Warehouse Next Door

Tomorrow!

Tuesday, April 26
doors at 8:30, show at 9
$7, all ages

Eyes Like Knives (Boston post-punk)
The Catalyst (DC heavy rock)
Me Vs The Monster (NoVA math-rock)

Blurring the line between noise and melody, Boston's EYES LIKE KNIVES creates rock music that is at once heavy but fragile. This delicate balance defines the sonic sound that is their signature – wailing guitars, reverb-heavy, delay-drenched ambiance and dynamic male/female vocal interaction. Think Drive Like Jehu, Quicksand, PGMG, My Bloody Valentine, Sonic Youth, Treepeople, and the Pixies.

Here are some websites:
www.eyeslikeknives.com
www.dopamine-records.com
www.city666.com

Eyes Like Knives can be found consistently playing the Northeast with touring and local bands such as Denali, TV on the Radio, Detachment Kit, Skeleton Key, 27, Engine Down, Officer May, and The Lot Six.

The Catalyst are sweet. Mudhoney/Nirvana + Virginia scream-y

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TOMORROW APRIL 27
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DEAD MEADOW
THE CHILD BALLADS (Featuring Stewart Lupton from Jonathan Fire*Eater)
SAMARA LUBELSKI (of Hall Of Fame, The Sonora Pine, The Tower Recordings, &
Jackie-O Motherfucker)

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Warehouse Next Door
1021 7th St NW
$7, all ages
doors at 8:30, show at 9
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Samara Lubelski steps outside the context of long time collaborators Hall Of Fame, Metabolismus, The Sonora Pine, The Tower Recordings, & Jackie-O
Motherfucker to deliver a solo vision from an alternate psychedelic folk universe.

Samara is a native New Yorker who grew up in the haze of artist infestation of Soho. She has been involved with various projects ever since she was allowed to cross the street on her own for an egg cream and spilled it on John Cage. Through the time of playing in various groups, she has compiled an impressive resume that covers a myriad of genres, such as her work with the avant/psych/folk outfit Hall Of Fame, into the lair of those bohemian German musos Metabolismus, and onto the indie rock interpretations of The Sonora Pine, with some serious treks into the world of The Tower Recordings and off-world with Jackie-O Motherfucker, to name just a few.

This album is a new level where Samara controls all aspects of the sound, started at the compound of Metabolismus in the forests outside of Stuttgart, Germany with the help of Moritz Finkbeiner and David Mueller. She returned to the U.S. and to her part-time place of work to complete her album at the Rare Book Room. Joining her were two of her old chums from the Tower Recordings, PG Six and Tim Barnes. Add to the mix the guitar aficionado Marc Moore, who has had his hand in Cat Power and the Lynnfield Pioneers and various other projects' cookie jars. Cynthia Nelson, who has played from one coast to the next
performing solo material and collaborating with others, showed her verve on the flute.

What all these elements have added up to on Samaraâ??s album is a cycle of songs that are almost deceptive in their catchiness. Layers of sound that are delicate without being fragile. There is a resilience that makes this album balance on the edge of being the type of LP that is perfect on both rainy mornings and breezy spring days. With all of her experience and skill, Samara has learned how to create atmospheres of depth within her pieces. They do not rely on the virtuosity of the players, but on them unifying with each other and the words to create an ambience that is gentle and pulls you deeper into its folds. When it ends you are carried along on its last currents. You will be looking forward to the return of "The Fleeting Skies" as it settles into your memory.

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Dead Meadow, now a quartet with new guitarist Cory Shane, play an unusual blend of flawless Hendrix/Sabbath riffage, dreamy psych, heavy undulating rhythms, dirty blues-rock, and environmental jams, with eerie high-pitched vocals. Miles beyond â??stoner rockâ? gimmickry, this is a beautifully natural sound, played by expert instinctive musicians.

Dead Meadow met in the DC punk/indie scene, though their music draws from more faraway sources. The band formed in the fall of 1998 from the ashes of local bands The Impossible Five and Colour, when singer-guitarist Jason Simon, bassist Steve Kille, and drummer Mark Laughlin set out to fuse their love of early '70s hard rock and '60s psychedelia with their love of writers J.R.R. Tolkien and H.P. Lovecraft.

Dead Meadow released their six-song debut in 2000 on Fugazi bassist Joe Lally's Tolotta Records, and a joint vinyl release on D.C. indie label Planaria Records. In 2001, the band released its second album, "Howls From The Hills," on Tolotta. Where the first self-titled album was recorded in their practice space for a couple hundred dollars and plenty of learning curves, "Howls From The Hills" was born in a barn in Liberty, Indiana. Their sound fuller without losing its live essence, the band grew to encompass everything from ambient guitar drones to surging psych-funk sludge, blues-folk tunes to barbiturate space-rock, and some southern slow boogie thrown in for good measure.

In spring 2002, original drummer Mark Laughlin reluctantly quit the group, replaced by old friend and previous collaborator Stephen McCarty (whose
grandfather's farmhouse is where the band recorded "Howls From the Hills"). Also in mid-2002, the band found an unlikely patron in Brian Jonestown Massacre's Anton Newcombe, who recorded, produced, and printed Dead Meadow's live disc "Got Live If You Want It" on his Committee to Keep Music Evil imprint of the legendary Bomp label. Soon after, they recorded a Peel Session at the Fugazi practice space – the first time the BBC recorded a Peel Session outside their own studios.

Shortly after signing with Matador in 2003, Dead Meadow self-produced "Shivering King And Others" in the basement studio of the DC Pirate House over five months and during a busy schedule of touring. Along with the heavy rockers and bluesy numbers as on the previous two records, the band went deeper into the psychedelic realm, with chiming acoustic touches and lovely, disorienting ballads.

With the addition of 2nd guitarist Cory Shane and beautifully spacious production, "Feathers" opens up the Dead Meadow sound still further, seeming at
once more experimental and more accessible than anything theyâ??ve recorded thus far. The record captures the famous intensity of their live show, but songs like "At Her Open Door" and "Stacyâ??s Song" reveal an obsessive beauty as jarring as
sheer volume. Jasonâ??s guitar virtuosity is at its peak, as influenced by the droning modal character of Eastern music as by classic rock riffs. Ever deeper, Dead Meadow remain one step ahead of expectations.

Do I need to get to this show early?

Originally posted by snailhook:
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TOMORROW APRIL 27
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DEAD MEADOW
THE CHILD BALLADS (Featuring Stewart Lupton from Jonathan Fire*Eater)
SAMARA LUBELSKI (of Hall Of Fame, The Sonora Pine, The Tower Recordings, &
Jackie-O Motherfucker)

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that would be a good idea. samara lubelski is great if you like subtle, textural folk, so it wouldn't hurt to get there early.

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SATURDAY April 30 TOMORROW!
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THE APES (record release party)
with special guests
DAWN OF MAN

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Warehouse Next Door
10:30 LATE SHOW!
$7 and all ages!

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The APES "Baba's Mountain" full-length has arrived at last out on Birdman Records.

http://www.TheApes.com
http://www.BirdmanRecords.com

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Before Comets on Fire discovered the secret to turning sludge into gold, a number of equally talented bands were hard at work on a similar sort of alchemy. The unique presence of Washington DC's The Apes removes the band far enough from the realms of the regular to earn a place on the same shelf as household names like Royal Trux (well, at least among Dusted's households). Their label
explains: "They compose songs around drawings they make and compose drawings around stories they imagine, stories that would burn green into the eyes of Philip K Dick, Jorge Luis Borges, and Ray Bradbury." The Apes have choogled their way through releases on Planaria and French Kiss records, and their latest album, Baba Mountain, was released by the venerable Birdman imprint. The Apes will be on tour of the US very soon.

Wednesday, May 4
$6, all ages
doors at 8:30, show at 9:15

Psychic Paramount (Public Guilt Rec., ex-Laddio Bolocko/Panicsville)
Jenna & Barbara Bush (ex-Shortstack/Tuohy/Ruby Dare)
Trephine (Public Guilt Rec., heavy math/prog rock from MD)

Psychic Paramount

The best part of a band breakup is the aftermath â?? - the spilling-over of the former unit's now factionalized guts. Of course, this kind of rock postmortem is available to the general public only when the former band becomes two or three or four new ones. For Laddio Bolocko the split was even: Marcus DeGrazia and Blake Fleming became part of Electric Turn to Me; Drew St. Ivany and Ben Armstrong found a drummer and played as the Psychic Paramount. Though Fleming's tight, complex drumming is enough to almost make any band, Electric Turn to Me did not get the better part of this deal. The Psychic Paramount's noisy, churning rock more readily recalls Laddio Bolocko's best moments -â?? and might even indicate who was behind that band after all. (Mike Kanin, Washington City Paper)

The Psychic Paramount features Drew St.Ivany (guitar) and Ben Armstrong (bass) both ex-Laddio Bolockoº (NYC). Jeff Conaway (drums) also plays in Sabers* (NYC).

The group formed just five days before a scheduled tour of France and Italy in Nov./Dec. 2002 with original drummer Tatsuya Nakatani, prominently a free music improviser from NYC. The music and performances of the tour were often chaotic and unpredictable lent by a sense of urgency and chance elements. Some of these were documented resulting in the Live 2002: Franco-Italian Tour CD which captures the birth of the group in raw, immediate form. A film of this period (Live in Rome) shot by Aran Tharp is also available on the website.

After touring the U.S. in 2004, The Psychic Paramount recorded sessions for a new CD on No Quarter titled Gamelan Into the Mink Supernatural, the first official studio release by the group. The disc features new drummer Jeff Conaway and also contains a short film shot during the recent tour on super8 by Aran Tharp. A new 7� picture disc will also be released in Feb. 2005 on the label Implied Sound (Baltimore).

The double CD set Origins & Primitives vol.1+2 will be released on No Quarter in early April 2005. A collection of diverse musical settings, the set draws directly on the automatic method of composition to emphasize first impressions.

The Psychic Paramount will be performing on the east coast U.S. in May 2005. European dates also in the works for later this year.

Trephine

"Trephine is a heavy prog band…they have a dark and threatening sound, not dissimilar to Anekdoten or Red-era Crimson. To add to the musical dexterity on offer, and to inch up the psychotic meter a tad, they add some film samples…they have a super-over-the-top stage presentation, wearing bizarre masks and the like." (Ray Dorsey - Chaos Realm)

"Imagine if Skeleton Key and Slayer had a love child who couldn`t speak…then you would be getting a close approximation of what this super heavy Baltimore band sounds like. Lots of metal served up with a heaping slab of extra percussion…oxygen tanks, metal, cans, etc. Heavy with a capital H."

TONIGHT (05/09/05)

at the

WAREHOUSE THEATER or NEXT DOOR….

its Emperor Jones Records recording artist:

THE CRACK PIPES (Some country teasin', a little tasty funk and plenty of garage rockin' good times all await.)

with local favorites

GONERS

featuring current or ex. members of Measles Mumps Rubella, Weird War, Thee Snuff Project, 302 Acid, Pretty Pony, Scurvy, Eyes of the Killer Robot, S PRCSS, The Mamma Jamma Ska Ensemble, The Panoply Academy, The Local Sixteens, Salute The Curse, The Dead Teenagers, etc.

http://www.emperorjones.com
http://www.thecrackpipes.com
http://www.warehousenextdoor.com

TONIGHT!

Tuesday, May 10
Warehouse Next Door
www.warehousenextdoor.com
1021 7th St NW
$7, all ages
doors at 8:30, show at 9

SIGHTINGS (NYC, Load Records noise rock!)
MICHAEL COLUMBIA (ex-Bablicon/Olivia Tremor Control/Need New Body!)
OVO (noise duo from Italy!)
MR NATURAL (crazy one-man band from Nashville!)

SIGHTINGS
Never before has a band managed to erase themselves. New York City's SIGHTINGS have risen to the challenge of negation with this "what the fuck" of a record that rolls the twenty sided dice to dematerialize any trace of guitar, bass and drums into proton dust floating microns on top of the speaker cone. Minimal, yes. Previous records have gone from favorites at magazines as chocolate and peanut butter as the Wire and Terrorizer. Past records have been steaming knee burn befuddled by German technoid impulse and Yoko-damaged Beatles-busting intensity. A new icy coolness is added to the steaming soup this time allowing the sounds of mouth breathing to open up the record into a drug-fueled nightclub beast humping a bass bin as the sun rises.

MICHAEL COLUMBIA
http://www.galapagos4.com/mc/mchome.htm
Veterans of the experimental indie-rock triangle of Chicago, Philly and Athens, the duo of David McDonnell, of Bablicon (Misra Records), Olivia Tremor Control (Elephant 6) and Need New Body (File 13), and Dylan Ryan, of Icey Demons (Cloud Recordings) and Orso (Perishable) came together to experiment with a new combination of sounds and beats. Through the filtered bass tones weaving in and around, synths, saxophone, clarinet, violin and delay, synthetic ambient vocals sinuously drone over pressurized machine crushing beats. Sonic payoffs build up, floating in and out of Michael Columbiaâ??s heavy low end foundations and orchestral textures. Imagine youâ??re in Lee Perryâ??s studio with a robot clone of Don Henley whoâ??s been raised on Kraftwerk, that almost sums up MCâ??s sound. These are Colored Bars gets to the core of electronic rock through heavy seductive drumming topped off with spaced-out vocal hand horn textures. Michael Columbia takes you from the streets of Chicago into the far reaches of space. One minute you're in the soundtrack to Blade Runner, the next you're driving underneath tracks racing trains, keeping pace with some classic power rock. Only a city like this could spawn such a moody, humorous and danceable album….

OVO
http://www.barlamuerte.com/bands/ovo/
OVO is a project of music and life. OVO are Stefania Pedretti (also singer and guitar player of Allun) and Bruno Dorella (ex-Wolfango, Bugo, Lava, now involved in many bands and boss of Bar La Muerte records), often joined by friends that belong to many different musical scenes. Bruno and Stefania basically started this project to stay together: they were used to following their partner's different bands on tour, but they were also sick of the problems that every band has connected with the members' lives, works, studies. It was natural for them to form an open but autonomous duo, free to tour and record with or without the collaboration of other musicians. A lifestyle project, the last frontier of DIY, or the maximum freedom level. The big number of gigs played by OVO in their brief existence testifies about it. The spirit is: play everywhere, with no particular technical or economical requests, just for the pleasure of playing music. We'd like to keep OVO, if not outside the market rules, at least very free inside of them.

The recoring of their first CD Assassine needed four different sessions, one for each guest musician, each one consisting in about one hour of free improv, methodic destructuration, no wave remembrances. They choose the craziest and most surprising tracks, no overdubs (all the sessions were recorded on DAT).

MR NATURAL
A Nashville one-man band who uses contact microphones, guitar pickups, and the surfaces of objects to create what could appropriately be called sound explorations. His approach shares a kinship with a totally different group of musicians, among them San Francisco's Loren Chasse and the UK's Jonathan Coleclough, who electronically process field recordings to create pieces that can be at once gentle and disorienting.

two if by sea plays two sleeper shows on the quiet side of next week, for
those who toil at work on weekends:

sunday 5.15
warehouse next door
with casettes & bang! bang!
show at 8:30 / $7
[url=http://www.warehousenextdoor.com/]http://www.warehousenextdoor.com/


I'm out of town on Sunday, alas, but I've seen Two if By Sea and they're good. And I've heard a lot about the Cassettes – a favorite local band of many folks around these parts… I would definitely go to this show if I were here.

Tomorrow! Saturday, May 14
Warehouse Next Door
$7, all ages
doors at 9, show at 9:30
liquor license is back!

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GRAVES BROTHERS DELUXE (x-Thin White Rope and SubArachnoid Space)
JANA HUNTER (split with Devendra Banhart coming soon on TMU)
SEMAPHORE (from DC)
HALTON MOOR (featuring Andy Olmstead, Jennifer Potter, Karie Reinertson)

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GRAVES BROTHERS DELUXE (from SF)
www.gravesbrothers.com
Members of Thin White Rope and SubArachnoid Space. The Brothers alternate between noise-scapey garage-pop and dark parlor music, drawing comparisons from SONIC YOUTH to CREEDENCE CLEARWATER REVIVAL to THE STOOGES to SUN RA. â??Art-Fag Garage,â? if you will.

JANA HUNTER (from NY)
www.janahunter.tk
False heresy, the good mischief, acoustiks and ghosts cracking up in church haunt a small, shy person with glasses. She's been making and selling (at shows/record stores) her own CD-Rs for 6 or 7 years. For a short time, she sang and wrote for a band from Houston, Texas, called Matty & Mossy that released a CD (Fraimers Haimey) on Fleece Records. In 2004, her song "Farm, CA." was
included in the "Golden Apples of the Sun" CD compiled by Devendra Banhart for Arthur Magazine's Bastet label. A live version of her song "The New Sane Scramble" will be released on Spleen's compilation "The Black and White Skins" for Les Disque Du Crespuscule (France). In the spring/summer of 2005, Troubleman Unlimited will release a Jana Hunter and Devendra Banhart split LP. Hunter is currently maxing in Brooklyn.

"Jana Hunter is back in town. These days she's doing a solo thing, just her, a guitar, and a Mini-Disc full of backing tracks – it doesn't sound like much, maybe, but it's absolutely mind-blowing. The songs are as creepy and
kind-of-sort-of menacing as Matty & Mossy's could be, but Hunter's expanded her musical palette somewhat, breaking out of the prog-blues-rock of her old band and dabbling with electronics and even pretty pop. The voice, of course, is still the same, and that's what really makes the whole thing work – on top of some amazing songwriting, she does the most incredible impersonation of a
down-on-her-luck '40s blues diva trapped in the body of a shy, kinda geeky girl. Hunter looks a little strange sometimes up there on stage, but as soon as she opens her mouth, everybody in the room is absolutely transfixed. I swear, she's got that crazy Chan Marshall/Beth Gibbons magnetism…come to think of it, Beth Gibbons' own recent post-Portishead effort, "Out Of Season," is probably the closest thing to Jana Hunter's solo stuff. Will she keep doing her thing? Hell, I dunno…anybody know if she's recorded anything? I certainly hope so – but just in case, I'd go see her at the first chance you get." (Space City Rock)

Originally posted by Bags:
two if by sea plays two sleeper shows on the quiet side of next week, for
those who toil at work on weekends:

sunday 5.15
warehouse next door
with casettes & bang! bang!
show at 8:30 / $7
[url=http://www.warehousenextdoor.com/]http://www.warehousenextdoor.com/


I'm out of town on Sunday, alas, but I've seen Two if By Sea and they're good. And I've heard a lot about the Cassettes – a favorite local band of many folks around these parts… I would definitely go to this show if I were here.

Originally the Cassettes were scheduled to go on last but for some reason they decided that they wanted to go third. So the line up was Pile of Face (who were okay), Bang! Bang!, The Cassettes, Two If By Sea.

I didn't stay late enough to see Two If By Sea, and I hope I do get to see them soon. But the Cassettes did not impress me at all, especially playing right after Bang! Bang! who were great. They sound like a more punk or garage version of the B52s. They just rocked the place and really got a lot of people dancing.

By the way Snailhook, you should encourage the bands to post something on MySpace- when I was deciding if I wanted to go I listened to clips for Bang! Bang! and Two If By Sea on MySpace and it made the decision for me. It really helps for bands that are not from this area.

Originally posted by tbmtt:
Originally the Cassettes were scheduled to go on last but for some reason they decided that they wanted to go third. So the line up was Pile of Face (who were okay), Bang! Bang!, The Cassettes, Two If By Sea.

I didn't stay late enough to see Two If By Sea, and I hope I do get to see them soon. But the Cassettes did not impress me at all, especially playing right after Bang! Bang! who were great. They sound like a more punk or garage version of the B52s. They just rocked the place and really got a lot of people dancing.

Agreed on all counts. Bang! Bang! was tons-o-fun. I really wanted to like The Cassettes, but I was a bit disappointed by their set. A bit too wacky for me. Two If By Sea were terrific. They had everyone in the room dancing before they were done. I'll definitely check them out again. I missed the first band.

The Cassettes mentioned that we were lucky to see one of their final shows. I'm not sure if "lucky" is the word I'd use, but if you wanna see them, you'd better do it soon.

Get yourself down to the Warehouse Next Door Friday night at 9pm.
GARLAND OF HOURS (Amy Domingues, cello/piano, Brandon Butler drums) opens and MARY TIMONY (with Devin Ocampo) wields the power afterwards.

Need a double shot of BRANDON BUTLER? Come see him do his solo thing with BENJY FERREE and RAYMOND MORIN on Monday night. Will Brandon and Benjy have a drummer with them? Come and find out!

Remember ex-DC native Michael Pierce? Check out
the former bass player of Dateline Diamonds new project, the Portland-based GOBLIN CITY tonight with the popular DAN DEACON and the weirdly shocking AIR GUITAR MAGAZINE and NUCLEAR POWERED PANTS. Come early for this one!

Saturday we have the return of MANHUNTER, DC's favorite Ghostly-like electronic power house.

Sunday we have one of my favorites…Virginia's Death Metal legends, DECEASED playing with MISERY INDEX!

And just announced, the return of REVIVAL (x-Canyon) with Philly's COYOTE (Birdman Records/ex-The Holy Fallout, Excelsior and The Rabble Rousers) and MOUNTAIN HIGH (ex-Ink and
Dagger, Excelsior, Franklin, AM/FM etc) playing on Saturday, May 28th!

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Thu May 19 â?¢ 8:30 â?¢ $7
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Dan Deacon
Nuclear Powered Pants
Air Guitar Magazine
Goblin City

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Fri May 20 â?¢ 9:00 â?¢ $7
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Mary Timony (from Helium/Autoclave/Mind Science of the Mind)
Garland of Hours (featuring Amy Dominguez and Brandon Butler)
9:00

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Sat May 21 â?¢ 9:00
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The Sea, Like Lead… (atmospheric post-punk from Pittsburgh, in the vein of Juno?Unwound/Explosions in the Sky)
Manhunter
Water School
The Fake Accents

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Sun May 22 â?¢ 8:30 â?¢ $7
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Deceased (Virginia death metal legends on Relapse!)
Misery Index (Nuclear Blast)
Hope and Suicide (ex-Bloodlet)
Seventh Gate (mem. of VOG)

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Mon May 23â?¢ 8:30
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Brandon Butler (ex-Canyon)
Raymond Morin
Benjy Ferree

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JUST ANNOUNCED! SAT May 28â?¢ 9:00
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REVIVAL (ex-Canyon)
COYOTE (Birdman Records/ex-The Holy Fallout, Excelsior and The Rabble Rousers)
MOUNTAIN HIGH (ex-Ink and Dagger, Excelsior, Franklin, AM/FM etc)

Wednesday, May 25
$7, all ages
doors at 8:30, show at 9

Meatjack (Baltimore proggy noise-rock on At A Loss Rec.)
Weedeater (Wilmington NC heavy-ass swampy sludge metal)
Mouth of the Architect (epic, atmospheric post-hardcore from Ohio)
GreatDayForUp (classic stoner rock from Albany NY)

Meatjack

Founded by brothers Brian and Jason Daniloski, this hardworking, Baltimore, MD-based band has been constantly releasing material and touring since 1993. After a deluge of releases on 7-inch vinyl and compilations, MEATJACK found a home with At A Loss Recordings in 1999 and released their first full length CD, Trust. A split CD and 10-inch vinyl record with Prank Records artists Damad followed in 2000. Also in 2000, infamous filmmaker John Waters used the MEATJACK song "Upstart" in his motion picture "Cecil B. Demented"; the song appeared on the soundtrack along with songs by The Locust, Moby, and Liberace (no kidding!!!).

In Spring 2003, MEATJACK proudly welcomed their new drummer, Charlie Baum, and the group is now working harder than ever. In addition to releasing their new full length CD Days of Fire in the fall of 2003, the band's current plans are to tour extensively and continue to record. Days of Fire is MEATJACK's most fully realized release to date. Listeners encounter the band melding a well-crafted melodic sensibility with their traditional storm of sonic pummeling. Dense and multi-layered, the 10 new songs invoke a rollercoaster ride of aural energy, ranging from the all-out riff-rock of "Sleep," to the dark and foreboding title track, from the III-era Zeppelin-esque acoustic instrumental "Blue" and the manic ".45" to the ethereal monolith that is "Crawl." Renowned artist Stephen Kasner provides his otherworldly art as the perfect compliment to MEATJACK's music.

Weedeater

Fronted by Dave "Dixie" Collins, WEEDEATER first came to prominence by way of Collins' term of duty with the mayhemic BUZZOV*EN. When BUZZOV*EN ran out of steam in 1998, Collins was freed up to concentrate on WEEDEATER, an act that had actually been gigging for some five years previous. Billy Anderson would produce the debut And Justice For Y'All album for Game Two/Berserker Records in 2000, included on which was a radical re-work of CROSBY, STILLS & NASH's "Southern Cross." The sophomore effort, once again produced by Billy Anderson and provisionally entitled Beezlebubba but emerging as Sixteen Tons, was delivered in March of 2002 and released on Berserker/Crucial Blast. Sixteen Tons remains a classic landmark in the sludgecore/doom/crust underground based on its unrelenting heaviness and southern swagger.

Mouth of the Architect

Itâ??s definitely a triumph when a band can keep the attention of someone who possesses a near-ADHD attention span (like myself) with songs that haughtily surpass and defecate on the ten-minute mark. There has to be something special about any band that can keep me – a person who rises suspicion in speed enforcement cops and border guards the world over due to an inability to keep my eyes from darting to-and-fro while in conversation – fist-banging like a drunken Slayer fan, foot-stomping like the hillbillies in "Deliverance," and mouthing lyrics like that lazy-eyed kid in your English class who read everything while moving his lips. For Ohioâ??s Mouth of the Architecture, the cure for what ails as they rumble along with three epic-length tracks – plus the five underdeveloped minutes that make up â??Heart Eatersâ? – that are eerie and airy, yet of crushing capacity and Herculean proportions. Taking a page from the dog-eared textbook of Neurosis, Godflesh and Isisâ?? monumental Oceanic album, MotA hypnotically entice the listener into â??A Vivid Chaosâ? and â??The Wormâ? with teasing melodies and deceptively catchy, Ennio Morricone-affected sounds before crashing down with orchestrated guitars that wrangle moods, strangle emotions, and crush like the pneumatic press that killed Governor Schwarzenegger in the first Terminator movie. Their sound is as equally warm and inviting as it is ballistic and unrelenting and they make the most with the space and time they give themselves to build, layer, pillage, kill, and destroy before starting the process all over again. Fuck Ritalin when youâ??ve got Mouth of the Architect. (Kevin Stewart - Decibel Magazine)

GreatDayForUp

â??Dude, Curveâ??s new band is fuckinâ?? indie rock, man. You believe that?â?

This is what Iâ??ve been told about half a dozen times in the past cuppla months from various and sundry Boston rocker, so it was with at least a twinge of dread when I popped this fucker in. See, for years now, Curve of the Earth records has been ground zero for Bostonâ??s kill-for-thrills hard rock bands – they were home to Crash and Burn, Rock City Crimewave, Lamont, Half Cocked and Cracktorch, for Crissakes – so I was more nâ?? a little surprised to hear that theyâ??d signed an indie rock band. I still am, really, but just ask Josh Todd – nobodyâ??s paying the bills with sleazy, heavy-ass rock and roll these days. Well, the proof of the pudding is that GDFU ainâ??t really indie rock in any world â??cept for Sleazegrinderâ??s, so rest easy. â??GLASâ? is rife with churning Queens of the Stoneage-y groove riffs and pounding drums (same kinda Neanderthal whacka-whacka as pre-pussy Lars Ulrich, matter of fact), and dizzy rhythms and vox straight outta the Stone Temple Pilots school of purple powered, post-grunge radio rawk. Although it has about zeroâ??s worth of sleaze or ham-fisted glory mongering, and there ainâ??t nothinâ?? naked or sweaty about any of it, I can still see the appeal here. Itâ??s smart rock, ya know. In fact, it pretty much reeks of smart kid-ism, and as we all know, smart kids will inherent the earth. â??Belowâ? is a high-brow stoner epic full of propulsive, elastic riffs, the 7 minute hellslog â??Siempreâ? flirts with full-on acid doom, and the rest of the tracks vacillate between deep-fried crunch and, yeah, indie clang. So, there ya go. GreatDayForUp ainâ??t exactly my kinda slug of the hard stuff, but what the hell. If you dig Cave-In as much as you dig Soundgarden, youâ??ll probably pop a neck vein when ya hear this, bro. (Sleazegrinder)

Psych blow-out on Thursday at the Warehouse!

Thursday, May 26
$7, all ages
doors at 8:30, show at 9

(The Sounds of) Kaleidoscope (DC)
Relay (Philly)
The Grey Daturas (Australia!)
Kohoutek (DC)

(The Sounds of) Kaleidoscope

The debut release by DC '60s power trio featuring two former members of The Ropers. The fellows are getting a new sound out of that '60s-influenced groovy guitar-pop thing. These are (the sounds of) kaleidoscope: guitars in red, bass in blue, bleeding into purple, drums in black and white, together they paint a tale the way a lonely schizophrenic tells stories to his friends. Songs jut like trees out of the soundscape - not simply trees, but treehouses, inhabitable space. Vocals meander in and out of the spectrum giving clues to a proper interpretation. Still, none is forthcoming; the songs flee. Catchy numbers can be caught but slyly avoid adding up, preferring to attend a giddy picnic beyond the grasp of consciousnes, where 1+1+1 equals something inexplicable, a glimpse of beautiful form: kaleidoscope. These are their sounds. With a wink to the past and a nod to the future, these sounds are now. Close your eyes and have a look. (Tonevendor)

(The Sounds of) Kaleidoscope excel at producing that whirling, swirling D.C. (okay, mid-Atlantic, maybe even all the way up to Boston) indie sound. With ex-members of The Ropers and The Still joining founder Damien Taylor, and Lilys Kurt Heasley lending a helping hand, how could they not? Your toes are gonna be tapping in no time. I guarantee it. (3hive)

The Grey Daturas

Itâ??s hard to categorize the sound of a band like THE GREY DATURAS from Melbourne, Australia. But if it has to be done, they are probably best described as an improvised/instrumental noise-rock band. Since their earliest shows in 2001, the Grey Daturas have been celebrated as one of the loudest and most uncompromising live acts in Australia.

As for their influences, they couldnâ??t be any more varied. Their influences range from such diverse acts as Sonic Youth, The Stooges, Earth, John Coltrane, Cluster, John Cage, Dark Throne, and '70s no-wave and post-punk.

Thunderous heavy psychedelia masquerading as metal
soundscapes performed in an arthouse manner reminiscent of other like-minded, contemporary sonic explorers (i.e. Wolf Eyes, Acid Mothers Temple, SubArachnoid Space, Paik (they even sport a similar multi-media show), Sunno))), Boris, Sonic Youth, Melvins, Glenn Branca, etc….) that is heavy and metal-ish and focused on darker vibes but without the weight of negative emotions to tie them down to a particular style or mood or that need for "toughness" that hampers other metal bands' ability to be everything the Grey Daturas are…simultaneously beautiful, menacing, scary, loud, and serene…

Kohoutek

Improvised psych with noise tendencies and abstraction. Sonic explorations in any combination of drums, percussion, guitar, bass, laptop, homemade electronics, field recordings, contact mics, chord organ, and household appliances. Have been described as "if Can were a 4AD band" and been compared to Jessamine, Acid Mothers Temple, and Skullflower, for what that's worth.

upcoming Clavius productions at the Warehouse:

5/31: The Dirty Projectors/Thw Wind-Up Bird/Stamen & Pistils
6/1: Wooly Mammoth/Test-Site (math-metal from Milwaukee)/Nitroseed
6/2: DCIC/Na (Japanese electro-acoustic improv)/Spaceships Panic Orbit
6/7: The Impossible Shapes (Secretly Canadian)/Odwalas (Secretly Canadian)/Donny Hue & the Colors
6/11: Navies (record release party)/Air Conditioning/Pissed Jeans/Double Dagger
6/14: Alcian Blue/The Antiques/Unlucky Atlas
6/20: Green Milk From the Planet Orange (Japanese space-rock/prog/psych)/WZT Hearts/The Cutest Puppy in the World
6/27: The Winter Set/Pagoda/Video Hippos
6/29: Rope (Family Vineyard)
7/2: Long Live Death/In Gowan Ring/Nick Castro (Eclipse Rec.)
7/10: Larsen (Young God Rec., from Italy)/Baby Dee & John Contreras (of Current 93!)/Warmer Milks (acid folk rock from Kentucky)
7/16: Reverend Bizarre (Finnish doom)/Well of Souls/Gates of Slumber/VOG
7/21: Castanets/I Heart Lung/Wooden Wand & the Vanishing Voice
7/24: The Mirrors (Greg Ashley of The Gris Gris)
7/29: John Wilkes Booze (Kill Rock Stars)/Newagehillbilly
8/22: Jim Yoshii Pile-Up (Absolutely Kosher)/The Fake Accents
8/26: Kinski (Sub Pop)
9/27: Wolf Eyes/Nautical Almanac

at 611 Florida:

7/7: The Peppermints (Pawtracks)/S.T.R.E.E.T.S. (garage thrash from Vancouver)
8/5: Double Leopards (Eclipse)/The Skaters/Earthen Sea (Jacob from Black Eyes)/Insect Factory/Daniel Martin-McCormick

SATURDAY! May 28
Warehouse Next Door
9:00 / $7

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REVIVAL (x-Canyon)
COYOTE (Birdman Records/ex-The Holy Fallout, Excelsior)
MOUNTAIN HIGH (ex-Ink and Dagger, Excelsior, Franklin, AM/FM etc)

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REVIVAL formed in May 2004 in Washington, D.C. when three former members of the band Canyon …Evan Berodt, bass; Dave Bryson, Drums; and Derry Deborja, keys…joined singer/guitarist Josh Read, formerly of The Getaway and The Child Ballads.

COYOTE formed when members of The Holy Fallout, Excelsior and The Rabble Rousers convened in a West Philadelphia basement. Meaning: the heart of the Philadelphia music scene thrown into one supergroup is releasing their debut, and you are there. The driving pianos, screaming vocals, and fuzzed-out champion guitar leads produce a unique sound that is ready to be unleashed. They have been compared to The Black Heart Procession, The Doors, and the VSS/Slaves. By pulling from a multitude of musical influences, Coyote creates a sometimes haunting, sometimes sonic sound that allows the listener to take joy from pain. With
lyrics that often portray unnerving situations, Coyote immediately grab your attention. The piano-driven melodies invite the audience inside their frenzied spirit.

MOUNTAIN HIGH supply the snarling Excelsior sounds but adding a dual drumming attack rock that brings to mind a tribal Monorchid.

Tonight!

Tuesday, May 31
$7, all ages
doors at 8:30, show at 9

DIRTY PROJECTORS (from CT, Western Vinyl/The Music Fellowship)
THE WIND-UP BIRD (The Music Fellowship)
STAMEN & PISTILS (lo-fi bedroom pop from DC)

DIRTY PROJECTORS "The Getty Address" Western Vinyl

The purpose of "glitch," the undanceable electronica that replaced beats and samples with stutters and burps, was to be, well, glitchy. That's all there was to it, which explains the
style's limited appeal. Like other out-there forms, however, glitch provided inspiration to musicians who had no intention of simply making more of the stuff. Enter bicoastal multi-instrumentalist Dave Longstreth, who records as Dirty Projectors, and who labels his new The Getty Address an "epic glitch-opera" about the Eagles' Don Henley. The Projectors perform this week on the same bill with Washington's Stamen & Pistils, whose new EP is easygoing folk pop that's also tempered by synthetic thumps and squawks.

On The Getty Address, Longstreth sings the role of Henley, whose connection to the Eagles singer-guitarist is less explicit than the composer's statement indicates. This Henley meets one Sacagawea Petrillo (sung by Lucy Greene), and the two explore an America of dwindling wilderness, expanding highways, and rapacious oil interests. Most of the scenario is explained by Longstreth's notes, not his lyrics, which tend to be cryptic. The female chorus frequently repeats a single sound or word, such as "Gilt Gold Scabs's" refrain of "kangarwomb."


As a choral composer, Longstreth seems indebted to Steve Reich, and his other influences aren't all that novel: "Tour Along the Potomac," for example, combines Balinese gamelan with old-timey jazz. It's what Longstreth does after he's written and recorded the orchestral and choral parts that
makes his work distinctive. He chops and recombines them, so that fairly conventional "modern classical" passages alternate with ones that have been reduced to pulses and loops. The
Getty Address may not have a lot to say about the state of the union, but it's an intriguing glimpse into a realm where indie pop, laptop noise, and conservatory music all blur together.

STAMEN & PISTILS "End of the Sweet Parade" Echelon Productions

Stamen & Pistils' eight-song End of the Sweet Parade is simpler in conception than The Getty Address, but still appealingly dense. Such songs as "Hand Painted Characters" and "Sleep for the Bells" seem to have started simply with acoustic guitar and voice, but then were layered with overdubs, many of them harshly electronic. Titles such as "Penny Farthing Fair" give some idea of this duo's folkie core, but not of what happens next. Drones, bangs, and whooshes
mingle with the multitracked harmonies, creating both stylistic friction and a formidable sense of space. The result may not be exactly operatic, but it is richly textured and consistently inventive. (Mark Jenkins)

Appearing Tuesday at the Warehouse Next Door with the Wind-Up Bird.

Wednesday, June 1
$7, all ages
doors at 8:30, show at 9

Wooly Mammoth
Test-Site (mostly instru-metal prog from Milwaukee!)
Nitroseed (instru-metal doom from MD, mem. of Earthride/Spirit Caravan)

Wooly Mammoth and Nitroseed need no description as two of the area's most forward-thinking heavy bands. Joining them on tour is Test-Site:

The first thing you need to know is that Test-Site is mostly instrumental. The second thing you need to know about Test-Site is that they were formerly called Blackwater. It seemed that there were a hundred other bands with the name. They are now Test-Site. Test-Site is led by guitarist James Potter. Potter has played in some of Milwaukee's heaviest bands. He wielded the lead guitar for the legendary Dr. Shrinker then went along for the ride when Shrinker morphed into the mighty Feck. Feck imploded under their own weight leaving Potter bandless. He even gave up the guitar for a while. Soon the Gods of the Mighty Riff came calling again. He teamed up with Tim Wick on drums (Epsom Blu) and Matt Budda on bass (Ballpoint) to form the crushing Test-Site. The Test-Site sound is like the universes of Dr. Shrinker and Feck colliding in a Big Bang of crushing riff-laden mayhem. Sparse harsh vocals pepper the decimated landscape leaving you devastated. Heavy, catchy, powerful, and mesmerizing, taking the strength of metal infusing it with'70s prog-rock (leaving all the crap out). Throwing the influences of Italian horror films and the psych films of Alejandro Jodorowsky into the mix makes Test-Site the powerful entity it is.
http://www.testsitecontrol.com