Warehouse Next Door

Who: DC Improvisers Collective (DCIC), Na, Spaceships Panic Orbit
What: Wild improv music from the outer reaches of rock, jazz, noise, and the universe.
When: Thursday, June 2nd, 8:30pm. $7
Where: Warehouse Next Door, 1021 7th Street NW (metro: Mt. Vernon Sq.-7th St.-Convention Center)
Venue Phone: 202-783-3933

COMPOSING IS FOR COWARDS

Most performing artists like to know what's going to happen when they take the stage. This enables them to prepare by memorizing their material. They can market their work by explaining what their show is about. The audience knows what to expect. But why pay good money to watch people act like trained monkeys?

On the other hand, spontaneous performance presents its own challenges. Without the ability to edit, fine-tune, and otherwise craft material, how can a performer deliver high quality work? Come see for yourself as three ensembles explore improvised performance from different perspectives.

Headlining the show will be the DC Improvisers Collective: a quartet exploring the intersection of jazz, contemporary composition, and experimental music. Their current lineup features Ben Azzara (drums), Daniel Barbiero (bass), Jonathan Matis (guitar), and Mike Sebastian (reeds). These musicians come together from diverse backgrounds, bringing experience from performing in rock bands and jazz groups, as well as post-classical composition. With ears wide open, they craft intricate compositions on the fly. Although the common metaphor for group improvisation often seems to be conversation, this metaphor fails to capture the true real-time, simultaneous collaboration that fuels the work. Equal parts tightrope act and group meditation, the ensemble explores the fertile territory of surprise just beyond the boundary where words fail.

Also appearing, from Japan via Seattle, is the unclassifiable trio, Na. Na formed in the summer of 2004 in Seattle, taking their name from the Japanese word for a kind of beautiful flower. Sometimes found wearing robes or homemade hats, Na consists of three performers: Noriaki Watanabe, Shinsuke Yamada, and Kazu Nomura. Na reaches musical cacophony, combining improvisation and noise with a slight pop slant and a good sense of humor. The group performs with all instruments possible, including classical guitar, piano, electronic guitar, laptop, a child drum kit, lots of cymbals and vocals with screams and laughs in their own language. Since they began last summer, Na has been busy releasing thousands of CDRs and organizing tons of performances all over the U.S.

Spaceships Panic Orbit formed in April 2001 to explore the textural and sonic possibilities of a unique combination of electronic and acoustic sound sources and a variety of sound production approaches. The group is comprised of Many Spaceships on reeds and keyboards, PJ Brownlee (Special Orbit) on laptop electronics and keyboards, and Jeff Bagato (DJ Panic) performing a musical instrument of his own invention: electronic sounds triggered by scraping a vinyl LP with a small hacksaw. Spaceships Panic Orbit's music brings together the aesthetics of several contemporary avant-garde musics, including electronica, free jazz and free improvisation, power electronics or industrial music, and avant-garde rock.

testing

The Pan-American String Quartet Presents
Concert of Latin American Music

Tomorrow! Tuesday, June 7 2005 at 8:00pm
$10 general public

The Warehouse Theater
1021 7th St. NW

The Pan-American String Quartet, a young addition to DC's classical chamber music scene, will perform at the Warehouse Theater. From Joaquin Turina's impressionist "Oracion de Torero" to William Grant Still's vibrant "Danzas de Panama," the evening will survey the varied moods and compositional styles of North, Central, and South American composers. Formed little over a year ago, the quartet has already performed to sold-out audiences at the Embassy of Argentina, the Ellipse Arts Gallery, and the DC Arts Center.

The Pan-American String Quartet:
Winston Yu, violin
Fan Fan Yu, violin
Pablo Saelzer, viola
Amy Domingues, cello

The Pan-American String Quartet is a new classical ensemble in the DC area. The group focuses primarily on presenting music by Latin American and Spanish composers such as Piazzolla and D'Rivera, pieces not only in the classical style
but also more indigineous forms such as the tango and Hispanic folk music. Formed in February of 2004, they have already performed to sold-out audiences at the Embassy of Argentina, Ellipse Art Center in Arlington, and the DC Arts Center. They hope to add even more music to their repertoire and perform more widely in 2005.

The members:

Fan Fan Yu has played violin since age 4. Attended Manhattan School of Music Prepatory Division, Tanglewood Institute. Ms. Yu was concertmaster of the U Penn Symphony, also played in the Longwood Symphony in Boston and the MIT Summer Philharmonic, while working on a doctorate degree in Statistics. She is a biostatistician by day at
Statistics Collaborative, Inc.

Winston Yu has played violin for over 25 years. He has performed in Israel, Jordan, Spain, and throughout the US. He played with the Boston Philharmonic orchestra for 7 years and is currently with the Alexandria Symphony. Apple Hill
chamber music festival participant. Studied with David Gillis and Min-Soo Chang. Played in a country and rock band. Undergrad at UPENN and grad at Harvard for environmental science and engineering.

Pablo Saelzer is a native of Valdivia, Chile. He has recently relocated to the Washington, D.C. area after completing his doctorate in conducting at the University of Southern Mississippi. An outstanding violist, Pablo has had an extensive orchestral and chamber music career in addition to his conducting. In Mississippi Pablo conducted the Metropolitan Chamber Orchestra in Jackson,
Mississippi for four years, and the Mississippi Youth Orchestra since 2002.

Amy Domingues is a freelance cellist and composer living in Arlington VA. She maintains a teaching studio and works on various recording projects including film scores. In 2003 her first foray into soundtrack music appeared in the film
The Weather Underground, nominated for the Best Documentary Academy Award. Currently Ms. Domingues is a member of the Pan American String Quartet, the neo-classical chamber group Threnody Ensemble, and plays piano, cello and sings in her own avant-folk band Garland of Hours. Ms. Domingues has performed widely in the United Kingdom, Europe, and Japan, in addition to the United States.

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

The Impossible Shapes (Secretly Canadian, from Indiana)
Odawas (Jagjaguwar, from Indiana)
Donny Hue & the Colors (ex-Carlsonics!)

The Impossible Shapes

The Impossible Shapes is a quartet from the southern reaches of Indiana featuring bassist/keyboardist Aaron Deer, guitarist/bassist Jason Groth, drummer Mark Rice, and songwriter/singer/guitarist/polemicist Chris Barth. Horus is the group's fifth proper full-length album since 2000 and The One that takes the clues and abstractions of all previous albums and encapsulates them as a monumental and subversive vessel. At point A we have a classic album from a post-Aquarian world that would be on the electric side of Bert Jansch's Pentangle or Fotheringay. Then from point B Barth takes a lyrical journey that saunters against the slim lines of magickal romance, demon chasing, Pan, and vile humanistic impulses that reads equal parts Johann Wolfgang von Goethe and Aleister Crowley. His litanies on discovery and the shadowy desires of hedonism and courtly love line each song with a tint of naturalistic folk force and free will.

The Impossible Shapes' previous Secretly Canadian album, We Like it Wild, carried a rock 'n' roll torch with both hands. On Horus, produced with LonPaul Ellrich (Marmoset, June Panic) at his Queensize Studio, the momentum resurfaces into an air of suspension. The band's guitar/drum swagger has slowed, allowing the slanted rhythms more time to curl around each verse, organ pump, and moonlight howl. A swell of grandeur appears across this song cycle, morphing out of the delicate, hillside-inflected guitar melodies into miniature cathedral celebrations. An association of fellow travelers exists within the 12 songs evoking the ancestral pull of early Pink Floyd and a non-acoustic Incredible String Band changing milk-into-gold with their dark brethren Comus. They even dip in some Tuli Kupfeberg, Charles Potts, and the song "Survival" sounds just like it would fit on the Buzzcock's Singles Going Steady.

The magical spells cast song-by-song grow with each moment that they are set free with every listen.

Odawas

Indiana is a state thatâ??s brimming with intelligent indie rock. Odawas, named after the Odawas Indians that were native to Beaver Island, are one of those bands. Intriguing stories abound adopting Danteâ??s and restructuring their own, Odawas offer some real rich tunes laden with cerebral fossils of musicâ??s past. Lo-fi enthusiasts will be smiling from ear to ear and rushing out to share this journey with their friends while others who may be scratching their heads will take part on a whim almost daring themselves not to like it. But in the end, weâ??ll all turn ourselves over to Odawas and allow them to play with our minds and soul.

Odawas are nicking all over the place: from Randy Newman's plain-spoken grandeur or Beach Boy story-telling or Angelo Badalamanti's cheesy romanticism or Charles Ives' avant-garde ear or Art Garfunkel's "presence-of-a-blue-whale" harmonies.

1905 is playing tonight.
i'll be there.

Tuesday, June 14
$7, all ages
doors at 8:30, show at 9

Alcian Blue (DC shoegazer noise pop)
The Antiques (DC jangle-rock)
Unlucky Atlas (Chicago political indie-folk)

Alcian Blue
http://www.alcianblue.net
http://myspace.com/alcianblue/

Alcian Blue create noisepop like only the Reid Brothers could make on Psychocandy…Alcian Blue's music is layered with fuzz and feedback. Though immediately catchy, listeners can expect to always find something else buried under the chaos waiting to scratch the surface. With pounding rhythms and swirling guitars and synths, vocals of murder, suicide, and ghosts wash in and out of the maelstrom. The claustrophobic atmosphere they create makes one wonder whether they are playing rock and roll or trying to conjure up demons. Either way, one listen and youâ??ll be itching to hear more while simultaneously ruining the speakers of your stereo system.

The Antiques
http://www.theantiques.org
http://myspace.com/antiques/

The Antiques began in the aftermath of a great blizzard in Washington, D.C. in February of 2003. Originally conceived in the dead of winter in an effort to revive the spirit of George Formby, the group continues to write, record and play live. The Antiques are Craig Garrett (bass guitar), Theresa Kim (organ), John Rickman (drums), and Gregory Svitil (vocals & guitar).

Like Morrissey and Marisol on a valium bender, featuring current and ex-members of Eggs, EB&SK, Still, Union Suit, The Mayflies, The Traces, Kohoutek, Soft Complex, the Parlor Scouts, and Groove Tiger Blue (the best unheard band from Roanoke ever).

Unlucky Atlas
http://www.purevolume.com/unluckyatlas/
http://myspace.com/unluckyatlas/

Unlcuky Atlas employs an approach to songwriting and performing that offers a thoughtful and complicated interrogation of the war in Iraq and the fiscal policies of the Bush administration. Drawing on a diversity of source material from Defense Department briefings to the verse of the Romantic poets, Unlucky Atlasâ??s clever strategy exemplifies the generous plurality of a sober democracy.

While speaking of Unlucky Atlas, it is hard to extricate sound from sentiment, to discern the signifier from the signified. This is ever-more true on the group's latest recording, a 3" CD entitled The Course of Empire. The Unlucky Atlas trademark of acoustic guitar and male/female vocal harmonies is expanded and emboldened on this release by an uncommon addition, Brian Getnick's accordion. The accordion serves in much the same way as bass guitar and synthesizer had on previous Unlucky Atlas records, switching between lower-register chordal drones, limber bass lines, and higher octave counterpoints to the vocals and guitar. As is characteristic of the Unlucky Atlas catalog, Terence Hannum's acoustic guitar playing stumbles from delicate to jagged; plaintive, serenely plucked passages are displaced by rigorously strummed augmented chords, a technique that courts the thin line between harmony and dissonance. Though plaintively minimal, this sonically lean structure provides a strong framework for UA's implicit political passion. Never didactic, UA's lyrics mix emotive abstraction with decontextualized snippets of U.S. government war briefings, encouraging speculation about the political normatives of a nation at war. This approach to lyrical text is as subtly provocative as Erica Burgner's warm vocal phrasings, Hannum's reedy harmonies, and the glassy layering of accordion and acoustic guitar. Perhaps this glassiness, the transparency of the Unlucky Atlas sound, results from its fractured and re-constructed character – shattered bits of Romantic intimation, war-time propaganda, modern instrumentation, and contemporary electronics, arranged in a mosaic form where all pieces are visible but find wholeness only in their interaction.

man, i'm so bummed this show is on the same nite that bob dylan is in town. don't know the opener, but the alcian blue/the antiques combo is probably as good as anything fort reno will have this summer, if they ever get around to releasing their schedule. bring earplugs for alcian!

hey count me in for tonight. curiousity looms.

Monday, June 20
Warehouse Next Door
1021 7th St NW, WDC
$8, all ages
doors at 8:30, show at 9:15
http://www.claviusproductions.org

Green Milk From The Planet Orange (Japan)
Wzt Hearts (Baltimore)
The Cutest Puppy in the World (DC)

Green Milk From The Planet Orange
http://www.green-milk.com

The strangely named Green Milk From The Planet Orange is a young Japanese band that perhaps figured they have what it takes to become the next Acid Mothers Temple or Ghost, and they could well be right! This is an impressive domestic debut from GMFTPO (who had a couple of other Japan-only, now out-of-print cd-r releases, a few tracks from which appear here in re-recorded form) and should definitely appeal to the whole Japanese psych lovin' crowd and maybe to yr average indie/post-rockers as well, if they're open to a dose of '70s inspired experimentation: long proggy songs that are plenty weird and varied, both druggily spaced-out and/or noisy and heavy. Yeah, it's a spookily baroque trip, these guys stirring everything into their prog-pot from doleful trumpet to jazzy walking bass to wild psych-guitar soloing and pinging electronic effects. Equally capable of grandiose epic bombast and gentle, slow-paced vocal balladry, GMFTPO glory in proggy changes and this album should certainly be investigated by fans of Ghost's recent opus Hypnotic Underworld. Of course, the bands that GMFTPO would want to be compared with are undoubtedly their '70s prog-psych, and specifically krautrock, influences: Can, Faust, Agitation Free, Nektar… You can also hear a bunch of '60s west coast psych in there as well (I bet they probably own that Kak album for instance). Yet despite all the "retro" elements, Green Milk still sound young, even a little punk – which they are, some of 'em being former members of stoner rock/grindcore outfit No Rest For The Dead. Though with GMFTPO they've set aside their metal/punk past, they still draw on it in sorta the same way as Guapo does. Kudos to Beta-Lactam Ring for bringing this our way…and also, after complaining about past Beta-Lactam Ring art/design, we have to give 'em some credit here, they did a nice job with this one. The disc comes housed in a beautiful digipak, with "distressed" graphics giving it the old '70s LP vibe. Real nice all around. (Aquarius Records)

Wzt Hearts

Jason Urick on Wzt Hearts' mission: "The music can sound like everything you've heard before – or nothing. Each night we play, none of us are sure of what it will sound like. In the eight months of playing together in this form, there has never been any talk between band members about the actual music other than the occasional 'Let's start slow tonight.'"
Jeff Donaldson: guitar and mixing board
Jason Urick: laptop
Shaun Flynn: drums and vocals.

The Cutest Puppy in the World
http://www.myspace.com/thecutestpuppyintheworld

DC-area avant-improv informed by out-jazz, psychedelia, and noise, influenced by Sun Ra, No Neck Blues Band, Animal Collective, Acid Mothers Temple, John Zorn, etc.

upcoming Clavius Productions events:

at 611 Florida:

7/7: The Peppermints (Pawtracks)/S.T.R.E.E.T.S./E-Zee Tiger/Le Flange du Mal
8/5: Double Leopards (Eclipse)/The Skaters/Earthen Sea/Insect Factory/Daniel Martin-McCormick
8/19: Rake (reunion show!)/Jana Hunter/Mouth of Leaves/Meadows/Lights

at Warehouse Next Door:

6/27: The Winter Set/Pagoda/Video Hippos
6/29: Rope/The Plums/Tape Rape/Daniel Martin-McCormick
7/2: Long Live Death/In Gowan Ring/Nick Castro/Talibam
7/10: Warmer Milks
7/16: Reverend Bizarre/Well of Souls/Gates of Slumber/VOG
7/21: Castanets/I Heart Lung/Wooden Wand & the Vanishing Voice/Portions Toll
7/24: The Mirrors/Primes/The Factory Incident
7/28: Love as Laughter/The Migghty Flashlight
7/29: John Wilkes Booze/Newagehillbilly
8/21: Hafler Trio/Colin Potter/Andrew Liles/Irr.App.Ext.
8/22: Jim Yoshii Pile-Up/The Fake Accents/Get Him Eat Him
8/24: Caution Curves/Others/Jesse Kudler
8/26: Kinski/Last Days of May/Kohoutek
9/16: 302 Acid/Gel-Sol

at DC9:

9/1: Valkyrie/Starchild
9/12: The Fatal Flying Guilloteens
9/27: Wolf Eyes/Prurient/Nautical Almanac

Tonight! For fans of Yo La Tengo, The Feelies, The Clean, Jesus & Mary Chain, etc.

Monday, June 27
$7, all ages
doors at 8:30, show at 9

Pagoda (mem. of Shortstack)
The Winter Set (moody indie-pop from NYC)
Video Hippos (guitar/drums multi-media art-punk!)

[sigh] A Monday night. :confused:

Don't miss what is sure to be one of the most interesting and diverse experimental music bills in DC this summer!

Wednesday, June 29
$6, all ages
doors at 8:30, show at 9

Rope (Family Vineyard Rec., atmospheric post-rock from Chicago via Poland)
The Plums (mem. of Hat City Intuitive, Spaceships Panic Orbit, and Portions Toll)
Tape Rape (mem. of Facemat)
Daniel Martin-McCormick (ex-Black Eyes doing solo experimental guitar)

Rope

Rope is the trio of Przemyslaw Chris Drazek (guitars) and Robert Iwanik (electric bass, vocals) and Michael Kendrick (trap set). Formed in 1998 by Drazek and Iwanik in Poland, the two now reside in Chicago. Rope creates an inverse of crushing weight through trance-like guitar picking coupled with deep valleys of absence, light drones, frantic to grounding drumming and Iwanik's soothing bass. Intense performers, the three utilize shifts in volume and silence to evoke near-classical structures before vaulting into the near haze of cascading guitar sheets of sonic blight. Rope's debut EP Fever was released in 2002 on Family Vineyard and the debut full-length Widow's First Dawn came out October 2003 on FV.

Expatriate Polish post-rock act Rope are all about generating an atmosphere, and it's a creepy one, though quite arty. We liked their debut EP Fever, and this full-length delivers more of the same, and more besides as they've added more instrumentation (drums, piano, saxophone) to the bass and guitar previously employed. Furthermore, as if to evoke the widow of the title, there's some wordless soprano female fake 20th-century classical vox to compliment the throat-constricted whispery vocals of bassist Robert Iwanik, who sounds not unlike a sinister version of US Maple's Al Johnson. We're also reminded of Alan Dubin's Khanate croakings, and another Polish expatriate act, Dead Raven Choir. Indeed, though far from black metal, this has some of that sort of vibe. It's spooky stuff, as if the music is lurking in the dark, bursting in brittle sheets to threaten the listener, even as the lulls soothe one into a trance. Washes of cymbals and jagged guitar offer no mercy, and even when the volume gets intense, the menace seems more mental than physical. Some may find this sort of thing, the female vocals in particular, too gothically-academically pretentious, but for others it will quite effectively set a mood and hold your musical interest as well. Spaciously recorded with a large, empty live reverby room sound by Steve Albini in Chicago, where Rope currently reside. (Aquarius Records)

The Plums

Instrumental DC-area quartet, including members of Hat City Intuitive, Spaceships Panic Orbit, and Portions Toll, playing music influenced by Krautrock, post-rock, and psychedelia.

Tape Rape

Members of DC's Facemat experimenting with tape loops and reel-to-reels. First ever performance.

Daniel Martin-McCormick

Former Black Eye exploring the outer reaches of the electric guitar's tonality and rhythm, informed by the innovative technique and approaches of Derek Bailey and Keith Rowe.

Clavius Productions presents:

Warehouse Next Door
1021 7th St NW
Washington DC
$7, all ages
doors at 8:30, show at 9
http://www.claviusproductions.org

Long Live Death (Baltimore, Secret Eye Rec., mem. of The Anomoanon and Oxes)
In Gowan Ring (Utah, Bluesanct/Durtro Rec.)
Nick Castro (CA, Eclipse/Strange Attractors)
Talibam (NYC, mem. of Storm & Stress/Coptic Light/Crossing Clouds)

Long Live Death
http://www.longlivedeath.net

Long Live Death is a communal folk group based in Baltimore, RI who compose spooky, commie folk for gong, musical saw, cello, and vocals. Legend has it that one night in 2003 while touring with Will Oldham, the entire group stripped naked and danced in the aisles. Recently we here at Secret Eye were informed that the gong they play is named "Thunder Expressions" and it is only struck with a one-of-a-kind mallet who goes by the name of "Electric Destiny." They share members with popular math-rock band Oxes.

In Gowan Ring
http://www.ingowanring.com

From the land of little Osmonds, comes this nomadic bunch of sprites and pot-headed pixies, led by the enigmatic B'eirth and wielding such modern day contraptions as sackbut, cornetto, cittern, psaltry, zither, timbrel, whistles, bells, gongs and tons of other weird sounding shit too numerous to mention. Epic-lengthed drones are nestled comfortably amidst some of the finest acid/psych/wyrdfolk on this (or any other) planet.

"Though arguably the best In Gowan Ring experience is live – B'eirth plays the medieval troubadour quite well and mysteriously, but doesn't forget humor or the fact that the Industrial Revolution has in fact happened – The Glinting Spade is quite a lovely listen indeed. Anyone captivated by folk that either consciously explores its very early roots or the acid folk approach that psychedelia let in will find something to like here; B'eirth's approach suggests Edward Ka-Spel as much as it does the mythical figure of Ossian, say. His generally acoustic bent is more carefully seasoned by low-key experimentation throughout The Glinting Spade – extended tones, strange echoes, and buried sounds expand the palette of his work to an intriguing degree, with "In the Dream of the Queen" being an especially striking example. That said, the choice of instruments tends to be tried and true – everything from church organ to zither is credited, along with more esoteric choices of fire, chalice, bow and arrow, even oats! Quite what the role of everything is meant to be is unclear, but if the effect is to create a sense of a shadowy ritual out of time past, In Gowan Ring succeeds quite well. B'eirth isn't one to shout or scream – what's the point, after all? – and his style of singing is very, very restrained, avoiding the sometimes tiresome drama of similarly minded revivalists who apparently think they really are about to summon up the Horned King and the Great Hunt. Songs like "To Thrum a Glassy Stem" and "Bow Star" are quiet beauties, while the lusher approach of "Cipher's String on the Tree" suggests a great lord's minstrels performing a late-night service. (Ned Raggett, All Music Guide)

Nick Castro
http://www.spyinthehouse.com

"On his second album, Nick Castro works with a slightly ad hoc band, the Poison Tree, drawing on similarly Pennsylvania-based 21st century acoustic/psych performers such as folks from Espers. It's a fine pairing, resulting in an album very much in the vein of performers old and new such as the Incredible String Band in its quieter moods and Stone Breath at its most gothed-out. As many musicians are now actively exploring this vein, though, it's all the more important to stand out from the field. Castro's singing voice is in ways his calling card. His songs are enjoyable if not surprising interpretations of the form, so it's the clear, crisp rasp in his singing – a bit Nick Drake on songs like "Guilford" but not overly indebted – that often lends a slight edge to the compositions, less a medieval minstrel, say, than a reflective veteran from some strange conflict. While musically acoustic guitar unsurprisingly forms the basis of the arrangements, it's Castro's work on whistles (and on "Music for Mijwiz" that particular wind instrument), Adam Hershberger's on flügelhorn, and Helena Espvall's on flute that actually proves the most distinct element, establishing a continuity song for song and making Further From Grace seem that much more of a unified piece. When set aside from the gentle variations in the songs – the queasy, slightly tripped-out guitars on "Unborn Child," the self-descriptive instrumental "Waltz for a Little Bird" (with jaunty piano from Castro) – the results can be quite enjoyable. The murky, haunting extended coda of treated voices and improvised flute on the opening "Sun Song" gets contrasted against the slightly commanding tone of Castro's voice, each standing out all the more. If Castro's not as dramatic as, say, Brendan Perry from Dead Can Dance, he doesn't need to be, finding the right balance between close, almost tactile recordings – the instruments seem to be sitting right there next to you, such is the quality of the engineering – and a mysterious, removed resolve." (All Music Guide)

Talibam

Improv/rock three-piece of synth, drums, and baritone saxaphone via electronics…sort of in between '60s Euro improv and "black _____" bands. Talibamâ??s raucous output comes from synthesizer manipulations by Matt Mottel, baritone sax trenchwork mechanics by Ed Bear, and further confused drumming by Kevin Shea (Storm and Stress, Coptic Light). Talibam amalgamates, remixes, and chews out sonic influences of groups like early Cecil Taylor Trio, MEV, and the Sun Ra Arkestra.

Clavius events:

611 Florida

7/7: The Peppermints (Pawtracks)/S.T.R.E.E.T.S./E-Zee Tiger/Le Flange du Mal
8/5: Double Leopards (Eclipse)/The Skaters/Earthen Sea/Insect Factory/Daniel Martin-McCormick
8/19: Rake (reunion!)/Jana Hunter/Mouth of Leaves/Meadows/Lights

Warehouse Next Door

7/10: Warmer Milks (acid-folk-rock from Kentucky)/Wax & Wane/Human Host
7/16: Reverend Bizarre (Finnish doom)/Well of Souls/Gates of Slumber/VOG
7/19: The Rat Traps (Goner Records, from Memphis)/Jeffrey Novak (one-man band from Memphis)/The Blast of Valour
7/21: Castanets/I heart Lung/Wooden Wand & the Vanishing Voice/Portions Toll
7/24: The Mirrors (Birdman, feat. Greg Ashley)/Primes/The Factory Incident
7/28: Love As Laughter (Sub Pop, ex-Lync)
7/29: John Wilkes Booze (Kill Rock Stars/Family Vineyard)/Newagehillbilly
8/22: Jim Yoshii Pile Up (Absolutely Kosher)/The Fake Accents/Get Hime Eat Him (Absolutely Kosher)
8/24: Caution Curves/Others/Jesse Kudler
8/26: Kinski/Last Days of May (ex-Dream Syndicate)/Kohoutek
9/2: Easy Action (ex-Laughing Hyenas/Negative Approach)/The Old Haunts (Kill Rock Stars)
9/16: 302 Acid/Gel-Sol
9/30: Phosphorescent

DC9

9/1: Valkyrie
9/12: The Fatal Flying Guilloteens (Estrus)/16 Bitch Pile Up (all-female noise trio from OH)
9/17: The Hidden Hand/Wooly Mammoth
9/27: Wolf Eyes/Prurient/Nautical Almanac
9/29: The Bloody Hollies (Sympathy for the Record Industry/Alive)
10/9: Barbez
10/26: Green Milk From the Planet Orange (Japanese space rock/prog-psych)
10/30: DMBQ (Japan, Estrus)/An Albatross
11/2: Miminokoto (Japanese psych, ex-White Heaven)/Kohoutek

hey snailhook,
any chance of booking saturday looks good to me? or are they black cat league?

you got Easy Action?? whoa NICE man. Ive been DYIN to see them. Is hafler trio still confirmed for the 21st of august?

hey dude how was the show last night i couldnt make it!! Noose was tired after practice and decided not to go so i just said fuggit and saw war of the worlds.

any chance of booking saturday looks good to me? or are they black cat league?

hmmm…i'm not really into that band, and i do shows with their booking agency, and they've never asked about doing a show at the warehouse. i'd rather book them at DC9 where i don't have to be there to manage a show, but they probably have a lot of under-age fans.

Is hafler trio still confirmed for the 21st of august?

nope, hafler trio canceled on me on monday. the reason why is really lame, too. i'll tell you more later. i still may do something for colin potter and andrew liles.

hey dude how was the show last night i couldnt make it!! Noose was tired after practice and decided not to go so i just said fuggit and saw war of the worlds.

rope were fantastic…reminded me of caspar brotzmann massaker, oxbow, and sleepytime gorilla museum. it was really inspiring to see what three men could do in a "rock" trio format. the music was really spacious and tense, with never much catharsis or release. the drummer augmented his four-piece set with electronic drums and an assortment of pots, pans, and various metals. the vocals were menacing and sinister. i got their full-length album.

tape rape were surprisingly good, too. those facemat dudes are always interesting. for this show, they put four reel-to-reel machines on the stage and built up a wall-of-drone with crazy instrumentation over it. daniel has also gotten really good at exploring sound with the electric guitar, using bows and clips and such.

FRIDAY JULY 1
9:00 DOORS
WAREHOUSE NEXT DOOR

+++++++++++++++++++++++

FRENCH TOAST (Dischord)
THE NEIN (x-The White Octave, Steel Pole Bath Tub, Milk Cult)
VERBAL

+++++++++++++++++++++++

FRENCH TOAST:
Engaging new duo comprised of JAMES CANTY (NATION OF ULYSSES, CUPID CAR CLUB, MAKE-UP) and JERRY BUSHER (ALL SCARS, FUGAZI, FIDELITY JONES). A blend of guitars, keyboards, drums, percussion,
samplers, sequencers, and haunting vocals that have earned comparisons to Mission of Burma, Savage Republic, Captain Beefheart, Wipers, and
Wire.

THE NEIN:
The Nein's debut full-length, Wrath of Circuits (May 17, 2005), is an album that reveals more with every listen. With substance and creativity, melodies shine through a mass of artful discord, capturing the listener's attention. The Nein formed in early 2003 after the demise of Cohen and Biggers' former band, The White Octave. Based in Durham, NC, The Nein
self-released two CDRs before becoming one of the first American bands on Canadian label Sonic Unyon. Their label debut, a self-titled six-song EP, was released in October 2004, eliciting praise from both sides of the border and helping set the stage for what was to follow. The band incorporated sound manipulator Dale Flattum after recording the EP. With a setup of sampler and tape decks, Flattum (Steel Pole Bath Tub, Milk Cult) brings an entirely different element to their overall sound. His noises and found sounds are grafted upon THE NEIN's pop-song framework, revealing their innate melodicism through repetition. In 2004, the band headed into
Pontchartrain Studios in Chapel Hill, NC, with producer Jay Murphy for their first studio experience as a quartet. Taking time out of recording for their first Canadian tour, the band wrapped up the album at the end of December. The results are massive. Lyrically, much of the album
addresses a fear of technology. The title originates from an activity known as circuit bending: a process that entails randomly connecting different circuits together on a keyboard's or toy's circuit board, manipulating the original sound until a new one is created. "It's a pretty amazing subversion of technology," says Cohen, "but it's also kind of scary to think of one of those machines coming to life randomly" – hence the 'Wrath of Circuits.' Cohen also recognizes inspiration for the record in the talents of the late Randy Ward, friend to the band and fellow Raleigh/Durham Triangle musician, who built a machine that mechanically played live drums while Ward improvised on circuit-bent instruments. According to Cohen, Ward "inspired a lot of people to experiment more with circuit bending, which has provided the music scene here with a lot of really cool artists." Not a casual
listening experience, Wrath of Circuits forces you to take notice of the interplay between instruments and before you know it, the combination of grin and head-nod is uncontrollable. Dissonant, creative, a danceable
cacophony: Wrath of Circuits solidifies THE NEIN's position as one of the most interesting and exciting new bands of 2005.

VERBAL:
Verbal is the antidote to a word-led world. In shutting up and making noise, Verbal seeks to reinterpret familiar musical forms, challenging their audience to dance and consider the possibilities of a loud tomorrow devoid of the words. The danceable breakbeats, the pounding drum 'n' bass, the swirling melodies, the assertive riffs and DIY spirit combined with the openness owing to Verbal's early days as an improvisational trio take the band beyond genre-cation. Too rock for post-rock, Verbal embraces the grand tradition of instrumental rock without alienating those in the audience with little exposure to the lyric-less rock. The layered hook-laden melodies enmeshed with the relentless attack of the rhythm section make memories of lyricists short-lived.

Originally posted by snailhook:

any chance of booking saturday looks good to me? or are they black cat league?

hmmm…i'm not really into that band, and i do shows with their booking agency, and they've never asked about doing a show at the warehouse. i'd rather book them at DC9 where i don't have to be there to manage a show, but they probably have a lot of under-age fans.

book em, people will come

Originally posted by snailhook:
FRIDAY JULY 1
9:00 DOORS
WAREHOUSE NEXT DOOR

+++++++++++++++++++++++

FRENCH TOAST (Dischord)
THE NEIN (x-The White Octave, Steel Pole Bath Tub, Milk Cult)
VERBAL

+++++++++++++++++++++++

Any idea what time French Toast might come on?