DC9

Unfortunately, The Factory Incident has canceled.

Tuesday, November 8
$8, 21+, doors at 9

The Get Hustle (5RC/GSL/Three One G, ex-Antioch Arrow/Heroin)
The Convocation (GSL/Tiger Style, ex-Born Against/Moss Icon/Universal Order of Armageddon/Great Unraveling)
Indian Jewelry (LA via Houston post-punk)


The Get Hustle
http://www.gethustle.com

To those who are unfamiliar with The Get Hustle,

The first time I saw the Get Hustle was in the French Quarter, New Orleans, which was no accident. I was homesick and drifting around outside this petite theater down on Bourbon Street, in a haze, and all of a sudden I heard a reverberation that was so strange coming from the stage inside. I went in to witness The Get Hustle and they stole my heart. It was the most erotic and magnetic sound. At the same time it was deeply spiritual and connected like angels flying across the desert right into your soul, saving you and enslaving you. I was listening to a lot of Sun Ra, Amon Duul II, The Birthday Party, Leadbelly, and David Bowie at the time and it seems logical that whatever this sound was would be in complete agreement with my tastes at the time. It was truly a thrilling psychic event and there have been many with The Get Hustle since.

Get Hustle will put you on your knees, turn you over and turn you out. It is crime! I was taken… Mac Mann is a gentleman who plays the electric piano making sounds that roll down octaves, scary, meaningful unfolding chapters of emotional plot sung to you like a hymn by Valentine Lovecraft Falcon, an angel, all the time the beat so primal, so bloodthirsty, is pounding in every direction never repeating but maintaining the spell by Maxamillion Avila. I have been a child ever since and they take care of me as such. Listen to their song "Revolution Van" and you will understand what I mean.

Whenever the weary old life and the weary old music seems to be hopeless there comes along an album so powerful and prosperous like the Get Hustleâ??s newest Rollin' in the Ruins on Three One G. The Get Hustle has been in existence for 9 years and has consistently made albums that amaze. Records including the "I've Got A Gun and I'm Excited" 7" and "Now We're All Gone" 12" EP, both on GSL, the Earth Odyssey LP on 5RC/Kill Rock Stars, the Gravity single "Who Do You Love/Mad Power" 7", and their Three One G debut 12" EP, "Dream Eagle". There was a shift to pure creative genius with Live at the Little Fawn, a tour CD put out by the band themselves. The newest is another album in that realm, even more brilliant. Rollinâ?? in the Ruins is a sacrifice for you, friends, take the rose, thank Three One G for putting out such an amazing release. Listen to the song "Don Quixote and Me"…I canâ??t give musical references, but this song will say more about this record than a million words. Rollinâ?? in the Ruinsâ? is so intense, so explicit, and so ahead of itâ??s time, a miraculous continuance of the chronicle that is Get Hustle. (Jeff Schneider)


The Convocation

The Convocation are the result of well over a decade of constant innovation, revision, and exemplary musicianship by Tonie Joy. His previous efforts (particularly MOSS ICON and the short-lived UNIVERSAL ORDER OF ARMAGEDDON) have proven widely influential, to say the very least. His modest, semi-reclusive nature has allowed for uninhibited progression and virtuosity outside the lens of even the "underground" press, while his exceptional guitar skill has often been the focal point, if you will, of his recorded output over the years.

Indian Jewelry
http://www.swarmofangels.com/indianjewelry.html

INDIAN JEWELRY used to tour and record as NTX+ELECTRIC, TURQUOISE DIAMONDS, THE CORPSES OF WACO, and the PERPETUAL WAR PARTY BAND, in addition to other appellations. Forsooth, we initially derive from the fleet SWARM OF ANGELS.

The present incarnation of the group is Erika Thrasher (synthesizer, guitar, vox), Tex Kerschen (vox & ephemera), Rodney Rodriguez (drums), Jimi Hey (ozark percussion), and Abi Cohen (pandemonium.)

The longer history of the band will reappear here after much work has been done in other arenas. For now a list of names will have to suffice. In addition to the aforementioned parties, the following persons are guilty too –

Brandon Davis, Candice Vincent, Leslie Keffer, Don Bolles, Andrew Scott, Pete Czechvala, Bryce Martin, Anna Bechtol, Ken Consumer, Bobby Deeds, Domokos, Travis, J-Morrison/Ghostworm, Squeaky, Ralf Armin, Chad Colehower/Sequential Sheik.

Nor does this account for the auxillary divisions. We are legion.

"Dressed head to toe in leather and cloaked in the grey mist of a smoke machine, this freaky threesome are less of a band and more of a living LP, as if the grooves from a disc of shiny black vinyl had suddenly jumped off the record player and become a wall of sound bigger than the stage. At times they even seem like theyâ??re skipping or being played on some unimaginably old or dusty turntable…The performance is nothing less than appropriate to bring their soundtrack of dark nihilistic abandon to life." (Evan George, LA Alternative Press)

Originally posted by snailhook:
Unfortunately, The Factory Incident has canceled.

That was supposed to be their final show. Any idea if they're going to do another one to make up for it?

Clavius Productions presents a diverse night of experimental soundscapes varying from harsh noise and primitive electronics to pan-cultural composition and bizarre instrumentation, ranging from the beautiful to the violent and ugly. What these artists all have in common is the will to explore sound through unconventional sources:

Wednesday, February 22
$8, 21+
doors at 9, show at 9:15

The Master Musicians of Hop-Frog (experimental post-everything rock from LA)
Tzii/Ripit (noise from France)
Big Cats (mem. of Hand Fed Babies/Gestures)
Brian Miller & Kevin Shields (of Gangwizard/Rose For Bodhan)
Pedestrian Deposit (harsh noise from LA, Hospital Productions)


The Master Musicians of Hop-Frog
http://www.hop-frog.com/Musik.htm
http://www.myspace.com/themastermusiciansofhopfrog

The Hop-Frog Kollectiv itself is a mix of over twenty participants who focus on experimental spoken word, art, and music. In only two years of existence, the core members of the kollectiv have performed with Not Breathing, DJ Cheb I Sabbah, David J (Bauhaus, Love & Rockets, etc.), Steve Mackay and The Radon Ensemble (The Stooges, Violent Femmes), and Dame Darcy (Meatcake) under the names hop-frog's drum jester devotional and The Master Musicians of Hop-Frog.

Hop-Frog have not only toured with Backworld (feat. Joe Budenholzer of Current 93, Foetus, etc.) and Sorrow (featuring Rose McDowall of Strawberry Switchblade, Spell, Current 93, Death In June, and Coil) on two separate occasions but members of Hop-Frog have played in both of these projects for the duration of the tours.

The live performances are especially intriguing, featuring heavily effected traditional western instruments such as clarinet, violin, guitar, drums, analog synths, and bass, fused with eastern, tribal, toy, and non-traditional instruments such as the saz, toy & real accordions, circuit-bent keyboards, snake-charmer flutes, christmas tree bells, the Dhol, broken cymbals, and even a kitchen sink. Hop-Frog have performed on three occasions in Paris, France, all over the western U.S., and have an intensive European tour scheduled for May, 2005.

The Silk Road is the first project from the musical collective Hop-Frog. This work was recorded under the name Hop-Frog's Fatwa, a project intended as a guerilla action against the upbeat, positive, and highly overproduced "World Music" of late, yet retaining the members' passion for musical traditions of various cultures. The album is set in an alternate near-future in which the characters find themselves on an endless journey along an ancient silk trade route. Many obstacles and states of mind are experienced, including encounters with countless mutant variants of the next generations of "smart" mines and their victims. It is a barren wasteland in the East where artists deemed "decadent" are banished, able to survive by taking jobs such as clearing minefields by hand. This is a metaphor for the treatment of artists in a society dominated by corporate totalitarianism, as well as cultural blandness and unchecked materialism. It is also ironic since artists have been forced to flee from the same region by oppressive forces in recent times. The journey along the Silk Road is an examination of the creative process. The characters are finally able to see the world with pharmaceutical-free clarity, and are able to endure the creative process with all its explosive pitfalls and rewards.

Tzii/Ripit
http://www.myspace.com/tzii
http://www.myspace.com/riipiit

French composer Tzii is a musician but also a video maker and a DJ. As a logical sequel to his musical activities of the nineties, he created his own label (Night On Earth), releasing vinyl records, videos, mixtapes, and soon CD-Rs and DVDs. Polymorphis in tastes and centers of interest, he is influenced by various popular cultures, mainly European and African. He explores all the forms of the industrial culture, playful or introspective, electronic or acoustic, visual or sonic.

Nyko Esterle's electronic experiments, as an attempt to a musical self-sufficiency, started in 1998 with the fonding of his label RIPOSTE.REC and his solo project RIPIT. He was mixing electronic sounds patterned in a rhythmic and repetitive form with a stage attitude closer to punk than to the DJ one, confronting a rock audience to a hard and crude music, where the human is only there to alternate the structure and by then, giving an animal spontaneity to analog and mechanical sounds.

Since then, he knew how to explore the worldwide underground electronic scene by touring Europe and North America, by realeasing several recordings on various formats and by developing a local scene through massive experimental party organizing over Paris.

All along his travels and tours, his meeting with other artists led him to collaborate with a lot of different projects as Black Elf Speaks (Noise Rock Opera project from the members of Usaisamonster), Sikhara (Radonstudio.com), Steve Mackay (Sax player of The Stooges and The Violent Femmes), and Jason Forrest (aka Donna Summer). He toured alongside the previous but also with Doormouse, Venetian Snares, Hecate, Man Is The Bastard Noise and several others…

Brian Miller & Kevin Shields
http://www.deathbombarc.com/briankevin.htm
http://www.myspace.com/kkevinsshields

No, not THAT Kevin Shields. This duo from Oakland's Gangwizard (Ecstatic Peace/Death Bomb Arc) create a wall of sound using guitar, electronics, and voice through delay and other effects. Scathing digital harshness, tense Prurient-style feedback solos, and many unexpected/non-traditional noise sounds. From completely awkward to transcendentally beautiful, this is music by a young boy and girl that don't put all their allegiances with the noise gods.

Pedestrian Deposit

A potent mix of manicured, intensely controlled yet visceral and raging noise from JOHN BORGES (who's previously collaborated with Nihilist Spasm Band and Solmania). Three years in the making, Volatile exhibits a unique expression of anger and the withdrawal of the urban landscape. Dynamic, powerful, structured, and chaotic.

For his first full-length album on the "real" CD medium (after a string of limited cassettes and CD-Rs), Pedestrian Deposit has pulled out all the stops, unleashing a solid hour of chaotic noise thatâ??s as textured and varied as it is exhaustingly harsh. Volatile is an album that begs to be listened to on headphones, where the true depth of its sound field becomes almost overpowering; thereâ??s plenty of frantic panning and moments when different sounds are pouring out of each channel, and even when there isnâ??t the subtle layering of noises is much more nuanced on headphones. Despite the fiery intensity and near-constant wall-of-sound at work here, this album demands close listening to be appreciated. Because on the surface, it may sound like just another harsh noise release -â?? all pedal effects and wailing untraceable blocks of crunchy static. But under scrutiny, itâ??s obvious that there is a wealth of detail splattered under that surface. (Stylus)

new pd record KILLS!!!

ha, i am currently listening to it! double dose of PD this month at the warehouse and dc9. both shows will rule.

And Whitehouse is coming - wow! I assumed the members were in jail or dead. That should be a fun one.

Wait. Whitehouse is coming to DC9 or Warehouse?

Originally posted by econo:
Wait. Whitehouse is coming to DC9 or Warehouse?

Looks like March 2nd at DC9
link

I am a little scared…

The High Dials have announced a date at DC9 on Sun Apr 09. This is the same night as the Neko Case show at the 9:30. Kinda weird since the High Dials are opening for Neko before and after the 9:30 show. Why not just add them as a second opener before (or after) Martha Wainright?

It's nice that we're getting a full show but not so good that we have to miss Neko to see them. Tough competition, for sure.

Maybe 9:30 thinks it can sell the show without bothering to add them to the bill?

Originally posted by xcanuck:
The High Dials have announced a date at DC9 on Sun Apr 09. This is the same night as the Neko Case show at the 9:30. Kinda weird since the High Dials are opening for Neko before and after the 9:30 show. Why not just add them as a second opener before (or after) Martha Wainright?

It's nice that we're getting a full show but not so good that we have to miss Neko to see them. Tough competition, for sure.

Originally posted by Charlie Nakatestes, Japanese Golfer:
Maybe 9:30 thinks it can sell the show without bothering to add them to the bill?

If they're touring together, I don't think 9:30 makes decisions about the lineup…doesn't the club only find openers when there are open slots?

Actually, I was thinking of a situation where the opener for a tour that went through Baltimore but not DC played a separate show in DC.

I have seen other tours where the opener on a tour didn't open certain shows. But I can't recall any where they played a headlining gig the same night, right down the street.

Originally posted by Bags:

Originally posted by Charlie Nakatestes, Japanese Golfer:
Maybe 9:30 thinks it can sell the show without bothering to add them to the bill?

If they're touring together, I don't think 9:30 makes decisions about the lineup…doesn't the club only find openers when there are open slots?

the high dials is going to be a big yawn show. i'm sure redsock will post some info on this shortly.

anybody that wants to see a truly frightening and exhilarating show should check out whitehouse. i saw them in philly in november and it was the best live experience of the year for me – and i saw 300 shows last year. i worked my ass off to make this show happen so DC could get a dose of some real transgressive art.

Clavius Productions DC9 shows:

3/2: Whitehouse/Pig Destroyer/Wolf Eyes
3/9: Pearls & Brass (Drag City)/Owls & Crows/Snakehandling Preachers
3/11: Measles Mumps Rubella (CD release show)/Free Blood (mem. of !!!)/French Toast
3/12: No Things (ex-Liars)/Knife Skills (5RC)/Mess Up The Mess
3/14: Pup Tent/Gutbucket/Bass Jihad (Doug of 302 Acid solo)
3/19: Orthrelm/Growing (Kranky)/Grey Daturas
3/25: Soft Complex/Dirty On Purpose/Heros Severum
3/26: Barbez/Caution Curves/Dreamend/The Antiques
3/27: The Caribbean/zZz (from Holland)/Pagoda
4/3: Steve Mackay & The Radon Ensemble (sax player from the Stooges)/Accelera Deck/Kohoutek

Not much needs to be said about this show…it's fucking Whitehouse! Three of the heaviest bands on the planet converge for one night in DC, as Clavius Productions presents:

Thursday, March 2 at DC9
1940 9th St NW WDC
http://www.dcnine.com
$15, 21+
doors at 9, show at 9:30

Whitehouse (legendary UK noise duo)
Pig Destroyer (Relapse, northern VA grindcore)
Wolf Eyes (Hanson/American Tapes/Sub Pop)
plus surprise guests

Whitehouse
http://www.susanlawly.freeuk.com/

Whitehouse formed in 1980 on the fringe of the industrial music scene. Created by William Bennett, they pioneered a branch of experimental noise known as "power electronics," a genre explored by Japanese artists such as Merzbow. Influenced by contemporaries such as Throbbing Gristle and composers such as Alvin Lucier, Whitehouse developed a unique sound mixing high and low frequencies with aggressive bursts of electronics and vocals. With their label Come Organisation, they released what they termed "the most extreme music ever made." Often subject to censorship by stores and distributors due to subject matter and graphic record designs, they never bowed to commercial pressures and remained in control of their music and label. Whitehouse has recorded with Steve Albini since 1989.

William Bennett played guitar in the post-punk band Essential Logic. After leaving the group, he recorded the "Come Sunday" single under the name Come. This groundbreaking release, sequenced by Daniel Miller, featured relentless synthesizer pulses that hinted at the sound that would later typify Whitehouse. The Come Organisation was created by Bennett to release like-minded artists, though the majority of the releases on the label involved the founder himself in some capacity.

The Whitehouse project began with the full-length Birth Death Experience with William Bennett on vocals and synthesizer, Paul Reuter on synthesizer, and Peter Mckay credited as effects and engineer. Though relatively timid compared to their later material, it is important for the formation of their unique aesthetic. Their third release, Erector, was one of the first to fully take advantage of the dynamic potential of electronic music. Considered by many as the first power electronics record, Erector set the standard for aggressive experimental noise.

Aware that they were staking new ground, several releases soon followed. They released eight full-length records in three years, each one being proclaimed by the Come Organisation as "the most extreme music ever made." During this period, William Bennett found time to collaborate with Steven Stapleton (of Nurse With Wound) as 150 Murderous Passions, a project inspired by the Marquis De Sade.

Satirizing the music industry much like Throbbing Gristle, Whitehouse went to great lengths for originality. While Throbbing Gristle operated Industrial Records as a corporation, William Bennett operated the Come Organisation as a radical libertarian political collective where personal liberty and personal pleasure was to be maintained at all costs. Referring to live performances as "actions," disseminating propaganda that praised serial killers, and expressing an extreme ideology of personal pleasure via the media, Whitehouse gained a cult following based on their growing mysterious status.

Always controversial, anti-Whitehouse sentiments reached new heights in 1982. People misinterpreted the intention of William Bennett's article "The Struggle For a New Music Culture" published in the magazine Force Mental. Controversy surrounding the piece led to further censorship and distribution problems. Following their first U.S. tour, Whitehouse released two of their most shocking records to date: Right to Kill and Great White Death. These releases took sex and violence as lyric subject matter to unheard-of proportions with the equivalent in extreme electronic sound, and they also saw the addition of two new collaborators Kevin Tomkins and Philip Best.

After a five-year hiatus, Whitehouse returned with a new label name and a new producer. Thank Your Lucky Stars, released on Susan Lawly in 1990, was the first for Whitehouse to be recorded by legendary producer Steve Albini. Rarely deviating from the themes outlined by Right to Kill and Great White Death, Whitehouse released several more full-lengths throughout the 1990s. Sonically they have remained true to their original sound and are still quite extreme in nature. Slowly but surely, the coveted early records by Whitehouse are being reissued on CD, sometimes as special editions with bonus tracks. (All Music Guide)

Whitehouse FAQ:

i. Whitehouse specialise in extreme electronic music, a genre they pioneered in 1980, which in the late 80s greatly influenced, if not spawned, a wave of (in particular Japanese) 'noise' groups in addition to many other musicians in different fields. Trademark sounds are layers of white and pink noise, subsonic bass sounds and ferocious electronic effects, with or without vocals.

ii. Who are the current members and what instruments do they play?
William Bennett - vocals, instruments, Yamaha, Sony: founding member of group in 1980 at 18 and pioneer of extreme electronic music.
Philip Best - vocals, instruments, Roland, Toshiba: extreme music virtuoso joined group at age of 14 in 1982 after running away from home for live action performance at Spanish Anarchistsâ?? Centre in London - original member of 1982 act Consumer Electronics.

iii. When was the group formed?
The group was formed in early 1980 by William Bennett. The following is an extract from the liner notes to the 2LP/CD Cream Of The Second Coming: "While I was playing guitar up onstage with Essential Logic as an 18-year-old back in 1978, I often fantasised about creating a sound that could bludgeon an audience into submission. At that time Essential Logic toured with The Normal (Daniel Miller) and Robert Rental with whom I became friends. Daniel inspired me and helped me to do it while Robert sold me an uncontrollably vicious beast of a synthesiser which subsequently became the heart of the Whitehouse sound."

iv. What is the origin of the name?
The name is a play on words: Whitehouse is both the name of a British porno magazine and the surname of Mary, an English activist, now deceased, on a constant crusade against the alleged proliferation of 'filth' on TV and other media.

v. What is their official discography?

Singles: Thank Your Lucky Stars b/w Sadist 7" (1988), Still Going Strong b/w Ankles And Wrists 7" (1991), Cruise (Force The Truth) 12" (2001), Wriggle Like A Fucking Eel 12" (2002)
Albums: Birthdeath Experience (1980), Total Sex (1980), Erector (1981), Dedicated To Peter Kurten (1981), Buchenwald (1981), New Britain (1982), Psychopathia Sexualis (1982), Right To Kill (1983), Great White Death (1984), Thank Your Lucky Stars (1990), Twice Is Not Enough (1991), Never Forget Death (1992), Halogen (1994), Quality Time. (1995), Mummy And Daddy (1998), Cruise (2001), Bird Seed (2003), Asceticists 2006 (2006)
Japanese Fanatics Club: Dictator II (3" CD single - 1994), Tokyo Halogen (live CD album - 1995), Just Like A Cunt (WB Vocal Version) (3" CD single - 1996)
Compilation appearances: The Second Coming (1981), Hoisting The Black Flag (1981), Für Ilse Koch (1982)
Also visit complete studio recordings dossier.
vi. What about live performances?
Whitehouse began performing live actions in 1982 - visit complete live actions dossier.

vii. What are their future plans?
Further live concerts in 2006 are expected to include USA, Canada, Netherlands, Germany, Finland, Ireland, and UK. New album Asceticists 2006 is released on February 14th 2006.

viii. Does Whitehouse have any political stance or viewpoint?
Whitehouse have never had any agenda in this regard. No crusades, no mission. William Bennett: "There are people who, for needs of self-affirmation of their own prejudices, demand that certain things be demonised in contrast to their own image or belief system. Exposing this is, for me, one of the most interesting, even gratifying, phenomena coming out of producing this music."

ix. Why have the albums Psychopathia Sexualis and Right To Kill not been reissued on CD?
The original master tapes of Psychopathia Sexualis are missing presumed lost, and the only alternative would be to master the CD from a copy of the original vinyl. It was felt that although, with the right technology and with 'normal' recorded music, this process can be relatively successful, the experimental nature of the contents would produce poor results. The hi-tech software used to remove the sounds of crackles and scratches may also remove parts of the music.
Right To Kill was originally released in a very limited number (approx. 300 copies) as it was of a particularly clandestine nature. The label feels that to preserve its original intent is of great importance, despite an obvious desire to be able to widen its availability in the new digital format.

x. Why did Whitehouse decide not to perform live in UK and USA?
Owing to increasing problems and incidents with some members of audiences in those countries in the mid-90s. William Bennett: "We're not some fucking GG Allin performance."

xi. Have there been any bootlegs released?
The problem with bootlegs and pirate recordings was at its worst in the years intervening the cessation of Come Organisation and the beginning of Susan Lawly (one of the motives for starting the new label).
Most of the pirate recordings originated in Germany at the hands of Achim Flamm and Christoph Heemann. Sound-wise they were of extremely poor quality as they all had been crudely recorded from copies of the vinyl LPs. The packaging was made in such a way that people would think they had an original copy.
Other than knowing the details and exact appearance of the originals, the way to check is to look for the correct catalogue number etched on the inside groove often with messages in English like 'Porky Prime Cut'. We are happy to help people identify the authenticity of their records, if they are not sure. The above-mentioned Flamm and Heemann were also responsible for the 'Concrete Records' 7" single of Right To Kill and several bootleg live albums eg. 'The Sounds of Sadism', in addition to the unauthorised pirate release of the Ohrenschrauben LP on 2CD. They were originally licensed by all the groups to press 150 copies of the LP and expressly forbidden from further releases. Both of them are being monitored in the event of legal action being brought.
Most other bootleg releases originate from Japan and were often, but not always, pressed onto acetates in small numbers from between 30-100 copies. Most of the Japanese bootlegs were of live action recordings. One of the more extraordinary items was the metal box containing 6 gold acetates 7" singles, a T-shirt and several small posters and leaflets. This package apparently retailed at $500.
In recent times the problem seems to have abated especially since Susan Lawly commenced the series of high quality CD reissues. We have had no reports of significant new bootlegs in the last few years from any source.

xii. What is the true story about the abortive United Dairies CD reissue of the 150 Murderous Passions album on Come Organisation?
William Bennett: "This is strictly speaking neither a Whitehouse nor a NWW album but was a special project. Steve Stapleton produced the 'long' track and I produced the 'short' track with assistance from each other and Peter McKay on the other's tracks. It was Alan Trench's PWC (in all but name - subsequently to be named World Serpent) and Stapleton who decided to market the album as WH/NWW for commercial reasons (to make a quick buck - like with so many of their and Current 93's releases) - it was released by them without my consultation or permission (although they later paid the money owing from it). The proof of the greed is that they could have asked me for the tapes which I would gladly have provided - but their haste proved too great. The master tapes were, and always have been, in my possession - when PWC ('UD') went ahead with the CD and LP release they simply mastered it from a vinyl copy of the album. That's why the 'mix' sounds so different (and so disappointingly poor, in my opinion) because, to disguise its origins, lots of reverb and other effects were (rather clumsily) added to it. Susan Lawly decided to include my track on Cream of The Second Coming so that at least it was available for people to hear in its proper form. If you have access to the Come Organisation original you will hear the enormous difference." NB. These recordings are available in original digitally remastered format on the release Anthology 1 double CD (SLCD019).

xiii. Are Whitehouse 'misogynist'?
The lyrics of certain songs (in addition to some of the writings of Peter Sotos) have led certain people to the view that the group is misogynist. Judging by the high percentages of women at recent Whitehouse live actions it might seem odd to reach this assumption. William Bennett: "I don't consider myself a misogynist in any way whatsoever, although I can understand why people might question that. There are a set of much more complex emotional functions involved with these songs and I've never felt that simple hatred was one of them, and interestingly in this light is that I don't doubt most women's capacity to perfectly understand that."

Thursday, March 9
$8, 21+
doors at 9

Owls & Crows (ex-Snuff Project/Secret History)
Pearls & Brass (Drag City, PA stoner/psych power trio)
Snakehandling Preachers (Philly rawk)

from the Washington City Paper:

Playing the heaviest kind of rural rock, Nazareth, Pa.â??s Pearls and Brass come across as two bands in one. The Indian Tower, their sophomore disc, features bong-burnished bellows and Marshall-amp sludge. But on stage, the trio turns Grand Funk Railroad into a bullet train. Randy Huth and Joel Winter trade vocals and fuzzy riffs with ease. But itâ??s the splintered drumsticks and crashed cymbals that propel the band beyond its studio sound. Josh Martin tackles his kit with enough ferocity, abandon, and chutzpah that youâ??d think heâ??d drain his batteries after the first song. But heâ??s good for the long haul and the reason P&B is a true American beauty: fast, hard, and sweeter than hickory-smoked hog meat. Pearls and Brass appears with Owls & Crows at 9:30 p.m. at DC9, 1940 9th St. NW. $8. (202) 483-5000. (Bernardo Rondeau)

Is DC9 always 21+?

Clavius Productions presents:

Tuesday, March 14
$7, 21+
doors at 9, show at 9:30

Pup Tent (mem. of DCIC/Sarah Azzara, early '80s style post-punk a la Wire/Mission of Burma)
http://www.benazzara.com/puptent/
Gutbucket (jazz/prog/art-rock from NYC, think SST and Shimmy Disc)
Bass Jihad (Doug Kallmeyer of 302 Acid playing solo)
http://www.302acid.com/


Gutbucket
http://www.gutweb.com/

from the Washington Post:

Brooklyn quartet Gutbucket is ostensibly a jazz band, but there's no chance you'll see them on the schedule for Blues Alley anytime soon. Ken Thomson's free-wheeling saxophone is the band's signature sound, but he plays over anything from oddly-timed prog freakouts to punk raveups supplied by guitarist Ty Citerman, bassist Eric Rockwin and drummer Paul Choffo. The very adept musicians are clearly in control of the chaotic sound they create. A classic case of a band that defies categorization, Gutbucket is at DC9 tonight.

RIYL: Ornette Coleman, Saccharine Trust, Universal Congress Of, Clawhammer, Zorn, Curlew

Clavius Productions presents:

Sunday, March 26
DC9, 1940 9th St NW WDC
http://www.dcnine.com
$8, 21+
doors at 9, show at 9:30

Barbez (NYC jazz/folk/psych/post-punk with an Eastern European flavor)
Caution Curves (DC electro-acoustic experimental trio)
Dreamend (Chicago epic shoegaze, like Ride by way of GYBE and Mogwai)
The Antiques (DC black jangle funk)


Barbez
http://www.barbez.com

Brooklyn-based Barbez brings together a talented mix of jazz musicians, rockers, and one stunning modern dancer/vocalist to weave unique and haunting soundscapes. Drawing on such disparate musical traditions as Argentine tango, pre-MTV punk, the music of Kurt Weill, and the beautiful eeriness of The Residents, the band creates music that evokes everything from dark rock like Swans and P.J. Harvey, to the melancholy lyricism of Eastern European folk music.

The group came together in the late '90s, and through extensive touring and two stellar albums (recorded and produced by Martin Bisi of Swans, Sonic Youth, and Angels of Light fame) they have gained international attention and wide critical acclaim. The bandâ??s current lineup features vocalist Ksenia Vidyaykina, Dan Kaufman (Rebecca Moore) on guitar, theremin player Pamelia Kurstin (Air, David Byrne, Cibo Matto), marimba/vibes by Danny Tunick (Bang on A Can, Guvâ??ner), bass/electronics/palm pilot Dan Coates, and on drums Shahzad Ismaily (Marc Ribot, Secret Chiefs). In addition to the regular players, frequent collaborators have included violinist Eszter Balint (of Jim Jarmusch's Stranger Than Paradise), vocalist Nils Frykdahl (Idiot Flesh, Sleepytime Gorilla Museum), drummer Anthony Nozero (Drums and Tuba), and toy instrument ingenue Rebecca Moore. The band has also shared the stage with such great artists as Cat Power, Godspeed You Black Emperor!, The Lonesome Organist, Sleepytime Gorilla Museum, Shelley Hirsch, Faun Fables, Devendra Banhart, and The Dresden Dolls.

Barbez recently completed its third album, which is due to be released this September on Important Records, and the band will be heading out on tour thereafter. The band will travel extensively around the US and Canada and then head out for their second European tour, revisiting Italy, France, Slovenia, Croatia, and stopping in Germany to once again provide musical accompaniment to MacArthur-winning playwright John Jesurunâ??s "Chang In A Void Moon." A night with Barbez is a blend of the stirring, the spiritual, and the hilarious, and the joys and miseries of our everyday existence – from traffic on the Brooklyn Bridge to an exuberant Russian wedding dance.


The Caution Curves
http://www.thecautioncurves.org

A cosy electro acoustic combo comprising Amanda Huron, drums and percussion, Tristana Fiscella, vocals and guitar, and Rebecca Mills on her laptop, hailing from Washington DC, who's music is refreshingly nice (as opposed to nasty).

"Lemons" begins with a yawning sleepy start from vocalist Tristana Fiscella…something about liking lemons?

A slightly neurotic potpourri of naive noises…the music flittering about dangerously like moths round a candle, but hanging together on thin threads. A change comes half way through as Ms Fiscella tries desperately to stay awake as she sings some â??proper versesâ? over simple, understated drums.

On "Leslie", a naïve ambling clattering of drums, percussion and twangy guitar floats along nicely. The sun is out, it's spring, and squirrels hop from branch to twig, until after a deep breath, a moaning and a wailing hails drums building and falling, against a feathery warm duvet of laptop gurgling. The track sinks into colder regions, the sun is obscured by dark clouds and guttural words can be made out as bassy low bit drones fill out the space�as the voice soars, we quiet down to almost nothing as Tristana pleads, please please please please, please Leslie come home!

Maybe it's the sound of Tristana Fiscella's voice or the lemony nature of the first track, but this awakens something in my severely damaged memory and, on hands and knees I finger my way along my vinyl shelf until I dust off Danielle Dax, and more specifically her early work in the Lemon Kittens (hence the lemons). This was a pleasant reminder of the lovely Ms Dax, and the observation that experimentation when in feminine hands is simply and wonderfully NON-po-faced and refreshingly UN-nerdy!

And there is something feminine and charming about The Caution Curves, that is pastoral and free. The warmness of the laptop sounds that fill the air are delightful, the voice is improvised and happily carefree and unselfconscious. The drums although nicely recorded, are verging on the amateur, and it takes a while for me to decide whether I like them like this or whether someone needs a few lessonsâ?¦but finally I decide that I not only like them like this, I love them like this…don't changeâ?¦pleaseâ?¦

As my favourite German improvisers, Can once saidâ?¦ I want moreâ?¦ (furthernoise.org)


Dreamend
http://www.dreamend.com/

A two-year-old, three-piece ensemble from Chicago, Dreamend describes its work as â??sad bastardâ? music. Their new album, as if by ghosts…, alternates between silvery sounding harmonics and dissonant spikes and valleys. The instrumentation line-up is mainly just guitars and drums and often sounds like Explosions in the Sky, an instrumental band from Austin, Texas. Dreamend intentionally mixes its vocals low, at least on their new release, which emphasizes the band's instrumental nature as the voice blends effortlessly with the surrounding music.

as if by ghosts…, makes a fine addition to your CD collection and is perfect for those evenings when you need a bit of dramatic music to accompany a thunder storm. Standout tracks include â??Ellipsis,â? a beautifully rendered cyclic instrumental featuring a ringing, crystal clear xylophone. The last track, â??Fireworks,â? weaves its ways through a musical soundscape in just under six-and-a-half minutes; it draws you in despite its length, and you find yourself wishing it was even longer. (The CD is available in a limited edition featuring an alternative vintage black-and-white cover photo as well as a random picture negative and booklet.) (Edgewood Smith)

On their debut split EP with Monster Movie, Dreamend treaded a similar ground as many post-rock bands, but did it with enough flourishes that made me wonder where they would take things next. On their debut album As If By Ghosts, both their songwriting and craft have grown a great deal, making for a near-great album that again treads somewhat similar ground as other groups have done before, but pulls everyting together in a way to make it sound revolutionary at times.

One of the bands that one could draw comparisons to might be Explosions In The Sky (for the lovely dynamic shifts and absolutely huge walls of guitars), but this time around the group has also encorporated vocals and it actually works quite well adding another human layer to the music that many instrumental rock outfits don't seem to want to go near. "Of Ravens And Winds" opens the disc with quiet strums of guitars layered alongside ebowed guitars, and even though the vocals feel a bit fragile, it serves as a nice lead in to the release as "Ellipsis" takes similar elements and piles on chimes and a mountain of shimmering guitars.

In fact, the first half of the album feels like one slow crescendo as "Four Days In May" marches on towards something more potent yet, closing out with great multi-tracked vocals and another haze of guitars before "The Almighty" wastes no time in laying waste with a blistering full-on attack of pummeling drums and guitars. From there out, the group mixes things up a bit and fortunately succeeds most of the time. "The Old House & Its Occupants" is yet another in a long line of quiet-to-loud guitar-led instrumental rock tracks, but damn if the group doesn't make it sound invigorating once again.

At their worst, the group can be accused of sounding like a Smashing Pumpkins b-side and they stumble a bit during the midsection of the album with the vocal-led "Can't Take You" and the odd "Slide Song" (both of which try something a bit different and don't entirely succeed). And so, the group is at their best when they let their instruments do the talking, as on the maelstrom to quiet tempest "10 Guitars From Salem." I have to say that I'd also be slacking if I didn't mention the lovely packaging, which is again hand-made, including an inset photograph that is unique to each individual CD. An excellent debut from a group who's managing to do some original stuff in a very crowded genre. (Almost Music)


The Antiques
http://www.theantiques.org

"If you don't worship at the altar of Greggg Svitil, you need a lobotomy…stat." (Rick Taylor)

Clavius Productions presents the legendary avant-rock saxophonist Steve MacKay & The Radon Ensemble. This man revolutionized the use of sax on "Fun House", and continues to explore sonic territory with his improv psych unit, which includes an all-star cast of boundary-breakers. Get "Loose":

Monday, April 3
DC9, 1940 9th St NW WDC
http://www.dcnine.com
http://www.claviusproductions.org
$8, 21+
doors at 9, show at 9:30

Steve MacKay & The Radon Ensemble (improv psych featuring the sax player on The Stooges' "Fun House"!)
Kohoutek (DC improv psych)
Accelera Deck (Scarcelight guitar/drums duo, from Alabama)
Lance Romance (bizarro solo artist from NYC via Providence)


Steve MacKay & The Radon Ensemble
http://www.vidioatak.org/~radon/

Featuring legendary saxophonist Steve MacKay (Stooges, Violent Femmes, Commander Cody, Snakefinger, Andre Williams, Carnal Kitchen, etc.), with various noise madmen from the Radon stable – Sam Lohman (drums - Acid Mothers Temple, Nik Turner, Nimrod, 36, Cash Slave Clique), Scott Nydegger (drums, electronics - Sikhara), Mr. Natural (electronics), and Noah Mickens (scrap percussion).

Steve MacKay is a tenor saxophone player, best known for his participation on The Stooges' influential second album Fun House. MacKay was familiar to The Stooges from his work in Detroit's avant-rock pioneers Carnal Kitchen. He was recruited by lead singer Iggy Pop a mere two days before the Stooges left Detroit for Los Angeles to record the album, after having sat in with the band several times.

His distinctive and powerful soloing style draws heavily from instro rock and drag music in equal proportion to the experimental free jazz approaches of Ornette Coleman and Albert Ayler. This was a marriage that was far from common at this time, between two styles whose proponents had little appreciation for each other's work; and MacKay's voice on the middle-period Stooges recordings and tours is an undeniable precedent to early-'80s jazz beasts like John Zorn.

MacKay toured with the group throughout 1970 and 1971 but parted company with the Stooges after the band's brief first breakup in 1971. For the next ten years, MacKay would play with a wild cross-section of underground music icons: Violent Femmes, Snakefinger, Commander Cody, Andre Williams, The Moonlighters, and a handful of other efforts continued into the late 1980s. As the '90s approached, MacKay's profile gradually lowered as he took up residence near San Francisco and began work as an electrician.

As it happened, the wide perception in music history was that Steve MacKay was dead. As of the year 2000, Stooges biography pages on websites for MTV, VH1, and Rolling Stone Magazine included an item indicating that MacKay had died in the 1970s. The origin of this story is unknown, but it was a small record label and noise collective called Radon that disproved the rumor by contacting MacKay and arranging to release his first solo recordings.

Radon released the "Death City" single in 1999, and MacKay began to perform and record regularly with a revolving line-up of musicians associated with Radon. The first full-scale tour of The Steve MacKay Ensemble was mounted in July of 2003; with a percussion-heavy lineup featuring bassist Marlon Kasberg (Liquorball), drummer Sam Lohman (Nimrod, 36), multi-instrumentalist Travis McAlister (Nequaquam Vacuum), found object percussionist Noah Mickens (Nequaquam Vacuum), and drummer and band leader Scott Nydegger (Sikhara).

MacKay rejoined The Stooges in 2003 when they played their first show in 29 years at the Coachella Festival, and he has performed with them ever since. He appears on Stooges tracks on the Iggy Pop collab album Skull Ring and the live album Telluric Chaos, and participates in nearly all live performances. MacKay has also appeared at recent live shows by Violent Femmes, with whom he has played off and on since appearing on their albums The Blind Leading the Naked and Hallowed Ground.

While MacKay's profile continues to climb in the mainstream, Radon has released the Smegma/Steve MacKay collaboration CD 30 Years of Service in 2005, and the full-length Steve MacKay CD Michigan and Arcturus in 2006. His solo discography also includes a self-released collection of solo and group demos from the 1980s called En Voyage, and such compilations as Popular Electronic Uzak, You've Got Your Orders 3, and Multiball Magazine Issue 2. The Steve MacKay Ensemble has continued to perform live and on radio, and will embark on a tour of the U.S. and Europe in Spring of 2006. (from Wikipedia)


Kohoutek
http://claviusproductions.alkem.org/kohoutek/

Improvised psych with noise tendencies and abstraction. Sonic explorations in any combination of drums, percussion, guitar, bass, laptop, homemade electronics, field recordings, chord organ, and household appliances.

"…we were stoked to get our mitts on this self-released CD-R of smoke-blowing, heavy noise-inflected psychdrone. There's two tracks on hand, both instrumentals, with a total half hour running time: the opener, "The Burning Sea", starts off by invoking some gorgeous, bleary psychedelic noodling and skittery improv percussion with vaporous Middle Eastern melodies and twinkling chimes in the background, then slowly builds into a pulsating acid drone rock mantra akin to Skullflower hijacking Ted Nugent's "Stranglehold", throbbing single-note bass and muscular drumming laying down a limestone foundation for burning feedback-soaked guitar action to get down in an ocean of reverb. The second track, "Four More Years", is a swarm of helicopter electronics and rapid-fire improv drumming, a crackling free noise jam shooting sparks onto basement walls, sleigh bells and snakey bass drones squirming through a blizzard of buzzing cables and oscillating tones and noisy skree. These jams are righteous drone/improv/noise workouts, can't wait to hear more from Kohoutek. There's definitely much to like here for fans of Skullflower, Can, Acid Mothers Temple, etc. Comes packaged in an exquisitely handpainted/screened wallet, with the CD-R itself blasted with spraypaint." (Crucial Blast)


Accelera Deck
http://scarcelight.org/artists/adeck.html

Accelera Deck is Chris Jeely from Birmingham, Alabama, USA. Chris played and recorded in numerous rock bands, influenced heavily by the textures of My Bloody Valentine, and the early '90s "shoegaze" scene. It was the release of Aphex Twin's Selected Ambient Works Volume II and Seefeel's Quique that inspired Chris to begin experimenting with guitar and sampler. He began recording as Accelera Deck sometime after October 1995, when a fire claimed all of his music equipment. With a little insurance money, a four track and guitar were purchased. From then on Chris' music touched every colour of the musical spectrum: from beat-oriented electronics to acoustic guitar strumming. Throughout his time recording, Chris has dabbled in releasing music under a variety of names like September Plateau and Your Favorite Horse and recorded for esteemed labels such as Morr, Neo Ouija, and 555 Recordings. A-Deck are currently traversing the free rock/heavy drone waters of the Dead C/Birchville Cat Motel, with a line-up of guitar/drums and some electronics.


Lance Romance
http://www.giantrats.com/

Lance Romañce is born and raised on December 7th 1979, at Women & Infant's Hospital in Providence, RI. Soon after, Lance Romañce turns 14. He enters High School, without incident, and begins to study drums, acting, improvisation, and the social life of teenagers. Lance doesn't play sports, but enrolls in the school jazz band.

Lance Romañce's 10th grade English tutor is Alex Kerry, daughter of failed presidential candidate John Kerry. At this time, Lance Romañce forms his first band, â??Federal Roosters,â? which he leads while playing drums. They make their debut at a school assembly the day after OJ Simpson's acquittal. They play a tribute to OJ. The crowd boos. The boos are for OJ, though. The crowd cheers Lance. The year is almost over when he gets a bass for his birthday.

Then along comes 1996: Lance Romañce is kicked out of school due to his grades. He starts at a new school, but has to repeat the 10th grade. He also takes bass lessons. In 1997, Lance is kicked out of that school. He transfers to another school that bumps him ahead to the 12th grade, bypassing 11th grade. Lance Romañce Attends Berklee College of Music over the summer. Lance Romañce starts several bands, and an e-zine called "The Lance Romañce Mailing List," which, promoting nothing, balloons to over 70 high school-aged subscribers, many of whom he doesn't know. While reading Don Quixote in his Spring of '98 Spanish class, Lance adopts the name of Lance. He graduates high school on time, has a nice summer, and moves to Boston. Lance Romañce now attends Berklee College of Music full time. In 1999, he buys an 8-track tape recorder, and begins recording immediately. In April, he releases his first album, Sonnets Set to Music. He plays all the instruments, and records it himself in the dorms. To his surprise, not only do people like it, they call it "Genius." One of Lance Romañce's teachers passes it along to famous drummer Steve Gadd. Gadd passes it along to Eric Clapton, and Clapton to Phil Collins and Paul McCartney, who was dating a one-legged woman by this point. Clapton particularly likes the OJ tribute.

Lance Romañce never stops and continuously writes and records for his next album. He drops out of school later in the year, moves back in with his folks and starts working full time at a bookstore. He records Titty Titty Yum Yum in his parents' living room. Y2K is a big commotion, but Lance isn't worried. Lance gets his own apartment, and releases Titty Titty Yum Yum. in October. Lance Romañce begins taking ballroom dancing lessons and picks out a new wardrobe. In preparation for 2001, Lance Romañce makes a new years resolution to be more like Groucho: Grows a mustache and starts smoking cigars.

Lance Romañce is worn out. He takes a trip around the country, meeting new people, and eventually landing in Texas, where he lives for five months. But by 2002, Lance can't take the Texas heat. Lance Romañce moves back to Boston, goes back to Berklee, and lives in a house with ten girls. It blows, believe it or not. Lance Romañce has been performing sporadically this whole time, but it's in 2003 he starts performing regularly between Boston and Providence. Lance Romañce is now playing the guitar and singing, and frequently backed by a band. He also shaves his mustache and starts eating vegetables and smoking finer cigars. Lance moves back to Providence, and starts hanging around in New York more as well. He is frequently asked to play at parties.

By 2004, Lance Romañce is already starting to play regular gigs around New York City. He fast becomes a regular at New York's most famous open mic night, "Lach's Monday Night Antihoot," and a prominent figure in New York's Antifolk scene. This is the same scene that spawned Beck and Jeff Buckley. Lance Romañce moves to New York in 2004, and plays regularly 3 or 4 times a month in the city, as well as back home and at regional colleges with an acoustic guitar.

In 2005, bored, Lance totally revamps his live show. He switches to bass, and now uses a band made up largely of people he meets just before a gig. He also starts focusing on more improvised instrumental passages. Also in 2005, when Lach, founder of the Anti-Folk scene, goes on tour, he leaves Lance to host the â??Anti-Hootinany,â? the largest and most famous open mic in NYC. An interview with Lance is featured in Anti-Up magazine, his picture on the cover of Urban Folk magazine, and appears several times on New Yorkâ??s Bob Fass Show on WBAI FM. Lance is also asked to play the â??EARTHUNDER; Spirit of the White Buffaloâ? festival in Canada, along side USAISAMONSTER, Lightning Bolt, and MindFlayer.