Warehouse Next Door

VICE, PLANARIA, and WAREHOUSE NEXT DOOR present…
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SATURDAY, MARCH 12 at Warehouse Next Door
9pm / $7
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PANTHERS
TURING MACHINE
PARTS & LABOR

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more info
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PARTS & LABOR
"Parts & Labor are an exciting prospect, drone rock that's as much rock as drone…this is an intriguing, challenging album and an excellent introduction to two artists full of great ideas." (Joe Tangari, Pitchfork)
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TURING MACHINE
Formed after the demise of Justin Cherno (guitar) and Scott Desimon's (bass) previous skronk outfit, DC's noise punks, Pitchblende. Pitchblende released three albums and a boatload of seven-inches for of-the-moment labels like Cargo, Matador, and Jade Tree. After relocating to NYC, Cherno and Desimon teamed up with drummer Gerard Fuchs (previously of ex-Bitch Magnet guitar god Jon Fine's time-signature-obsessed outfit, Vineland). Named after the obscure English
theroitician Alan Turing's abstract machine used in complexity theory and computation theory, Turing Machine do indeed deliver with precise and
appropriately complex music.

Brought together by their common background in noise/experimentation and a mutual love for esoteric Krautrock and psychedelic music the members of Turing Machine, Desimon, Fuchs and Chearno began playing together solely for a good
time, but rock and roll habits die hard. As their ideas progressed they began to search for a singer to participate in the project (an early quartet version of the band featured Matador Records founder Gerard Cosloy on 2nd guitar). After 2+ years of miserable auditions, lost friends and unreturned phone calls, it became increasingly obvious that they weren't going to find a vocalist and the decision was made to continue as an instrumental trio. With the vocal burden lifted the music began to take a turn away from the strict math rock structures of their previous combos and headed toward more fluid, percussion driven sound reflecting German avant-gardists like Can and Neu! as well as English art school rockers This Heat.

Turing Machine's DFA produced debut, "A New Machine for Living" ended up in heavy rotation as soundtrack music to two seasons of MTV's The Real World and several skateboarding and BMX videos, and the band found themselves opening for Interpol, The Faint, Don Cabellero, Jets to Brazil, and The Champs, among others.

After three years of on/off playing, the band headed into the Bridgeport CT's Tarquin Studios in October 2003 with engineer Steve Revitte (Yeah Yeah Yeahs, Liars, and Chearno's other outfit, Panthers). Again, the band set up and tracked the record live, playing the 10-minute-plus compositions in their entirety, but this time they added multi-instrument overdubs to flesh out the sound on their own. Just as the band finished tracking the record Desimon relocated to London for a year as his fiancée completed her graduate studies overseas, returning in June of 2004 to mix the record at Gigantic Studios NYC with Chris Zane (Calla, Les Savy Fav, Inouk).
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PANTHERS are not the band you've read about. Despite attempts by critics to link the group to John Sinclair's White Panther movement, the Black Panther party, and even that smarmy pink insulation peddler, with Things Are Strange the Brooklyn quintet earns the right to possess a name without bringing outside buzzwords into the discussion.

On their first full-length since 2000's Are You Down?? (Troubleman Unlimited), Panthers continue mining the dense David Yow machinations of last year's propulsive Let's Get Serious EP (Dim Mak) – but after dosing on Magma, Swans, Hawkwind, Pink Floyd, Ash Ra Temple, and other agents of the baroque they've emerged with a bit of King Crimson clinging to their Jesus Lizard.

Recorded over ten days with Theory of Ruin's Alex Newport (Melvins, At The Drive In, The Locust) in relative seclusion at the Clubhouse, a converted barn in Rhinebeck, NY, Things Are Strange's nine densely sprawling tracks stretch to just about 50 minutes: single notes turn into swarms; incidental moments unroll and burrow into newer, unexpected movements before dissolving into a
disorienting pan.

"Since we are all into different music that kind of long heavy psych stuff is really where our Venn diagram overlapped," says vocalist Jayson Green.

To assist in the freak-out, German musician Simon Wojan contributes piano, organ, mellotron, and trumpet. Also beefing-up the atmosphere, Turing Machine drummer Gerhart Fuchs throws down additional percussion and a second kit. All in
all, it's an intense, almost claustrophobically expansive ride.

The initial blast of the Borbetomagus free jazz of "We Are Louder" is buried by an avalanche of cascading guitars ringing like sheets of ice until the ultra heavy drums initiate a pummeling, the voice's sighs twist into rages, and the dynamic undertow takes the track someplace else entirely (a land that includes some smokin' heavy metal fretwork). A humid biosphere breeds an echoing piano on "If You Were Once Young, Rage." And like the best of early (and hungry) Sonic Youth, "My Commodities Have Been Fetishized" builds itself upon the temporary autonomous zone of an ever-shifting, ringing guitar scrawl foundation. Each guitar line's a trampoline, lifting the song to higher levels until things explode into total rock-out ballistics.

Let's Get Serious' strongest track, "Thank Me with Your Hands," returns with its sexy swagger: David Yow copping a feel from George Michael's "Monkey." It's a warped, multi-layered shouting spree about slang and sleeping: "I was thinking we should sleep in separate beds, but the heat's gone to my head/ Let's get tired at the same time (tonight)." The pick-up line of 2003 makes as much sense in 2004.

Though the hardcore kid on the street still swears by Orchid, the seminal '90s screamo that paired Guy Debord and Born Against, you'd never guess
vocalist Jayson Green, bassist Geoff Garlock, and drummer Jeff Salane made up 3/4 of that Ebullition crew. Beside that hardcore section of the family tree, the six stringers also have pedigree: Justin Chearno is in Turing Machine and was in Pitchblende (as well as a single turn in Unrest) and Kip Uhlhorn tore it up in The Red Scare. A testament to Panthers' explorations, besides the cheeky song titles, Things Are Strange shares very few similarities with its makers' past
musical projects.

Well, the text does remains as intelligently dense as ever. Jayson Green characterizes the album on the whole as reading politics/theory through personal experience: "Sexuality, non-monogamy, gentrification, the validity of modern theory as it makes a decisive move into popular culture and as we watch the last major theorists get old and die. It seems that the two things that come up again and again are the difficulty of nontraditional (read: progressive) sexual
relationships and the confusion and impotence of being a radical post 9-11."

Green continues: "Iâ??ve been in a non-monogamous relationship for about 3 years now and so a lot of the record deals with this experience directly. Just trying to have a relationship that is honest, but exists outside the lines of traditional dating/marriage type relationships. So obviously sex is the big sticking point in all of this, otherwise it would be a record about having a lot
of good friends."

So Brooklyn's answer to Comets On Fire kicks the political while seducing your girl into shaking her moneymaker. Though they do reside on the hipper side of the East River, musically Panthers stand quite alone in their community. Uhlhorn posits: "We're not dancy enough for the dance people, not garage enough for the garage people." "I guess we are just the Tad of the Brooklyn scene," says Garlock. Green agrees: "We donâ??t have a sibling band out there that we can link ourselves to at this point, but I love a lot of whatâ??s going on in Brooklyn so Iâ??m glad to add to the pile."

Sharing space on VICE with British working-class rap act The Streets could very well be another detail that sets the band apart from its Brooklyn peers. And in a larger context, will the oldster Orchid fans chaff at some of the magazine's non-P.C. stunts? Green enthuses: "I get excited about the prospect of being on a label that isnâ??t genre specific, that just puts out music it likes. I generally think the magazine tends to be pretty smart, though Gavinâ??s terrible neo-con bullshit needs to go in the dumpster." But he's quick to add: "VICE will officially be the first label that has put out one of my records that actually really likes the band. Itâ??s sadly refreshing."

With Things Are Strange, Green and company should have very little trouble converting any remaining haters. Yeah, even the nostalgic hardcore kids armed with Crimethinc sound-bytes and baggy-ass Dickies.

Panthers are rad; its most certainly "the cool thing" for hardcore kids to talk shit about Panthers, they've put out some damn good records. Last time I saw them, they had a sweet ass lightshow/video loop projected at them, that was rad.

i'm pretty stoked to see panthers' progression. i last saw them in 2001 when they were just a good screamo band, a lot like orchid. i am eager to hear this psychedelia they've embraced. turing machine and parts & labor are great, and this will be a solid three-band bill.

SUNDAY MARCH 13th
THE WAREHOUSE THEATER
1021 7th St. NW
202.783.3933
www.warehousetheater.com

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a night of music and film featuring
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FILMS BY BRENT GREEN with live improvised score by Amy Domingues (Garland of Hours), Brandon Butler (Canyon/Boy's Life), Brendan Canty (Fugazi), and Jim Becker (Califone).

The premier of BURN TO SHINE CHICAGO featuring footage of Wilco, Shellac, Tortoise, Freakwater, The Ponys, Red Eyed Legends, Tight Phantomz, Lonesome Organist, and Pit Er Pat.

And the D.C. premier of DEAD MEADOW's "At Her Open Door" and WEIRD WAR's "Grand Fraud" videos directed by Eric Cheevers and Scott Mueller.

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ONE NIGHT ONLY!
TWO SHOWINGS OF ALL FILMS / PERFORMANCES
FIRST SHOW at 7:00pm / $6
SECOND SHOW at 9:30pm / $6
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more information:

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BRENT GREEN
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"Hadacol Christmas," "Francis," and "Susa's Red Ears" are three animated short films by Brent Green with a special live improvised score by Amy Domingues (Garland of Hours), Brandon Butler (Canyon/Boy's Life), Brendan Canty (Fugazi),
and Jim Becker (Califone). "Hadacol Christmas" is a twelve minute story where Santa Claus invents Christmas with a belly full of cough syrup and a head full of dying crows. "Francis" is based on a dream in which an elderly woman at the end of her life taunts the lethargic bears in her backyard into finishing her off. Francis achieves liberation amidst the chaos of a Hollywood press conference, her exploding children, and a kleptomaniac narrator. It was written by Tim Rutili of Califone and animated and directed by Brent Green. "Susa's Red Ears" is a six minute short about a girl with a firetruck in her head. In the film the sun explodes. She doesn't save the world or anything. But she saves herself, mostly.

Brent Green is the recipient of a 2005 Creative Capital grant. He also received a 2005 Pennsylvania Council on the Arts Media Arts Fellowship, administered by Pittsburgh Filmmakers.

www.nervousfilms.com


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BURN TO SHINE
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BURN TO SHINE 02 CHICAGO is the second installment of a film series produced by Fugazi's Brendan Canty and directed by film maker Christoph Green. It features Wilco, Shellac, Tortoise, Freakwater, Tight Phantomz, Pit Er Pat, The Ponys, The Lonesome Organist, and the Red Eyed Legends performing in houses that are about to be demolished or burned to the ground. They document the doomed house, the bands, and the demolition.

http://trixiedvd.com/

Thrill Jockey/Mego/Tortoise/IDM fans take note:

Wednesday, March 16
$7, all ages
doors at 8:30, show at 9:00

Radian (Thrill Jockey, from Vienna)
Machine Drum (electro-acoustic IDM from Florida)
Band of the Name (FL)
H8 (FL)

Radian (experimantal Austrian bass/drums/synth trio)

Radian is a Vienna trio formed in 1996 made up of Martin Brandlmayr (drums), Stefan Nemeth (synth), and John Norman (bass). The three met through a blossoming music scene and spent the better part of the year exchanging ideas, borrowing records from one another, and practicing. It was a full year after forming that they played their first show supporting DJ Pita aha Peter Rehberg. In attendance that evening was Christof Kurzmann, who at the time was running the label Rhiz. After the show, Christof asked the band if they wanted to do a record for Rhiz, and thus their self-titled EP was immediately given a home. Shortly thereafter, the Mego label also approached the band about a potential release. For its full-length debut, TG11, the band chose to issue the record as a joint release on both the Rhiz and Mego labels, a first for both labels and a dubious distinction for the band. Throughout Europe, the band has become highly regarded for their live performances which utilize a combination of traditional instrumentation (drums and bass) with modern technology (synths, mixers, and samlers), seamlessly blending the conventional with the non-conventional to form something wholly original. The band has shared the stage with everyone from Tony Conrad to Tortoise and made a distinct impression of the discerning music fan through appearances at a number of festivals, especially All Tomorrow's Parties.

Sounds like: A brainy jazz-rock band caught in malfunctioning musical software. Their attempts to escape result in some fascinating sounds.

How is it? A great example of making the most from the sonic tension existing between the analog and digital realms.

Kindred spirits: Tortoise, Jim O'Rourke, Isotope 217, This Heat

"Post-rock, minimalist classical, and that brainy, laptop-torturing bastard stepson of modern dance music known as IDM are perhaps three of the most enriching sonic head trips this side of Pink Floyd's darkest moon. And like a ruefully masterminded jam session betwen Tortoise and Autechre, testing the boundaries of John Cage's and David Tudor's 1960 "Cartride Music" movement, Austria's Radian creates an organic electronic experience of equal majesty." (Shout NY)

Machine Drum

"Machine Drum has always been the most high-profile and in-demand artist over at Miami's Merck imprint – no wonder given the impact his awesome Now You Know album made on its release some four years ago. Travis Stewart sticks to the Machine Drum agenda here, though dipping into some distinctly jiggy territory while he's at it. Past the glorious droned-out bliss of opening segment "Entrau", "Disa Bling" sets the agenda with a narrowly cut-up b-boy flick through hiccup funk, Prefuse stylee, though with those trademark warm strings turning things fluffed-up and blue. "Stevie Bam Jackson", "Offs," and "Inner Outer", meanwhile, add the scuzzed-up vibe that Dabrye has personalised in recent years – though they serve as a good reminder of how upfront and up to the minute Machine Drum's sound has been, not to mention influential. 22 tracks wide, deep, instrumental electronic hip hop shiznizz, ya'hear?" (Bidnezz)

Originally posted by Jaguär:

Originally posted by snailhook:
mono is going to be amazing, too. their new record is as good as anything by explosions in the sky and mogwai.

I plan on trying to make it to this show.

Would you please post the extended calendar again in this thread? The one without all the details that has all of the shows on the list.

I'd like to go to that: Tue Apr 12 Mono
Eluvium 8:30 $8

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Wed Mar 23 / 8:30 Doors / $6
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HAND FED BABIES (x-Black Eyes)
BARR (Kill Rock Stars / www.barrbarr.com)
CAUTION CURVES (Tristana Fiscella, Rebecca Mills, Amanda Huron /
www.thecautioncurves.com/)

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Thurs Mar 24 / 8:30 Doors / $6
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HORSES (x-Black Eyes, EtAtIt, Meltdown)
THE COOLIES (New Zealand Band Girl Punk / www.thecoolies.com)
PARTYLINE (the original girls with glasses / members of Bratmobile & Hott Beat /
www.partylinedc.com)


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Fri Mar 25 / 9:30 Doors / $8
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ENON (w/ Seth from Les Savy Fav on guitar)
SWEARING AT MOTORISTS

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a mini-noise against fascism…

Friday, April 1
$5, all ages
doors at 9:30, show at 10

USAISAMONSTER (Load Records, guitar/drums duo)
Northern Machine (DC duo, mem. of The Angus Brainpan)
Facemat (DC scuzz noise ensemble)

USAISAMONSTER

USAISAMONSTER started as an epiphany in 2000, taking inspiration from various leftist organizations, zines, and hardcore punk. The name represents an awakening and realization to the truth and history of world power struggle and manipulation, murder, and lies. Colin Matthews and Tom Hohmann met through an ad in a record store while living in Boston in January 1996. We did this band for 4 years called Bull-Roarer who rocked as hard as we could and paid for our own records and did some DIY touring and meant the world to us. Bass player J.K. moved to Mexico. Col and Tom decide to keep on rocking and moved to Charlottesville, VA. Founded a rad show space called the Pudhouse that was about as rad as every other wild DIY freak out fun show venue. Did a bunch of one night only bands with Hot Tang. Got Jero Harris down there, jammed, got 3 of his buddies (Vlad, Chris, and A.T.) down there, jammed, made a CDR entitled "1", then did a week long southern hardcore tour as a 7-piece noise symphony rock chaos outfit. The most newsworthy thing that happened on that tour was we played at 2 a.m. in a convenience store in Greensboro, and that show was covered signifigantly in many zines revolving around the Crimethinc organization. Returning home, we became a 4-piece with Jero and A.T. Spent summer 2001 swimming and making 3 releases: "Trippy Yet Wholesome" CDR, "Weed Blood" CDR, and "Soul Jerker" 7-inch. Each release showcased different styles. "Trippy" is folk rock, "Weedblood" is stoner metal, and the 7-inch is art-punk. The 4-piece did a week long tour up north predecided of breaking up as soon as the tour was over. After tour Tom breaks his arm, switches to bass, Colin switches to drums, Hot Tang joins the band again on Farfisa and screaming. A CDR is made entitled "5". Just a few shows are played in this lineup. Somewhere in there we also did a CDR and 10-day tour called Elvish Presley with A.T., Jonah Rapino, and Jarrod Hood and recorded a split 7� that never came out, the mystery 6th usaisamonster recording. Tom gets his cast off and the current 2-piece (Tom on drums, Colin on guitar) is formed. Songs are written quickly, a CDR is made entitled "7", and a 3-month tour is booked. Boys move outta C-Ville summer 2001. Turn vagabond. Drive around USA, rock and sightsee. Have tons of days off, play tons of shows, touring for a spell with facedowninshit. Settle in Tucson with the express intention of immediately getting jobs, booking the tour, DIY rerecording CDR "7" to become an LP, writing the next record, and leaving in 3 months. On Christmas day 2001 our beloved friends Tim and Sam offer to found a label and put out our LP. "Citizens of the Universe" is released on Infrasound Records. 4 month tour begins in January 2002. Shows proceed through USA and Europe, with even a show in Hermosilla, Mexico. Europe tour is a completely uninvited event. We just set our minds to it, and folks were wicked helpful. Friends gave contacts and friends of friends, and we made friends. Borrowed all equipment every show and took the train, bus, and hitchhiked. Went to Slovenia, England, Poland, and tons more. Returned home, recorded "Masonic Chronic", took a break, moved to different towns. Tom writes Black Elf Speaks in NYC. Colin moves back to Virginia, releases split 7-inch with Lazy Magnet. Black Elf Speaks one month every night USA tour happens in October 2002 featuring same elf band members except Chiara Giovando replaces Jonah. "Black Elf Speaks" CD is released on Bulb Records. "Masonic Chronic" is released on Infrasound. USA IS A MONSTER gets back together in Portland, Oregon in January 2003, practices all day every day for 3 months, books the tour and records Joshua Tree demo CDR with Kamilsky in Joshua Tree, plays 7 weeks of shows in the USA, again touring with facedowninshit. Then the dudes move to NYC. Then Load Records agrees to put out an album. USA is a monster goes to KeyClub studios in Michigan to record "Tashyena Compost." Record comes out, big month-long tour with Lightning Bolt in October 2003. 10-week USA, UK, Canada spring 2004 touring with Koonda Holaa, Corndawg, Vialka, and Burning Hull.

"…Thatâ??s why filing USAISAMONSTER under Load Recordsâ?? â??noise rockâ? umbrella just doesnâ??t work. The duo essentially rumble and quirk their way through 10 brick-heavy prog-rock songs, saluting punk, pop, and even wailing hair metal on the way. The diversity suggests a careful commentary on American crassness and cultural bleakness more than any brand of inter-band confusion â?? thereâ??s no gratuitous speaker-frying sludge here (not that thereâ??s anything wrong with that). Like the most adventurous progressive bands, distinction and clarity merely build a frame for the actual substance, and, thankfully, the albums shining production projects each simmering note loud and clear, with Hohmannâ??s deep snare splattering huge throughout the mix. When it comes to year-end recognition, Tasheyana Compost stands above most." (Dusted)

Tell me more of these Northern Machine & Facemat types you speak of….

northern machine is a synth/electronics/some guitars duo of a couple of DC cats who've been around the noise scene for a while. one of them is in the angus brainpan, who are more drony/atmospheric. facemat are a collective of younger dudes (and a chick) that have a core of three or four members. they were up at no fun last week with us. every time i've seen them, it's been different and always good.

for $5 on a friday night, this show's a bargain. there's nothing else interesting going on that night.

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TOMORROW! THURSDAY MARCH 31 â?¢ 8:30 Doors
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DECIBULLY (x-Promise Ring, for fans of Wilco, Canyon)
CODESEVEN (Equal Vision Records)
RANCHO NOTORIUS (featuring Joe from Hoover)


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FRIDAY APRIL FOOLS DAY â?¢ 9:00 Doors
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USAISAMONSTER (Load Records, guitar/drums duo)
NORTHERN MACHINE (DC duo, mem. of The Angus Brainpan)
FACEMAT (DC scuzz noise ensemble)


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SATURDAY APRIL 2 â?¢ 9:00 Doors
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AHLEUCHATISTAS (for fans of Ruins, Don Cab, Crimson, Beefheart, etc)
CASCADE IN BLUE


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SUNDAY APRIL 3 â?¢ 8:30 Doors
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PAINT IT BLACK (Philly HC, Jade Tree Records, x-Lifetime / Kid Dynamite)
NAVIES (DC, Lovitt Records)
TRADITION DIES HERE (DC crusty HC, X-Crispus Attucks)
AN ALARM (DC hardcore)


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MONDAY APRIL 4 â?¢ 8:30 Doors â?¢ $7
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RED EYED LEGENDS (x-Monorchid, Skull Kontrol, Circus Lupus, Dishes, and Black
Cat Booker)
THE ETERNALS (x-Trenchmouth)

TONIGHT! MONDAY APRIL 4th!
9:00PM DOORS / $8.00 / All Ages

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RED EYED LEGENDS + THE ETERNALS
AT THE WAREHOUSE NEXT DOOR!!!!!!!!
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RED EYED LEGENDS
featuring Chris Thomson formerly of Circus Lupus, Monorchid, Skull Kontrol, Ignition, and Kiki of the Dishes

THE ETERNALS
featuring Damon Locks of formerly of Trenchmouth, releases on Desoto, Thrill Jockey, Aesthetics

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It would be a real shame if you were to not hear RED EYED LEGENDS. Yes it's awkward and uncomfortable, yet it is somehow strangely compelling. Then again, that's the way singer/guitarist CHRIS THOMSON likes it. If the name doesn't sound familiar, its probably cause you're lame. If you do recognize the name its because you must have some kind of love/hate relationship with Chris' iconoclastic over the top punk vocal stylings which are featured prominently on records by DISCHORD's CIRCUS LUPUS and TOUCH AND GO's MONORCHID, and SKULL
KONTROL. Add to the mix the keyboard/guitar and vocals of KIKI YABLON who adds her garage riffs and farfisa stops to the RED EYED LEGENDS new wavey punk rock stew. It should be noted that Kiki is a guitar iconoclast in her own right as a former guitar player for Chicago's THE DISHES. JASON DUMMELDINGER is the bass player, who looks nothing like JOHN ENTWHISTLE, but his bass playing certainly resembles his. The boom and bombast is again a nice counter to the whirling keyboards and rudimentary guitar licks. And rounding out quartet is PAUL JOHN HIGGINS, whose jazz refined drumming is the only kind of drumming that would make sense.

Hey snailhook - What's the estimated time for Medications to come on tonight? 10-ish? Expecting a big crowd?

Why doesn't WND start shows earlier?

why should we? 9-12 on weekdays and 9 or 10-1 on weekends seems normal to me.

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TONIGHT! â?¢ Tue Apr 12 â?¢ 8:30 â?¢ $8
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the return of
MONO (Temporary Residence, from Japan)
and
ELUVIUM (Temporary Residence)
THE PLUMS (mem. of Hat City Intuitive, Portions Toll, and Spaceships Panic Orbit)

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Sat Apr 16 â?¢ 9:00 â?¢ $8
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THE HIDDEN HAND (featuring Wino of The Obsessed/Saint Vitus/Spirit Caravan)
WEEDEATER (Crucial Blast Rec., from NC)
RWAKE (At A Loss Rec., from Arkansas)

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Tue Apr 19 â?¢ 8:30
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DEL CIELO (Lovitt / Exotic Fever)
THE REPUTATION (Lookout Records)
ANOUSHEH

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Wed Apr 20 â?¢ 8:30
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FANKLIN DELANO (File 13 Rec, from Italy)
JUSTIN JONES
MARSTON & PONIEHEART (Secret Eye Rec., opening for upcoming Will Oldham tour)
MADAGASCAR (gypsy dirges from Baltimore)

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Thu Apr 21 â?¢ 8:30
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SUPERSYSTEM (Touch and Go / formerly El Guapo)
MARY TIMONY (Lookout Records)
NO THINGS (Ex-Liars)

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Fri Apr 22 â?¢ 9:00 â?¢ $7
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HAND FED BABIES (ex-Black Eyes)
GANGWIZARD (Ecstatic Peace)
R_GARCIA (experimental noisy IDM from Florida)

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Sat Apr 23 â?¢ 9:00
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DISTANT SUN (A Tribute to Captain Beyond)
WRETCHED (MD doom)
BLACK MANTA (MD doom featuring Joe Hasselvander of Pentagram on drums)
THE EXPOTENTIALS (ex-Sixty Watt Shaman)

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JUST ANOUNCED â?¢ Sat Apr 30
LATE SHOW â?¢ 10:30 â?¢ $7
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THE APES (record release party for the Birdman Records release "Baba's
Mountain")
with special guests DAWN OF MAN (ex-Bluetip)

Originally posted by snailhook:


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Sat Apr 16 â?¢ 9:00 â?¢ $8
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THE HIDDEN HAND (featuring Wino of The Obsessed/Saint Vitus/Spirit Caravan)
WEEDEATER (Crucial Blast Rec., from NC)
RWAKE (At A Loss Rec., from Arkansas)

hey snailhook, do you have something written up for saturday's show?

not yet, i'll be trying to put something together tomorrow since today i've been spamming for my house show on sunday.

this show will do well without any prodding. if you're curious about the bands, here's some basic info:

The Hidden Hand (stoner/prog/psych rock from MD)
Weedeater (pummeling sludge, guitar/bass/drums trio from Wilmington NC, ex-Buzz*oven, on Crucial Blast, they do an awesome cover of Skynyrd's "Gimme Back My Bullets")
Rwake (epic crusty avant-metal from Little Rock, At A Loss Records, similar to Neurosis and Isis)

For fans of Will Oldham/Palace, Smog, Cat Power, and Califone:

Wednesday, April 20
Warehouse Next Door
1021 7th St NW WDC
$7, all ages
doors at 8:30, show at 9

Franklin Delano (File 13 Rec., from Italy)
Marston & Ponieheart (Secret Eye Rec., from New Mexico, opening on current Bonnie Prince Billy tour)
Justin Jones (DC hillbilly soul)
Madagascar (gypsy folk dirges from Baltimore)

Franklin Delano

Franklin Delano is a four-piece band that formed in 2002 when Paolo Iocca (vox, guitars) met Marcella Riccardi (vox, guitars, lap steel, mandolin). Soon Vittoria Burattini (drums, percussions) joined the band, giving the songs rhythmic structure, while the elusive fourth member Stefano Pilia (double bass, bass, piano) began adding classical sophistication mixed with an experimental flourish. The band recorded the basic tracks of the album at Homesleep Studios in Bologna. Then they traveled to Chicago's 4Deuces/Clava Studio where their friends Tim Rutili and Califone added layers of guitars, percussion, keyboards, and noise. Former Red Red Meat and Califone member, and producer of Modest Mouse and Iron & Wine, Brian Deck produced the Chicago overdubs and then manipulated and mixed the result into the final version of their second album, â??Like A Smoking Gun In Front Of Me.â?

Franklin Delano has created a new and exciting view on American folk music. Textures blur with noise and haunting doubled voices emerge from a marsh of drones and reiterative guitars. On a solid foundation of drums and double bass is where improvisation explodes, lapsteel howls, and dueling male and female voices twist with interpretations of English words. Call it "the dark side of post folk," call it whateverâ?¦ Their Italian perspective is unique in its way of transforming spaced-out blues into coherence. The band pushes improvisation into beautiful folk songs with their take on American folk/blues music derived from the other side of the ocean. Franklin Delano will tour throughout the United States and Europe in 2005, with support from File 13 and the label releasing their album in Italy, Madcap Collective.

Marston & Ponieheart

US singer/songwriter Jodie Jean Marston's album is a varied mix of hallucinatory dream traversing, and backwoods country and folk-styled acoustic guitar that recalls Carla Bozulich's recent, somewhat controversial treatment of Willie Nelson's classic â??Red Headed Stranger.â? Intermittently backed by electric guitar and bass player Bobby Arellano and Jasper Spiecher on flute – who add an extra shade of grey to an already dark musical palette – Marston's slow-moving ballads are stripped of all frills, her vocals soaring over the frugal instrumentation. This simple but highly effective technique puts the listener into a hypnotic trance that's virtually impossible to snap out of until Marston's ready to break the spell. Like the Black Forest/Black Sea record, this is another oddity worth tracking down from the Secret Eye label. (The Wire)

Jodie Jean Marston is a new name to me, but this young lady comes to the psych/chamber folk scene with a fully formed, vibrant voice. Her self-titled CD for Rhode Island's Secret Eye label is one of the more assured debuts I've heard in 2003. There's nothing flashy or pretentious about these eleven songs. They're stripped down folk-pop numbers with lots of banjo and acoustic guitars and only the slightest accompaniment (electric guitar, bass, and flute), a few well-placed effects and Marston's gorgeous vocals. The end result is sort of like a cross between Gillian Welch and the Iditarod, warm and plaintive as all of our favorite trade folkies tend to be, but the expansive sound sculpture of the opening and closing numbers hint at the otherworldliness that permeates the entirety of this disk. Fits in perfectly with the earthy ethereality of all of Secret Eye's releases. (Broken Face)

Justin Jones

Folk music has always been a home to storytellers. So it's no surprise that tales of love, loneliness and drug abuse can be found on Justin Jones's new album, "Blue Dreams."

His Web site describes his brand of folk music as "Hillbilly Soul." The term accounts for his smooth voice and touch of country twang, leftover from his days growing up in southern Virginia. The new genre comes from the expressive music that has influenced him – Led Zeppelin, Public Enemy, even the new movement in bluegrass.

"I'm influenced by any emotional music that can make me believe in what the person is singing about," he says. And his songs find that poignant place. Jones doesn't try to prove the sadness in them; he matter-of-factly states a situation and lets us draw our own conclusion. Though he says that most of his music is not based on true stories, his past – filled with alcoholism and loss – may have contributed to his lyrics. "That kind of thing can lead to a lot of stories," he says. (Washington Post)

Madagascar

Chamber music, Yiddish folk, gypsy laments – the members of Madagascar draw on these influences, and more, on â??Forced March,â? their debut album for Western Vinyl. The nostalgic waltzes, melancholy dirges, and dance tunes on â??Forced Marchâ? are powered by a seemingly disparate collection of acoustic instruments (accordion, ukulele, musical saw, and glockenspiel, to name a few) that seamlessly mesh together in the hands of Madagascar. Haunting, wordless vocals occasionally join the mostly-instrumental mix, forming a music that is timeless yet unique, tragic one moment, joyous the next. It's like street music for some crumbled, forgotten city, folk songs for a long-extinct people. Engineer Rob Girardi, working at Mt. Royal Studios in the bands' home base and hometown of Baltimore MD, used a traditional approach in recording the band that makes â??Forced Marchâ? a sonic delight as well as a collection of excellent songs. The musicians largely played together in one space, sounds were captured mostly by room microphones straight to 2â? tape, and very few overdubs were done. T.J. Lipple's â??puristâ? approach to mastering further ensured that â??Forced Marchâ? sounds like actual musicians, playing real instruments, together in the same room – a rarity in these days of made-in-Pro-Tools, hyper-compressed albums. It's the first effort, but certainly not the last, from a new, unique voice in music.

â??Like sitting on a rooftop in Zagreb, watching the crowds go by.â? - Dave Heumann (Abouretum, Anomoanon)

Hey, TONIGHT is Thursday Apr 21 and
Touch and Go Recording Artist

SUPERSYSTEM (formerly El Guapo)

will be playing with
Lookout Recording Artist

MARY TIMONY

and Mute Recording Artist

NO THINGS (Ex-Liars)

and doors open at 8:30 and

and the cost to get in this

all ages show is only $8.

Come to the Warehouse Next Door!

(set times are roughly 9/10/11'o'clock)

(come early as this show will probably sell out)