Warehouse Next Door

Shoegaze assault at the Warehouse! Airiel remind me of a cross between Kitchens of Distinction and Ride.

Thursday, September 22
$7, all ages
doors at 8:30, show at 9:30

Alcian Blue (DC)
Airiel (Chicago)
Hartfield (Japan, Clairecords)

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.

Airiel
http://www.airiel.com

"Masterpieces of swirling guitar the likes of which have not been seen since Kitchens of Distinction called it a day…blistering waves of gorgeous guitars, kinetic drum beats, and soaring vocal harmonies."

Airiel is rapidly becoming one of Chicago's best-kept secrets. Formed in '97 by Jeremy Wrenn, initially a solo project supported by various drum machines, Airiel is now a solid 4-piece determined to be heard. The addition of guitarist Zeeshan Abbasi, bassist/vocalist Cory Osborne, and drummer John Rungger have taken the prior format of warm-as-a-blanket guitar soundscapes and injected a post/pop-rock energy and verve that heralds the coming of a new shoegaze archetype. Many bands try to emulate the sounds of My Bloody Valentine, Jesus and Mary Chain, The Verve, Slowdive, and others, but Airiel build off the foundation of their influences, seeking to push the genre forward. A strident combination of reverb, distortion, and sweat, they are advancing the art of sheer sonic energy while utilizing the power of a good melody to provide a basis for the effects, never forgetting the innate human desire to shake one's ass. In short, it's loud, it's beautiful, and you can dance to it.

Hartfield
http://www.hartfieldweb.com

Dreamy melodies…comfortable, noisy guitars…breathy male/female vocals.

"Some time ago, an incredible compilation came out of Japan (featuring a number of Japanese, American, and other international shoegaze bands) that floored the listening community. The sounds that burst from Seven Winters filled our ears with incredible shoegaze sounds that expanded the term "shoegaze" and what the term even meant. Seven Winters featured amazing songs from bands like the furious Ca-P (one of my faves), Airiel, Astrobrite, and a whole host of Japanese acts that amazed listeners with their music. Now, several years after the release of that mind-boggling collection of songs, one of the previously unknown bands featured on Seven Winters has released a full-length CD of their own unique take on the shoegaze sound.

Hartfield is that band.

Hailing from Japan, Hartfield play a very pleasant-sounding, melodic style of shoegaze rock that soothes the listener. Not unlike The Lassie Foundation's Pacifico, Hartfield's full-length debut, True Color, True Lie features sighing male and female vocals, soaring pop melodies, all delivered with a healthy dose of syrupy guitars. A good example of this sound is the scarily-titled "She Bangs" (am I the only one whose mind conjures up frightening images of a Ricky Martin/William Hung hybrid?). Thankfully, Hartfield delivers an original song, full of exquisite harmonied-duet vocals, jangly guitars mixed with more fuzzy-sounding guitars, and a quick tempo. The melody of this song is catchy enough to be on Top 40 radio, but the band adds just enough dissonance in the music to add depth to the song, while ensuring its lack of radio play. Another gorgeous song, "Blow Away," takes a slower, more deliberate approach. Featuring buried male Japanese vocals, thick layers of guitar, and an achingly beautiful melody, "Blow Away" moves the listener.

While much of Hartfield's trademark sound of sunny melodies enveloped in shoegaze bliss can be attributed to the band's musical skill, no doubt their sound on True Color, True Lie benefitted greatly from the mix of Scott Cortez, the visionary American behind Astrobrite, Lovesliescrushing, and a host of other amazing shoegaze and dreampop projects. Cortez's influence is perhaps best noted in the fluid "Girl Like You," which is a rerecorded version of Hartfield's Seven Winters offering. This new version, complete with back-tracking guitar lines, dense-but-light walls of guitars, and flowing female vocals, sounds even crisper and more poised than the Seven Winters version. "Stand By Me" also benefits greatly from the Cortez mix, as Hartfield slowly builds their song, layer by precious layer, to an epic-sounding climax. At the end of the 7 1/2 minute song, the listener is treated to an explosion of glorious sound. It's safe to assume that Hartfield is more of a pop-oriented shoegaze band, with songs like "Stand By Me" present on True Color, True Lie; the band showcases their ability to patiently create blissful songs.

Ultimately, True Color, True Lie is a very, very pleasant listen for fans of shoegaze music. By combining accessible melody with the sonics that have always been associated with shoegaze, Hartfield has also created a CD that is an excellent reference point for any newcomer to the shoegaze ideal. With style and substance, Hartfield lives up to the Seven Winters hype." (Somewhere Cold)

Go see the strugglers! 10/26 theyre sweet

MONDAY SEPTEMBER 26
WAREHOUSE NEXT DOOR
8:30 DOORS

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BLACK MOUNTAIN: Arguably the most hyped band at the moment (besides Dungen). This Vancouver, BC band can back up the hype. Enough so, that the most popular band at the moment, COLDPLAY, took them on tour and seemingly impressed what portion of the summer amphitheatre audience wasn't stuck waiting in line for their $10.00 souvenir guitar-shaped beer mugs. But, having performed at two of the ten highest-grossing North American concerts this year, Black Mountain are now looking
forward to getting back to the simpler places where they feel much more at home. Up next, then, is the grand and glorious circuit of dark and
smoky music venues dotted across North America. Recommended if you like Black Sabbath, The Velvet Underground, The Rolling Stones, Dead Meadow,
Animals-era Pink Floyd, Blue Cheer, Led Zeppelin, and Can.

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AT WAREHOUSE NEXT DOOR/MONDAY SEPTEMBER 26
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BLACK MOUNTAIN (Jagjaguwar Records)
BLOOD MERIDIAN (Matt and Josh of Black Mountain's other band)
LADYHAWK (who you will hear more about very soon)

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"Stephen McBean's vocals are a smoother, bluesier amalgam of the voices of Neil Young, Mick Jagger, and perhaps a James Brown loaded on cough syrup. Amber Webber's vocals are something other-worldly and, by itself, almost incomparable. When their voices intertwine, the combination brings to mind the potency and chemistry of Richard and Linda Thompson singing together on Shoot Out The Lights, or of Meat Loaf and Ellen Foley howling together on Bat Out Of Hell."

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BLACK MOUNTAIN
"The swimming hole looks inviting under the blue sky…Come back at dusk, however, and the pond turns black – as dark as death – or on the contrary, a restful dark, a dark to savor. Take it as you will." (Edward Hoagland)

There is no simple life, and these are not simple times. The mythical days of clearer heads, of moral certainty, and of men and women acting
with resolute spirit are behind us (if those times ever existed). Black Mountain, from Vancouver, British Columbia, write, perform, and record
music that speaks (and sings) to this realization: that solutions are rarely simple, that the world is as complex as it is ambiguous, and that music sprinkled with an inoculating dose of madness may well be the Pied Piper that takes us all back into the primordial mountain, where our hearts can be made steady and our minds can be set free.

Black Mountain is Matthew Camirand, Stephen McBean, Jeremy Schmidt, Amber Webber, and Joshua Wells. Their debut self-titled record, like a
space probe built of erector set parts and transmitting secret and arcane messages to earth by string, charts territories unknown yet remains grounded by the roots of classic rock and roll. Musical comparisons aside, the Black Mountain full-length is one part protest song, one part pop-cultural commentary, and one part sick-groove-rock casserole peppered with mesmerizing ballads and intoxicating ditties. "Modern Music" is the lead-off hitter and counts
its way to the imposing and riff-rife "Don't Run Our Hearts Around". Immediately thereafter, the sludge-rock masterpiece "Druganaut" establishes the fecund heart and tone of the record. And just when you think that things can't get any better, the songs "No Hits" and "Heart of Snow" are injected into your consciousness, clearly demonstrating that this band has no creative bounds.

Four of the five members of Black Mountain work as social workers in Vancouver's Downtown East Side. Much like the similarly-named Black Mountain College of artists, poets, and musicians who felt that a strong liberal education had to be holistic – happening inside and outside the classroom and not removed from a communal setting – the members of Black Mountain feel that their art and their music and the problems of the real world, which they experience daily in their working life, cannot be made distinct from one another. If "the personal is political" – a persevering and still resonant slogan of the women's movement of the 1960's – then, regardless of the level of their
lyrical or visual specificity, art and music are always political. The Black Mountain record demonstrates this with flying colors. The music
contained therein contributes to a belief that is an essential first step in making the world a less crazy place: madness is not a contagion that can be simply amputated. Madness is an intrinsic part of all of us, an indelible part of the fiber of our being.

Black Mountain are also five good friends who affectionately consider themselves as part of the Black Mountain Army, a loosely defined family
of friends in the Vancouver area who endeavor to have good times while collaborating on art and music. The five of them are former or present
members of The Pink Mountaintops, Blood Meridian, Jerk With A Bomb, the Black Halos, Dream On Dreary, Sinoia Caves, and Orphan. Black Mountain's debut full-length was recorded in the winter and spring of 2004 at the Argyle Hotel and The Hive by Colin Stewart and Black Mountain. A video by Heather Trawick of the song "Druganaut" is
included on the CD version of the record. Black Mountain have also released a 12-inch single (on Jagjaguwar), including an extended mix of
"Druganaut" on the A-side. This single has just recently been re-released in the CD format with some added material. The band's currently sexploitative counterpart The Pink Mountaintops released their self-titled debut record (on Jagjaguwar as well) in the summer of 2004 and will be touring later this year in anticipation of some
upcoming recordings for Jagjaguwar.

Friday, September 30
$7, all ages
doors at 9, show at 10

Phosphorescent (indie-folk on Misra/Warm Records)
The Bloody Hollies (garage rock on Sympathy for the Record Industry/Alive Records from Buffalo)
Pagoda (moody indie/jangle from DC)


Phosphorescent
http://www.thewarmsupercomputer.com/PHOSPH.html

Truly great songwriters hit people in a particular way – for some, it's the sound of Neutral Milk Hotel's Jeff Mangum or Palace's Will Oldham. Others hear that extraordinary something in Bob Dylan or Neil Young – it can't easily be defined and is a power possessed by only the rarest of songwriters. It is bold to say, but 26-year-old Matthew Houck is one of them. As with the illustrious names above, behind Houck's songs lie nothing but the raw compulsion to write and play them, the fateful, joyful yearning to connect – the intuition that making music, for Houck, is inevitable.

The 26-year-old who now records as Phosphorescent grew up in Alabama, but the Southern cadence palpable in his songs is just a portion of Houck's story. At age 18, after a short attempt at college, he dropped out and began living out of his pickup and busking everywhere from New Orleans to the Southern California beaches for spare change. Eventually Houck began adding originals into his repertoire of old folk and country covers and started booking himself into bars and coffee shops around the country. On a random stop at a youth hostel in Austin, TX, a UK booking agent happened upon one of Houck's sets and bought his home-recorded CD. A month or so had passed when the booking agent contacted Houck to book a solo tour in the UK – so off he went into a cascade of praise from the fickle UK press, who hailed his Dylan-inflected folk as the next big thing. Upon returning to the States, Houck landed in Athens, GA. Turning down offers from overseas labels and talent agencies, he abandoned the one-man show, and began again as Phosphorescent.

Houck's Phosphorescent has recorded two frighteningly brilliant works, 2003's A Hundred Times or More and 2004's The Weight of Flight EP, both released on the Warm label to quiet, but lavish, praise. While they weren't widely heard, those who did tune in felt the spark in Houck's cracked voice, wondered at the weird and beautiful poetics, sensed the involuntary smile behind the lyrics, and settled in for the ride.

Now, Aw Come Aw Wry moves the band's loose, ever-shifting arrangements away from the sparse and melodic and toward the rowdy and unhinged, at times conjuring a free, revival-tent spirit awash in homespun orchestrations and brushed with spiritual and psychedelic undertones. Let the dense and enchanting intimacy of these personal yet universal songs soak in, turn them up and sing along. You'll find not the sterile, self-consciously literate verses of an English major – this is a poetry that emanates directly from heartache and joy and lust and the incomparable feeling of losing and finding yourself again and again. Wrapped in a gauze of surreal imagery, and backed by an always revolving (and expanding) ensemble of horns, pump organ, piano, pedal steel, fuzzed guitar, choral voices and percussion, Phosphorescent is entrancing, unruly, cacophonous. Like a snapshot taken through a moving car's window, Aw Come Aw Wry is hazy, imprecise, yet intimates something perfect and possible; it's the only souvenir you've got of a life glimpsed on the way to the next town.

The Bloody Hollies
http://www.bloodyhollies.com/

Unlike the many garage rock revivalists who seem content to follow in the footsteps of their forebears (but with less energy and creativity), on their debut album, Fire at Will, the Bloody Hollies burn with a crazed intensity that ignites each track. "Give it all you got!" Wesley Doyle screams on "Penetrate," and it could be the motto for the entire album. Songs like "Downtown Revolver" and "Swing" -â?? a rockabilly-tinged, chair-kicking song about "just hangin' around" â??- get right to the point with an energy that borders on apocalyptic. Along with their other Sympathy for the Record Industry compatriots and alumni, the Bloody Hollies are experts at making stripped-down and basic sound vital and exciting. Their take on garage rock is amped up with the relentlessness of punk and tempered with keen pop structures, especially on "Hard-Bitten" and "Yeah Yeah." In fact, the first half of Fire at Will is a nearly flawless display of the Bloody Hollies' powers; on the second half, they tweak the formula slightly, with varied results. "Tired of This Shit" captures the young, loud, and snotty vibe of classic punk perfectly, while the bluesier, slow-burning "I Need Love" is probably the closest the band will ever come to a ballad. Songs like these prove that the band doesn't always have to be on fire to be good, but two-and-a-half-minute outbursts like "Strip," "Blood Pressure," and "Emergency Shutdown" are where they really excel. By the time the snarly instrumental "Dogfight" finishes off the album, the Bloody Hollies have taken their listeners through a consistently exciting debut that's a blast of instant-gratification fun. (Heather Phares, AMG)

Pagoda
http://www.pagodamusic.net/

Pagoda is a four-piece band from the Washington DC area composed of Ben Licciardi, Adrian Carroll, Raj Gadhia, and Elmer Sharp. We formed in the Spring of 2002 with our original drummer, Kevin O'Meara, and recorded our first album, Dearly Departed, over the next several months with help from a bunch of our friends. Kevin continued to play in Pagoda thru the Fall of 2003 as we recorded our forthcoming EP, Seven Nights. By the end of that year, our good friend Kevin was off to art school and our old pal Elmer Sharp took over on drums.

By the time Dearly Departed was released in March of 2004 on Lazyline Records, we were playing out fairly often in DC, had made a trip or two out of town, and finished mixing the songs for the EP we started the prior fall. Since then, we've been working diligently on new material for our next full-length and collaborating with our friends TJ Lipple and Liza Hamilton.

Music is something we love doing mostly because, for us, it revolves around exploration and communication. For that reason our influences and genre are less important to us than having fun and saying something. That said, we're indebted to all the bands we love and it may show: YLT, the Clean, Big Star, and all our favorite folk and country artists.

Epic, progressive sludge-metal in the Warehouse Theatre! Recommended for fans of Neurosis, Isis, and Godflesh.

Saturday, October 1
$7, all ages
doors at 9:30, show at 10

Minsk (ex-Buried At Sea, At A Loss Records, from Chicago)
War Injun (mem. of Earthride and Internal Void, MD doom)
Admiral Browning (prog-metal from MD)
http://www.admiralbrowning.com


Minsk
http://thesoundofminsk.com/

Drawing its nominal inspiration from a remote Belarussian city nestled deep amidst the in-betweens of the East and the West, a city that has been burned to the ground on several occasions only to be rebuilt like a Phoenix rising from its ashes, Minsk is a sort of dark cerebral experimentation…an emotive conceptualization that sears the visceral and hopes for something real…something between the conscious and the unconscious… a roller coaster of passion, noise, rhythm, and trance.

Drawing its brand of eclecticism from a milieu of broadly spaced musical and conceptual influences, Minsk is a bodily experience that hints at a sort of mystical awareness and sophistication. The music is as organic as it is other-worldly, infusing the rhythms of the earth and the resonance of the human voice with the synthetic
sounds of machines, amplifiers, and effects.

Minsk combines a sonic onslaught of dirge-like walls of doom and metal with Hawkwind and Jethro Tull-inspired 1970s psychedelic rock and tribal elements reminiscent of Dead Can Dance. The vocals range from soulful singing, to three- and four-part anthemic arrangements, to barbaric screams, and the result is a dynamic and emotional piece of sensory overload that has been compared to Neurosis, Mastodon, Cult of Luna, Entombed, and Acid Bath.

The group formed in the summer of 2002, performing its first show in early 2003 and completing its demo CD, Burning, in the fall of that year. Still in the infant stages of their efforts, they embarked on a tour in support of the CD which took them from Illinois to the West Coast and back. 2004 and 2005 have begun the realization of the band's labors, allowing them to share the stage with many incredible bands at the Templars of Doom, South by Southwest, and Emissions From the Monolith Festivals. Recording with producer
Sanford Parker (Pelican, Unearthly Trance, Lair of the Minotaur, Venomous Concept) at Volume Studios has yielded both their AT A LOSS debut full-length album and a new bass player in Parker himself, also noted for his play in the "megalithic doom outfit" Buried at Sea.

Speaking of Godflesh, you should do whatever it takes to get Broaderick's spin-off project, Jesu at Warehouse. Have you heard it? It's brilliant, especially if you are a fan of Sigur Ros.

believe me, i'm trying my best to get jesu here. i love that record. jesu and pelican were supposed to tour this summer but it fell through.

i like sigur ros, but i like jesu much more; broadrick's music is just so visceral and heart-wrenching, while i find sigur ros sort of precious. the jesu record splits the difference between my bloody valentine and the swans.

Thursday, October 13
$7, all ages
doors at 8:30, show at 9

Nethers (ex-Carlsonics, CD release show!)
Make A Rising (avant-chamber rock from Philly, High Two Records)
Wunderground (ex-Carlsonics)


Nethers
http://www.netherscomputer.com/

Bluegrass shamble and retro-psych twistiness seethe towards some forgotten intersect of pop-mindedness. Nethers do as the name implies, procuring tunes that are neither here nor there, yet are somehow distinct in that absence of place.

The new album can be streamed here:

http://www.apolloaudio.com


Make A Rising
http://www.tonewplanet.com/MAR.html

Tunneling its way out of the West Philadelphia netherworlds, Make A Rising is a band that is beyond unique. The quintetâ??s debut record is a swirling mix of violin, keyboard, guitars, drums, saxophone, trumpet, bells, whistles, and assorted noisemakers â??- all swelling together for subversively addictive pop gems. With orchestral crescendos combined with off-kilter vocals and fast-changing tempos, Make A Rising is the sound of chaos, bliss, bravado, nerves, and naivety -â?? avant-chamber rock at its most dynamic -â?? like Daniel Johnston singing Beach Boys songs interpreted by Naked City.

"Philadelphia psychedelic rockers Make A Rising supply zany and digressive compositions on Rip Through the Hawk Black Night, an album which manages to persuasively combine power and whimsy. Cooing vocals are set against bumptious piano licks, discordant electronics, and animated drumming in the psych-calliope ambiance of "Look At My Hawk." "Song for Dead Nickie" is equally filled with diverse excursions, but its introduction is imparted with a graceful post-minimal sheen that belies the band's prevailing penchant for jocularity. "When Moving West" sets a chamber-pop vocal loop against chaotic heavy rock, whereas "I'm Scared of Being Alone" adopts an affecting prog-rock demeanor.

In its first section, "Plastic Giant" creates a wall of complex sustained harmony, over which is placed reverberant, discordant singing; this is succeeded by a Zappa-esque freak-out of an instrumental coda. Sometimes, the band's use of juxtapositions is a bit too cute – the thwack of noise-rock in the middle of the otherwise gentle "Lonesome in the Skiff" is a prime example; but usually their employment of head-turning style shifts work quite nicely. Some pieces even function in a more conventional sense; "Expired Planet," a concoction of Sun Ra Arkestra cosmology and indie-rock guitars, is a strong song, demonstrating that Make A Rising is never so obsessed with eccentricity that they can't make memorable music along the way." (Christian Carey)

Clavius Productions presents a rare appearance by underground trangressive legend Lisa "Suckdog" Carver (performing with comic artist Dame Darcy on singing saw) at the Warehouse Next Door:

Monday, October 24
$8, all ages
doors at 8:30, show at 9

Lisa "Suckdog" Carver w/ Dame Darcy
http://www.suckdog.net/suckdog/default.asp
http://www.damedarcy.com/
Alzo Boszormenyi and the Acid Achievers
http://www.nutmusic.com/alzo/default.asp
Faith and Jude (calypso cabaret campaign songs!)


Drugs Are Nice 2005 Tour

In honor of her new memoir DRUGS ARE NICE, Lisa "Suckdog" Carver will be doing a lecture on post punk: why it happened and what went wrong. Accompanied by ethereal comic artist Dame Darcy on the singing saw, Lisa will draw diagrams and dry erase, explaining how chaotic, self-violent, transgressive performers like GG Allin, Suckdog, Lydia Lunch, and The Swans came to be. Also why they didn't wear colors and why they smelled so very bad. She will then turn the room (by top secret methods we would die rather than disclose here!) into a physical representation of ten minutes of the era she likes to call "the late '80s, early '90s." Donâ??t miss this unconventional, unforgettable book event by a major shaper of the era!

"The 31-year-old married mother from Dover may well be the countryâ??s supreme cultural anthropologist: part literary provocateur, part social analyst. Sheâ??s been called everything from this decadeâ??s ultimate underground Renaissance woman to Americaâ??s horniest optimist. Hunter S. Thompson in a miniskirt." (Boston Magazine)

Lisa "Suckdog" Carver has written widely on popular music, culture, and her own sex life. With "Drugs Are Nice," she charts the birth of the movement she helped create, from the dizzying highs of European performance art tours to the genesis of the zine phenomenon. Itâ??s an extraordinary life, told by a writer only now coming into her own.

When her drug dealer father calmly explained to 15 year old Lisa that heâ??d murdered a man, she knew any chance of her own life being normal was off. Soon after, in 1987 in the small town of Dover, New Hampshire, she and her best friend Rachel set up a punk show at the Veteranâ??s Hall. But when headliner act GG Allin got drunk and never showed up, the girls took the stage themselves. Lisa and Rachel put on the "Saturday Night Fever" soundtrack, caterwauled, took off their clothes, and hit things and people. Suckdog -â?? called "the most interesting band in the world" by Englandâ??s Melody Maker -â?? was born.

Lisa Carver left for Europe at the age of eighteen, becoming a teen publisher (of the fanzine Rollerderby), a teen bride (to French performance artist Jean-Louis Costes), and a teen prostitute (turning her first trick a few days before turning 20). Hustler called Rollerderby "quite possibly the greatest zine ever," and The Utne Reader chose Lisa Carver as one of the "100 Visionaries Who Will Change Your Life."

But when her baby was born in 1994 with a chromosomal deletion and his dad -â?? industrial music maven and rumored Nazi Boyd Rice -â?? became violent, Lisa began to realize the life that needed changing was her own. A story of lasting lightness and surprising gravity, "Drugs" is a book about the generation that wanted to break every rule. A definitive account of rules broken, left intact and re-written forever, it ripens into a classic account of an artist and mother becoming an adult on her own terms.

"With her tart writing and unswerving devotion to lowbrow culture, Carver sounds like Camille Paglia channeling both Tonya Harding and Liz Phair." (Dwight Garner, Details)

"When Newt Gingrich wakes up sweating in the middle of the night with a hard-on and a sense of nameless dread, the face that he sees might be Lisa Carverâ??s." (Time Out New York)

"Carver is arguably the best-known non-celebrity her age. Try spitting into a poetry slam without hitting someone who hasnâ??t read her or been punched out by her." (Utne Reader)

"Lisa Carver is a nightmarishly beautiful version of the American Dream…an infamously bizarre gamin." (Screw Magazine)

"Carver's prose is smart, sassy, even endearing…. Her feisty and fresh voice is a tonic." (Publishers Weekly)

"At her best, she wrestles meaning from chaos like an unrepentant St. Augustine." (Salon)

"Lisa is the laugh, the fart, the make out, the beauty, the LIFE. She is a messenger of God." (Thurston Moore, Sonic Youth)

About the author:

Lisa Crystal Carver was born in 1968 to a drug dealer father and an English teacher mother. Instead of going to college, she toured the U.S. and Europe six times in the performance art troupe Suckdog. They put out three albums, including Drugs Are Nice, which Spin called one of the best records of the '90s. Lisa Carver started the magazine Rollerderby and has written for Newsday, Playboy, Nerve, The Utne Reader, Mademoiselle, Details, and Glamour. She has been featured on MTV, VH1, HBO and NPR – most recently on "This American Life." Lisa Carver is a Nerve.com sex diarist. She lives in the small town of Dover, New Hampshire, with nine-year-old Wolfgang, and Mercedes, who is two.

The authors of Smart Women/Foolish Choices: Finding the Right Men, Avoiding the Wrong Ones probably didnâ??t have Lisa "Suckdog" Carver in mind when they penned the classic womenâ??s self-help guide. However, the great 'zine queen would have been the perfect audience for sage advice on choosing male partners. As a teenager, she left America to wed the skeezy French noise musician Jean Louis Costes. Then she came back and got with notorious noise musician and amateur Nazi Boyd Rice. They had a baby, who was unfortunately born with a chromosomal deletion, and Rice began getting violent. Amid all those early-'90s missteps, my buddies and I had huge crushes on Carver, and we would eagerly anticipate each issue of her magazine, Rollerderby, which was easily one of the five most important 'zines of that decade. Tonight, she'll be reading from her memoir, Drugs Are Nice, which looks to be in the same vein, so to speak, as her 'zine articles, which always contained a nice mix of the quotidian and the decadent. Carver explains it all with Dame Darcy and Alzo Boszorjemyi & the Acid Achievers at 8:30 p.m. at the Warehouse Next Door, 1017 7th St. NW. $8. (202) 783-3933. (David Dunlap Jr.)

More info on the other performers:

Dame Darcy – Toured with Lisa Suckdog in the '90s in several key performances. She also records and performs under her own name, as well
as hosting cable TV shows, making cool dolls, and tons of other stuff.
More info: http://www.damedarcy.com

Alzo Boszormenyi & the Acid Achievers – has been making improvised, anarchic punk music since 1986. This seven-piece unit includes two guitarists, bass, drums, keyboards, theremin, and the grand madman Alzo himself. City Paper/Washington Post music critic Mark Jenkins once said Alzo sounds like "a Northern Virginia version of the Fall," but you might also hear the influences of Gong, Sun Ra, Funkadelic, Fugs, Fibulator, etc. Nut Music recording artists (and Lisa Suckdog labelmates).
http://www.nutmusic.com

Mayor Faith & Jude – Calypso campaign cabaret by DC's longest running mayoral candidate Faith and her irrepressible companion/guitarist/Sinatra sound-alike Jude. Whether wearing see-through body stockings and blowing her trumpet at DC Statehood rallies or appearing at local screenings of the musical film Gypsy (she played the stripper Mazzeppa who taught the young Natalie Wood to "Get a Gimmick"), Faith has more energy than performers half her age. (Lisa watch out!) Did I mention that Faith is a septuagenarian? A DC legend and, therefore, a national treasure.

hmmmm….that one's very tempting…

Thursday, October 27
$7, all ages
doors at 8:30, show at 9:15

Dysrhythmia (Relapse Records, from Philly)
Drugs Of Faith (ex-Enemy Soil)
Left Unsaid (DC hardcore)


Dysrhythmia
http://www.dysrhythmiaband.com/

"Dysrhythmia can bring the rock. Hard. Itâ??s not willfully complex, or tricky just for the sake of it; the tunes hang together as tunes first and foremost. Everything from sheer hard-hitting rock to ambient trance, from thrash to Melvins-like sludge-jams is put in the kick-ass blender that is Dysrhythmia. Hang on!" (Dusted)

"…the record Sonic Youth would make if they cared more about heavy metal, the record Slayer would do if they were art-school nerds" (The Philadelphia City Paper)

The Philadelphia trio Dysrhythmia are not at all the sort of group typically sponsored by the extreme metal label Relapse. Their blend of post-hardcore bombast and prog intricacy takes cues from the more spastic side of art-metal, but owes just as much to the muscular jazz-noise of the Sonny Sharrock Band or Ronald Shannon Jackson's Decoding Society. With their 'stop on a dime' changes, guitar bleats and occasionally furious tempos, Dysrhythmia neatly fit alongside primarily instrumental groups like The Flying Luttenbachers, Orthrelm, Ruins, Sightings, and even Lightning Bolt. Pretest is Dysrhythmia's third release, following 2000's Contradiction and 2001's No Interference. It's little more intricate than No Interference, with riffs building fractally rather than following the propulsive grooves that distinguished the last disc. The two-part "Annihilation" suite is the album's high point, particularly "Annihilation I", where Clayton Ingerson's throbbing, post-punk bassline buoys Kevin Hufnagel's screaming 'space rock meets thrash' guitar. It's unclear how much of this often-astonishing music is notated, and how much improvised, but given the quality of the results, it's difficult to care. If there's a problem with the record, it's that Dysrhythmia don't always have the courage of their convictions. The slow number is a watery jam that goes nowhere, and not in a fun way, like Subarachnoid Space. It's also possible to dispute their choice to hire Steve Albini as engineer. His obsession with huge drum sounds make it almost impossible to hear just how locked-in and unified they really are. Still, on balance, Pretest is a superb record by a wordless group with much to say. (Phil Freeman, The Wire)


Drugs Of Faith
http://www.drugsoffaith.cjb.net/

Here's an incredibly brief promo from the latest project of former Enemy Soil/The Index/Triac grinder Richard Johnson, and it's actually something a little different than what most people might expect. Is it grindcore? Sure, on some level. Probably at its base, perhaps? Though the focus here is thankfully not on senseless speed in the least. Opener "No Sense of Occasion" definitely plows through some intense blasts, but there's also some subtle classic hardcore/punk in there, as well as some caustic Black Flag-esque guitar work in brief snippets…and what about the way the song slows down and gets a little sludgy towards its close? "So Be It" follows and is shorter, though it feels a little longer with its twisted dissonant rhythms and crunchy chord progressions with a much more forceful mi-paced tempo driving its core. Both of these songs are rough mixes so the output levels are pretty quiet and the sound feels a little too raw to do justice to the music, but I can live with that. Things can be overly rugged and somewhat distant at times, definitely sounding like they might have been recorded live in the studio, but you can basically make out all of the instruments, and I like the way the vocals are flat out shouted without going for anything too forcedly "extreme". (Aversion)

TONIGHT!

The Apes (Birdman, from DC)
The Modey Lemon (Birdman, from Pittsburgh)
Chris Brokaw Rock Band (ex-members of Come/Codeine/Rodan/Karate)
Big Bear (Monitor Records, Boston)

doors at 8:30/$8/all ages

Monday, November 21
$7, all ages
doors at 8:30, show at 9:30

Elf Power
The Positions

ARTHUR MAGAZINE, PLANARIA, TRANSFORMER and THE WAREHOUSE present
a BENEFIT FOR QUINTRON & MISS PUSSYCAT featuring
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QUINTRON & MISS PUSSYCAT (New Orleans, Louisiana)

with special guest

HARRY MERRY (Holland)

and a special performance and book signing by the amazing art collective

PAPER RAD

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Saturday November 19th
Warehouse Nextdoor
1017 7th Street NW Washington D.C.
202 783 3933/www.warehousenextdoor.com
$10/all ages/21+ with ID to drink/9:00

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LETTER FROM QUINTRON (after Katrina hit New Orleans, Louisiana)
As I am sure you all must know….me and Miss Pussycat got out…..most of our instruments were also evacuated, but the entire electronics lab was destroyed and many Pussycat paintings and puppets were also lost. Also, the house (SPELLCASTER LODGE) is questionable…….the front gable blew off and the whole downstairs (the LODGE) was REALLY the underwater dance club for about 3-4 days. Unfortunately the only things dancing were dead animals, benzine, E-coli, fire ants, and human feces……..Our entire building structure being condemned is a real possibility. The good news is that as far as I know all Rhinestone
Records Krewe are ok……Trachiotomy rode it out along with Strangebone (Jeff Matson), DJ Math Problem (Brian Marchese), Mikey Serabrini, Danger Dan Fusilier (famous painter of Mother in Law), Jamie & Raven, and many others. Antoinette K-Doe (of the MOTHER IN LAW LOUNGE) also stayed and survived but her lounge saw even deeper water than the Lodge. I know that many of you are having various benefits and you should send your money to any place that makes the most sense to you….if you are donating directly to the Lodge please know that the $ will go to replace equipment and to re-build the Spellcaster because we have no insurance of any kind. It will also go to keep the show on the road for many of the above mentioned Hurricane heroes. The reason I am writing this is because I have been asked by benefit organizers to
explain somehow what is happening and where the benefit funds for Rhinestone Records will go…so, that is my explaination about money……..as far as what is happening…….i don't know what the
fuck is happening…..this is biblical and it is breaking my heart to see New Orleans burnt, flooded, neglected, ethnically cleansed, and
basically shoved underwater to drown……..but we can breathe underwater baby. Cajun Atlantis has just begun to emerge and the moment those fuckers let us back in the gates, we are going straight to the gun store and then to the boat bar for all the free drinks we can drink. Thank you all for everything…….. WE LOVE YOU!……………
sincerely, Mr.Q and all of Rhinestone Records

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ABOUT QUINTRON & MISS PUSSYCAT
Quintron and Miss Pussycat, are a glamorous swamp-tech, rock and roll, 360° dance party act (with magical puppet show). They make friends and
fans wherever they go and all who see them fall under their irresistible spell. Mr. Quintron is a concert and nightclub organist, from New Orleans, Louisiana. He plays music on a custom made
Hammond/Rhodes-combo organ, backed by his own patented invention The Drum Buddy® – a rotating, light-activated analog synthesizer which is
played much in the same way that a DJ spins and scratches records. The Quintron and Miss Pussycat experience is one of barely controlled electronic chaos, up-tempo swamp-tech beats, small explosions, incredible clothes, and entertaining puppet stories. You can see them perform regularly at The Spellcaster Lodge in New Orleans, Louisiana or on one of their many tours around the world. This act somehow has equal relevance in sleazy nightclubs, pizza restaurants, and university
lecture halls.

Quintron and Miss Pussycat enjoy a cult following in the US where they tour regularly. Their home, on the fringes of the New Orleans French Quarter, is 'The Spellcaster Lodge', a secret underwater dance club where Peaches and Jon Spencer, among many others, have taken part in their spectacular fancy-dress musical extravaganzas. Always violent and interesting, Quintron's exciting clothes, high energy, rawness, and originality never fail to entertain. Extremely creative and colourful,
Miss Pussycat is not like anything else you will ever see in a rock club. Most famous for her legendary puppet band Flossie and The Unicorns, she sings back-up, plays maracas, and adds unforgettable sparkle. (31G/Skingraft/Tigerbeat/Bulb Records)

"One part Fraggle punk puppet show and two parts synthesized, Le Tigre-level installation rock, the everything-ecstatic performances of Quintron & Miss Pussycat are as engaging visually as they are
sonically. The duo's Web site, www.quintronandmisspussycat.com, is a good place to start if you want an idea of what to expect. There you will find still shots of Miss Pussycat's freakish felt friends, a link to a faux-mercial for Quintron's patent-pending Drum Buddy (a
cool-as-hell, light show synth we're not at liberty to explain), and an explanation of what all this means. The story is surprising to say the least.

Born in Germany and raised in…Alabama…Quintron is actually a former staple of the Chicago noise scene, one that actually used to bang out dissonant bliss alongside members of Wolf Eyes and Andrew W.K.'s house band of miscreants. Once he moved to New Orleans in 1996, he met up with Miss Pussycat and was drawn into her Adult Swim-unrated world of Sifl and Olly sock puppets and organ-driven, Jon Spencer-on-speed madness. So, technically speaking, the DVD/CD presentation Electric Swamp is the ninth Quintron record and the first for the duo on kid606's illustrious Tigerbeat6 label. However you look at it, their sensory overload of a show is perfect for Space 1026, the gallery space we proudly present performance art shows at from time to time now. Though it must be stated that there are actual songs behind the spectacle here – a fire-in-your-gullet blend of electro-blues, like a modernist spin on the rich, mythic musical history of the city Quintron still calls home, New Orleans. Speaking of, the Quintron recording/rehearsal/design compound went subterranean during Katrina, so the group is still recovering. Don't expect a drab vibe here, though. The Quintron cult has grown largely on the strength of the shows, and this tour is bound to be no different: A triumphant return to inspired madness, if you will." (stolen from R5 Productions)

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PAPER RAD

Half art book, half graphic novel, this tome intersperses photographs, drawings, prints, and junk by Paper Rad with two graphic novellas
(Spaceballz and Alfe) by Ben Jones. Paper Rad's work synthesizes popular material from television, comics, video games, and advertising, and explodes with color, feeling, and good humor. This book, created and designed by the group, will explore the worlds of one of the most vibrant constellations of artists working today. Their website, paperrad.org, is one free Mega-Mall information overload for your soul. A mind-blower, for sure.

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http://www.quintronandmisspussycat.com
http://www.harrymerry.com
http://www.paperrad.org
http://www.arthurmagazine.com
http://www.planariainc.com
http://www.transformergallery.org
http://www.warehousetheater.com

Hey, Snailhook. How much is the cover for the Voxtrot show Saturday night? Here's a link for anyone that wants to hear them.

Originally posted by kurosawa-b/w:
Hey, Snailhook. How much is the cover for the Voxtrot show Saturday night? Here's a link for anyone that wants to hear them.

Any *general* idea of set times?

At the Warehouse Theater

Thur Dec 15 - 730 & 930
$6
FILM
PANCAKE MOUNTAIN
Pancake Mountain Episodes 5 & 6, featuring performances and appearances by Ted Leo & The Pharmacists, Billy Idol, Garbage, Shonen Knife, Widespread Panic, Weird War, Rick Derringer, Chuck Levell, Liz Durret and others.

Pancake Mountain (www.pancakemountain.com) blends child entertainment with performances and appearances by some of the most cutting edge bands and musical artists. Pervious episodes have included The Arcade Fire, Henry Rollins, Scissor Sisters, Fiery Furnaces, George Clinton, The Evens (featuring Ian MacKaye of Fugazi), Vic Chestnutt, Thievery Corporation, Bob Mould, Brendan Canty and many more.

the voxtrot show is $7. we still haven't determined the order of the bands, but it will probably be:

10pm: ceremony
11pm: the antiques
12am: voxtrot