull out what’s inside and make it change shapes." Frankly, I think it sounds like the former Ethyl Meatplow and Geraldine Fibbers frontwoman is asking her audience to rip their hearts out of their chests, stick microphones into their still-beating ventricles, and use the damn things as drum machines. It would certainly provide an appropriately minimalist backing beat to the sparse atmospherics Bozulich and her new Constellation Records cohorts serve up on the record’s nine tracks. Yet, as Bozulich explains, "Even inside this void there is sound. You will hear it…the sound of your own pulsing blood." Pray the only human heart on display is the one Bozulich always wears on her sleeve when Carla Bozulich’s Evangelista performs with Brandon Butler, Dead Science, and Anni Rossi at 8:30 p.m. at the Warehouse Next Door, 1017 7th St. NW. $8. (202) 783-3933. (Matthew Borlik)
Carla Bozulich's Evangelista (playing in a full band with members of GYBE and A Silver Mt Zion)
http://www.carlabozulich.com/Evangelistamenu.html
Carla Bozulich needs no introduction. Her work with Ethyl Meatplow, The Geraldine Fibbers, Scarnella, The Red-Headed Stranger (with Willie Nelson), and many others spans over twenty years of uncompromising sound, driven by a voice and
vision that consistently delivers spine-tingling beauty, originality, and directness. You may have seen her on tour with WILCO or heard about her most recent work with members of Godspeed You Black Emperor and A Silver Mt Zion. Carla's new
album (her first on Constellation, and the label's first release by a non-regional artist) is a devastating, elegiac, brutally honest song cycle that finds her voice unleashed with
unprecedented emotive depth and determination. Evangelista is heartrending and gutwrenching, with isolation and desperation redeemed by incantatory sonics and out-reaching, soul-saving
words. One damn compelling exorcism of a record, churning and channeling out of loneliness to heal and rebuild connective tissue through sound – pocketful of beautiful noises and loops with various guest players adding strings, guitars, drums, organ, piano, hums, and other sounds. Constellation Records.
Brando Butler
http://www.brandonbutler.net/
"The name Brandon Butler may not be familiar, but any fan of indie-rock and emo probably is aware of Butler's previous projects. He fronted one
of the most overlooked emo bands of the mid- to late-'90s, Boys Life, which produced two of the finest albums in the vein of Christie Front Drive and Mineral. One album with his next project, Farewell Bend, showed a more hooky indie-rock style with those same emo leanings. Then Butler disappeared for a while, re-emerging with his project Canyon, on which his unique vocal styles took a more country- and folk-based rock sound. Now Butler, on his own, shows a mature, strong songwriter with an extremely unique voice. Butler has a raw, whiskey-soaked voice an octave or so higher than one might expect, and while it may have sounded out of place to some in his earlier rock offerings, it fits here nicely. He has a country-esque twang that doesn't sound at all
forced, and the soft acoustic tracks speak of a harsh Midwestern life. For singer/songwriter fare, it definitely leans toward the country side
of things, but the songs here evoke the rich songwriting style of Neil Young more than Willie Nelson, and Butler pulls it off as if he's lived
a hundred years, his raw voice and stark style proving it."
Dead Science
http://www.thedeadscience.com/
With roots in jazz, art/experimental, and the more accessible side of post-rock, the band creates an enigmatic yet uniquely compelling sound which showcases vocalist SAM MICKEN's
breathtaking tenor over the group's gritty
guitar-drums-upright bass arrangements. Like experimental pop running mates Blonde Redhead, Deerhoof, and Xiu Xiu.
Absolutely Kosher Records.
Anni Rossi
http://www.myspace.com/annirossi
A girl who writes songs on the viola (with vocals ala Joanna Newsom, Regina Spektor). It's slightly out of tune, but not too much, just enough to be rough.
She's smoking on the devil's johnson :p
Originally posted by Lamb007:
Easily the most underappreciated singer recording today. I've been a huge Carla Bozulich fan since Ethyl Meatplow..
Snailhook, can you book XIU XIU, please?i was going to book them in october at the rock and roll hotel, but they decided to reroute the tour. i think they are planning on hitting dc next spring. i booked them last august and they sold out the warehouse.
Clavius Productions presents a rare area performance by Spain's premier conceptual sound artist Francisco Lopez, supported by DC's Violet!
Saturday, July 15
Warehouse Black Box Theatre
1019 7th Street NW WDC
$10, all ages
doors at 9:30, show at 11 sharp!
Francisco Lopez
http://www.franciscolopez.net/
Francisco López is internationally recognized as one of the major figures of the underground experimental music scene. Over the last twenty five years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, and sound installations in 50 countries of the five continents. His extended catalog of sound pieces (with live and studio collaborations with over 100 international artists) has been released by more than 140 record labels worldwide, and he has been awarded twice with honorary mentions at the competition of Ars Electronica Festival. The audience will be blinded during the performance.
Violet
http://www.zeromoon.com/violet/index.html
J. Surak (aka Violet) is a veteran experimenter from Washington, DC. Since the early 1980s, he has explored the netherworld between improvisation and composition to create something between the two auditory realms of experimental music. Found objects, microcassettes, damaged cds, prepared acoustic instruments, and old record players outfitted with foil are the tools of choice.
Saturday, July 15
Warehouse Black Box Theatre
1019 7th Street NW WDC
$10, all ages
doors at 9:30, show at 11 sharp!
Francisco Lopez
http://www.franciscolopez.net/
Francisco López is internationally recognized as one of the major figures of the underground experimental music scene. Over the last twenty five years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, and sound installations in 50 countries of the five continents. His extended catalog of sound pieces (with live and studio collaborations with over 100 international artists) has been released by more than 140 record labels worldwide, and he has been awarded twice with honorary mentions at the competition of Ars Electronica Festival. The audience will be blinded during the performance.
Violet
http://www.zeromoon.com/violet/index.html
J. Surak (aka Violet) is a veteran experimenter from Washington, DC. Since the early 1980s, he has explored the netherworld between improvisation and composition to create something between the two auditory realms of experimental music. Found objects, microcassettes, damaged cds, prepared acoustic instruments, and old record players outfitted with foil are the tools of choice.
Clavius Productions presents:
Sunday, July 16
Warehouse Next Door
1017 7th St NW WDC
$10, all ages
doors at 8:30, show at 9:30
Vetiver (from San Francisco, DiChristina)
Benjy Ferree (from DC, now on Domino…congrats Benjy!)
Blood Feathers (from Philly, Box Theory)
plus two very special guest DJs!
Vetiver
http://www.vetiverse.com/
To Find Me Gone is the second album from Vetiver, singer/songwriter Andy Cabic's ever-evolving musical home base. To Find Me Gone comes two years after Vetiver's eponymous debut and is being released May 23 by DiCristina Stairbuilders. Since Vetiver's release, Andy has toured the world repeatedly as a member of close crony Devendra Banhart's live band ("Hairy Fairy" and "Queens of Sheba" are among the monikers they're known by), as well as with Vetiver (occasionally with Banhart in tow); Vetiver released Between, an EP of live and demo recordings in conjunction with their 2005 European tour. Over the passed two years, Cabic's Vetiver has transmuted into a full-on singer/songwriter cum band/project aided and abetted by some of the best players (and Andy's closest friends) in the extended family of acoustic/experimentalists he finds himself a central member of. To Find Me Gone was skillfully produced by The Pernice Brothers' Thom Monahan at his home studio in Los Angeles during the Spring of '06; Thom also mixed the album with Andy. Most basic tracks were recorded by Cabic with guitarist Kevin Barker (Currituck County) and percussionist Otto Hauser (Espers) who he then toured with extensively backing Banhart, road-testing and adjusting some of this repertoire during those shows. Finishing touches were added and additional songs recorded throughout the year by an intriguing cast of characters including Devendra, Noah Georgeson (producer of Joanna Newsom and another "Hairy Fairy"), Vetiver's resident cellist Alissa Anderson, Monahan, Brad Laner, "Farmer" Dave Scher, Dina Maccabee, Irene Sazer, Shaw Pong Liu, and Jessica Ivry among others.
Andy Cabic grew up in northern Virginia and spent a few years in Greensboro, North Carolina, playing guitar, writing music and recording as a member of the Raymond Brake. After moving to San Francisco, Cabic joined the rock band Tussle, simultaneously recruiting other local musicians including cellist Alissa Anderson, troubadour Devendra Banhart, along with special guests Colm O'Ciosoig (My Bloody Valentine), Hope Sandoval (Mazzy Star) and the then-unknown Joanna Newsom among others to record Vetiver. The album was released in 2004 to high critical praise from around the world:
Vetiver is named for an aromatic East Indian grass that grows in California, and their music delivers on the sunny, hazy sweetness the band's name suggests. Singer Andy Cabic has – with some help from Devendra Banhart – written a set of songs that at their best are strange, subdued and otherworldly, a quality you can't fake…Cabic's voice lures you in, like a less showy Jeff Buckley, and the rest of the songs unfold like a dream. There's the rapturous "Without a Song" (with a tapping-break in the middle that's unlike anything I've heard), the jaunty "Farther On," and the complex epics that make up the album's last half, with a detour for the goofy "Amour Fou" (co-written with Banhart). This is folk music that combines the ghostly power of scratchy blues 78s with the epic swirl of My Bloody Valentine or Mazzy Star (members of which make guest appearances). (Phillip Cristman/Paste)
The track at the heart of Vetiver is "Angel's Share," named after the whisky that evaporates during the distillation process. It fits a collection which suggests a world where the very atmosphere has become slightly tipsy, at the point between feeling warm and safe and a sense of menace. Devendra Banahrt (yes, him again) and Andy Cabic have taken their acoustic prairie sounds, added strings and called in some favours…the music is toned down because it's confident enough in its own texture to allow the beating of blood in your ears to provide the percussion. If Americana has always left you cold, a sip of this could be enough for you to fall under its influence. (Simon Hayes Budgen/NME)
The languid sounds comes courtesy of Andy Cabic's quiet, sweetly dazed vocals and guitarist Devendra Banhart's delicate, rustic strumming. Vetiver has some overlap with Banhart's solo albums in that if you played it for a time traveler from 1911, they wouldn't freak out too badly, and it possesses a warmth that can't be faked. This should prove to be near ideal listening for the summer; great to lay back and drift off to when you're feeling heavy of limb and light of mind after a day out in the sun. (Tom Forget/Bust)
Do not, repeat DO NOT, miss Vetiver, the Bay Area not-folk-but-not-rock outfit whose vocals-guitar-cello-violin live lineup brings an extraordinary air of grace and sway to leader Andy Cabic's strangely ageless, moonlit songs, the kind that Neil Young still writes sometimes. (Jay Babcock, LA Weekly)
Like an album of dreamy, gentle songs that George Harrison would have written in some sunny country garden. There's hypnotic finger-picking on guitar, a warm steady drone of cello. The band includes neo-folkie mystic Devendra Banhart, who does minimal singing and songwriting for the most part, but one can hear the aesthetic of Banhart's music here, even if the songs aren't as haunting. The high point is probably "Angel's Share," a lovely song that has Hope Sandoval from the band Mazy Star singing languid and sweet harmony vocals. There's also a winning and odd swooning eulogy to the Seattle Arboretum. Vetiver is a type of Indian grass, and this is music designed for lazing about in a summer lawn. (John Adamian/Hartford Advocate)
In the years following Vetiver's release Andy toured the world intensively with both Vetiver and in various incarnations of Devendra's touring ensemble. In early 2005 he joined Banhart in Woodstock to record the latter's fourth album Cripple Crow and then hit the road again, pausing only in May to do primary tracking for To Find Me Gone and then rejoin Devendra on the road. Final overdubbing and mixing on the album were completd in September and the final results are decisively different from its predecessor.
While as carefully crafted as Vetiver, To Find Me Gone is far freer and more mature, reflecting Andy's progress as a songwriter, not to mention the musicianly growth experienced by all his friends who've lent their support to it. According to Andy, "I feel the new album embodies the swirling duality of these last two years, the duality of presence and absence, both in how protracted its birth has been, and in it's lyrical themes. There are scenes in the songs where figures come back from far away, to changes and time itself rolling by in their absence. To Find Me Gone has songs of remembrance and recollection, all made in order to conquer absence." Turning to the music per se there's a dreamy Topanga Canyon vibe on some songs (underlined by the pedal steel calling in the case of "No One Word"), and plenty of crunchy candy for those who have appreciated Andy's recent nods towards the magic era of '70s Fleetwood Mac (check out the screaming guitar outro on "Red Lantern Girls"). Yet everything is simply, amazingly Vetiver-esque, not anything else, as Andy Cabic steps out and makes To Find Me Gone his own original statement, an album that many will consider as one of the finest albums of 2006.
Benjy Ferree
http://www.benjyferree.com/
Benjy Ferree may hail from our nationâ??s capital, but his real inspiration seems to come from across the Atlantic. His debut EP Leaving the Nest suggests nothing so much as an American take on the upbeat acoustic pop concocted by Paul McCartney and Ray Davies. While there are certainly elements of Americana in Ferreeâ??s sound – plaintive fiddles, out-of-tune harmonicas, and a Johnny Cash cover ("A Little at a Time") -â?? his sing-song melodies clearly owe much to his British forbears. Hints of Davies and early Marc Bolan also shine through in his vocal delivery, while the plentiful backing harmonies that populate the album have Beatles written all over them.
Luckily, Ferree is a strong enough performer to keep Leaving the Nest from feeling like mere homage. Despite being only 26 minutes long, the album makes an uncommonly strong impression. Ferree has a clear gift for fashioning hooky melodies, and each track contains a surplus. The musical ground covered here is considerable as well: not content to settle with one memorable motif, Ferree delivers up several at a time by dividing his songs up into clearly distinct but coherent sections, consistently throwing out enough melodic ideas to keep things interesting. The title track, for one, shifts between a George Harrison-inspired slide guitar lead, a bluesy droning verse, and a sing-along chorus: the elements seem irreconcilably different, but somehow Ferree manages to stitch them all together.
Leaving the Nest is most impressive due to its density: Ferree crams into 26 minutes a wealth of melodies and hooks to make most full-length LPs look dull in comparison. Itâ??s idyllic and upbeat without being sappy (complete with two whistling solos), comfortably familiar and yet well-executed enough to merit a listen even from the most jaded pair of ears. Benjy Ferree may not have a particularly unique or innovative sound, but heâ??s clearly hit on a winning formula. (Michael Cramer, Dusted)
Blood Feathers
http://www.bloodfeathers.com/
http://www.myspace.com/bloodfeathersrockandrollband
Named for the new or developing feathers which still contain blood in the quill, Blood Feathers have taken flight with their debut album Curse and Praise (Box Theory Records). Perhaps itâ??s the result of selective breeding? Featuring Mazarin front man Quentin Stoltzfus on drums and Mickey Walker on bass, Blood Feathers also includes Ben Dickey on guitar and Drew Mills (Aspera). Millsâ?? reedy voice at times brings to mind Tom Petty (Meddlinâ??), at others Geddy Lee (Cat Can Coo Too), and still others Colin Meloy (Sea Legs). Itâ??s pretty sumptuous stuff – perfect for a Sunday afternoon drive.
Sunday, July 16
Warehouse Next Door
1017 7th St NW WDC
$10, all ages
doors at 8:30, show at 9:30
Vetiver (from San Francisco, DiChristina)
Benjy Ferree (from DC, now on Domino…congrats Benjy!)
Blood Feathers (from Philly, Box Theory)
plus two very special guest DJs!
Vetiver
http://www.vetiverse.com/
To Find Me Gone is the second album from Vetiver, singer/songwriter Andy Cabic's ever-evolving musical home base. To Find Me Gone comes two years after Vetiver's eponymous debut and is being released May 23 by DiCristina Stairbuilders. Since Vetiver's release, Andy has toured the world repeatedly as a member of close crony Devendra Banhart's live band ("Hairy Fairy" and "Queens of Sheba" are among the monikers they're known by), as well as with Vetiver (occasionally with Banhart in tow); Vetiver released Between, an EP of live and demo recordings in conjunction with their 2005 European tour. Over the passed two years, Cabic's Vetiver has transmuted into a full-on singer/songwriter cum band/project aided and abetted by some of the best players (and Andy's closest friends) in the extended family of acoustic/experimentalists he finds himself a central member of. To Find Me Gone was skillfully produced by The Pernice Brothers' Thom Monahan at his home studio in Los Angeles during the Spring of '06; Thom also mixed the album with Andy. Most basic tracks were recorded by Cabic with guitarist Kevin Barker (Currituck County) and percussionist Otto Hauser (Espers) who he then toured with extensively backing Banhart, road-testing and adjusting some of this repertoire during those shows. Finishing touches were added and additional songs recorded throughout the year by an intriguing cast of characters including Devendra, Noah Georgeson (producer of Joanna Newsom and another "Hairy Fairy"), Vetiver's resident cellist Alissa Anderson, Monahan, Brad Laner, "Farmer" Dave Scher, Dina Maccabee, Irene Sazer, Shaw Pong Liu, and Jessica Ivry among others.
Andy Cabic grew up in northern Virginia and spent a few years in Greensboro, North Carolina, playing guitar, writing music and recording as a member of the Raymond Brake. After moving to San Francisco, Cabic joined the rock band Tussle, simultaneously recruiting other local musicians including cellist Alissa Anderson, troubadour Devendra Banhart, along with special guests Colm O'Ciosoig (My Bloody Valentine), Hope Sandoval (Mazzy Star) and the then-unknown Joanna Newsom among others to record Vetiver. The album was released in 2004 to high critical praise from around the world:
Vetiver is named for an aromatic East Indian grass that grows in California, and their music delivers on the sunny, hazy sweetness the band's name suggests. Singer Andy Cabic has – with some help from Devendra Banhart – written a set of songs that at their best are strange, subdued and otherworldly, a quality you can't fake…Cabic's voice lures you in, like a less showy Jeff Buckley, and the rest of the songs unfold like a dream. There's the rapturous "Without a Song" (with a tapping-break in the middle that's unlike anything I've heard), the jaunty "Farther On," and the complex epics that make up the album's last half, with a detour for the goofy "Amour Fou" (co-written with Banhart). This is folk music that combines the ghostly power of scratchy blues 78s with the epic swirl of My Bloody Valentine or Mazzy Star (members of which make guest appearances). (Phillip Cristman/Paste)
The track at the heart of Vetiver is "Angel's Share," named after the whisky that evaporates during the distillation process. It fits a collection which suggests a world where the very atmosphere has become slightly tipsy, at the point between feeling warm and safe and a sense of menace. Devendra Banahrt (yes, him again) and Andy Cabic have taken their acoustic prairie sounds, added strings and called in some favours…the music is toned down because it's confident enough in its own texture to allow the beating of blood in your ears to provide the percussion. If Americana has always left you cold, a sip of this could be enough for you to fall under its influence. (Simon Hayes Budgen/NME)
The languid sounds comes courtesy of Andy Cabic's quiet, sweetly dazed vocals and guitarist Devendra Banhart's delicate, rustic strumming. Vetiver has some overlap with Banhart's solo albums in that if you played it for a time traveler from 1911, they wouldn't freak out too badly, and it possesses a warmth that can't be faked. This should prove to be near ideal listening for the summer; great to lay back and drift off to when you're feeling heavy of limb and light of mind after a day out in the sun. (Tom Forget/Bust)
Do not, repeat DO NOT, miss Vetiver, the Bay Area not-folk-but-not-rock outfit whose vocals-guitar-cello-violin live lineup brings an extraordinary air of grace and sway to leader Andy Cabic's strangely ageless, moonlit songs, the kind that Neil Young still writes sometimes. (Jay Babcock, LA Weekly)
Like an album of dreamy, gentle songs that George Harrison would have written in some sunny country garden. There's hypnotic finger-picking on guitar, a warm steady drone of cello. The band includes neo-folkie mystic Devendra Banhart, who does minimal singing and songwriting for the most part, but one can hear the aesthetic of Banhart's music here, even if the songs aren't as haunting. The high point is probably "Angel's Share," a lovely song that has Hope Sandoval from the band Mazy Star singing languid and sweet harmony vocals. There's also a winning and odd swooning eulogy to the Seattle Arboretum. Vetiver is a type of Indian grass, and this is music designed for lazing about in a summer lawn. (John Adamian/Hartford Advocate)
In the years following Vetiver's release Andy toured the world intensively with both Vetiver and in various incarnations of Devendra's touring ensemble. In early 2005 he joined Banhart in Woodstock to record the latter's fourth album Cripple Crow and then hit the road again, pausing only in May to do primary tracking for To Find Me Gone and then rejoin Devendra on the road. Final overdubbing and mixing on the album were completd in September and the final results are decisively different from its predecessor.
While as carefully crafted as Vetiver, To Find Me Gone is far freer and more mature, reflecting Andy's progress as a songwriter, not to mention the musicianly growth experienced by all his friends who've lent their support to it. According to Andy, "I feel the new album embodies the swirling duality of these last two years, the duality of presence and absence, both in how protracted its birth has been, and in it's lyrical themes. There are scenes in the songs where figures come back from far away, to changes and time itself rolling by in their absence. To Find Me Gone has songs of remembrance and recollection, all made in order to conquer absence." Turning to the music per se there's a dreamy Topanga Canyon vibe on some songs (underlined by the pedal steel calling in the case of "No One Word"), and plenty of crunchy candy for those who have appreciated Andy's recent nods towards the magic era of '70s Fleetwood Mac (check out the screaming guitar outro on "Red Lantern Girls"). Yet everything is simply, amazingly Vetiver-esque, not anything else, as Andy Cabic steps out and makes To Find Me Gone his own original statement, an album that many will consider as one of the finest albums of 2006.
Benjy Ferree
http://www.benjyferree.com/
Benjy Ferree may hail from our nationâ??s capital, but his real inspiration seems to come from across the Atlantic. His debut EP Leaving the Nest suggests nothing so much as an American take on the upbeat acoustic pop concocted by Paul McCartney and Ray Davies. While there are certainly elements of Americana in Ferreeâ??s sound – plaintive fiddles, out-of-tune harmonicas, and a Johnny Cash cover ("A Little at a Time") -â?? his sing-song melodies clearly owe much to his British forbears. Hints of Davies and early Marc Bolan also shine through in his vocal delivery, while the plentiful backing harmonies that populate the album have Beatles written all over them.
Luckily, Ferree is a strong enough performer to keep Leaving the Nest from feeling like mere homage. Despite being only 26 minutes long, the album makes an uncommonly strong impression. Ferree has a clear gift for fashioning hooky melodies, and each track contains a surplus. The musical ground covered here is considerable as well: not content to settle with one memorable motif, Ferree delivers up several at a time by dividing his songs up into clearly distinct but coherent sections, consistently throwing out enough melodic ideas to keep things interesting. The title track, for one, shifts between a George Harrison-inspired slide guitar lead, a bluesy droning verse, and a sing-along chorus: the elements seem irreconcilably different, but somehow Ferree manages to stitch them all together.
Leaving the Nest is most impressive due to its density: Ferree crams into 26 minutes a wealth of melodies and hooks to make most full-length LPs look dull in comparison. Itâ??s idyllic and upbeat without being sappy (complete with two whistling solos), comfortably familiar and yet well-executed enough to merit a listen even from the most jaded pair of ears. Benjy Ferree may not have a particularly unique or innovative sound, but heâ??s clearly hit on a winning formula. (Michael Cramer, Dusted)
Blood Feathers
http://www.bloodfeathers.com/
http://www.myspace.com/bloodfeathersrockandrollband
Named for the new or developing feathers which still contain blood in the quill, Blood Feathers have taken flight with their debut album Curse and Praise (Box Theory Records). Perhaps itâ??s the result of selective breeding? Featuring Mazarin front man Quentin Stoltzfus on drums and Mickey Walker on bass, Blood Feathers also includes Ben Dickey on guitar and Drew Mills (Aspera). Millsâ?? reedy voice at times brings to mind Tom Petty (Meddlinâ??), at others Geddy Lee (Cat Can Coo Too), and still others Colin Meloy (Sea Legs). Itâ??s pretty sumptuous stuff – perfect for a Sunday afternoon drive.
Any details on the Oneida show yet? Do you think it'll sell out?
i doubt this show will sell out, but there is a chance. my guess is around 100 will show up. if you can get there at 8:30, you'll be ok. you wanna see awesome color, anyway.
$8, doors at 8:30
awesome color: 9:30
oneida: 10:30
the apes: 11:30
the apes are supposed to headline, but they might switch the order. don't miss anything!
$8, doors at 8:30
awesome color: 9:30
oneida: 10:30
the apes: 11:30
the apes are supposed to headline, but they might switch the order. don't miss anything!
phil manley of trans am is onedia's new member and will be in the house tonight.
can you tell me if Oneida is playing last?? I want to see them after Sleater-Kinney…