DC9

that's right…a separate thread for DC9 shows now available to you fine 930 forumites. of course, just like the warehouse thread, this will be updated by descriptions of the shows i book that usually seven people care about. first off:

Clavius Productions presents its first DC9 psych extravaganza with The Spacious Mind, Unorthodox, Valkyrie, and Trephine. The Spacious Mind are from Sweden and are playing their second US show ever, and they are one of the best space rock bands around; if you're into Hawkwind, Gong, early Floyd, and Can, this show is not to be missed. Opening are MD doom metal legends Unorthodox (now with Spirit Caravan's Gary Isom on drums), one of my favorite newer stoner metal bands Valkyrie (http://www.thevalkyrierides.com), and heavy math-rockers Trephine (http://www.trephinemd.com, like Red-era Crimson meets Skeleton Key).

Thursday, September 1
http://www.dcnine.com
1940 9th St NW WDC
$10, 21+
doors at 9, show at 9:15

The Spacious Mind
http://www.countrymanrecords.com

Touching on the deep currents of the Terrascope-friendly vibes of minimal drone-scapes and like-minded tryyppers Bardo Pond, Transient Waves, and Spacemen 3, as well as old-school psychedelic standbys from Pink Floyd to Trad Gras och Stenar, The Spacious Mind's newest album rubs out your third eye with a grimy thumb.

The album begins with a menacing wash of stacatto drums peppering the foundation of a crumpled guitar drone. Slowly ebbing, the track mellows and leads into the massive 17:18 second track. Gently pulling the listener in, the delicate interplay of treated guitar, echo, and crackling melodies is eventually twisted into a battered mess of aggressive guitar rock.

The gentler side is also revisited, as on track 3, which is among the best sleep-inducing drones this side of Windy and Carl, Stars of the Lid, etc., and while the drowsiness is wearing off on track 4, the bombast returns with renewed fervor on the fifth track this time with a full on guitar solo, untreated, kind of jarring, but also fairly tryyp-minded.

With their records so expensive and hard to get in the U.S., I doubt you're likely to see much about them unless you're willing to dig for them. But, if you put the work into seeking them out, The Spacious Mind are worth the effort. (Fake Jazz)

Upcoming shows:

9/12: The Fatal Flying Guilloteens (Estrus)/Tijuana Hercules (ex-Mount Shasta)/16 Bitch Pile Up/Vincent Black Shadow
9/19: King Valley/Burnout (Iowa doom)/On A Pale Horse/VOG
9/27: Wolf Eyes/Prurient (Load)/Nautical Almanac/The Show Is The Rainbow/Books On Tape (Alien 8)
10/6: Terminal Lovers/Dufus
10/9: Barbez
10/11: LoVid/Violet/Alexei Borisov/Anton Nikkila
10/25: The Planet The (5RC)/USAISAMONSTER (Load)/Kites (Load)
10/26: Green Milk From The Planet Orange/Zombi (Relapse, ex-Microwaves)/Ostinato
10/29: 20 Buck Spin II w/ Distant Sun/Wooly Mammoth/Unearthly Trance, more TBA
10/30: 20 Buck Spin II w/ DMBQ/The Apes/An Albatross
11/2: (The Sounds of) Kaleidoscope/Miminokoto (japanese psych, ex-White Heaven)/Kohoutek/Bradley Hyland
11/8: The Get Hustle (GSL)/The Convocation (GSL/Tiger Style, ex-Universal Order of Armageddon/Born Against)
11/15: Alcian Blue/Isobella (Cocteaus-esque shoegaze from Florida)/Kiss Kill Destroy
12/6: PITA (Mego Records)/WZT Hearts

Nothing to add, just want to be present for the coming greatness…

so glad i decided to stick around in northern va for a little while longer. i would have hated to have missed out on all this.

zombi is not playing the green milk show now :confused:

just aded: the atomic bitchwax on 11/23!

Splendid!

I like sacriforce's lineups better. :cool:

no zombi? too bad. maybe you can get argento agenda instead. theyre some kids out of richmond with equal admiration for fulci and……argento. but dont sound anything like zombi or goblin for that matter.

http://www.myspace.com/argentoagenda

and look.. their influences range from dystopia to stravinsky. fuck!

For fans of Estrus, In the Red, Sympathy for the Record Industry, Skin Graft, JSBX, Railroad Jerk, and noise rock:

Monday, September 12
$8, 21+
doors at 9, show at 9:15

The Fatal Flying Guilloteens (Houston art-punk, Estrus Records)
Vincnet Black Shadow (heavy garage-psych from Baltimore)
Tijuana Hercules (ex-Mount Shasta)
16 Bitch Pile Up (femme noise trio from Ohio)

The Fatal Flying Guilloteens
http://www.fatalflyingguilloteens.com

The Fatal Flying Guilloteens are from Houston – the other Texas. Their sound is tough to peg; words like "blues" and "angular" are thrown around liberally, as are "what", "the," and "fuck". Often elusive, the Guilloteens have played a sinister game of slap and tickle culminating in a handful of seven-inches and two full-length LPs. Efforts have been upped to further their reach with extended outings across the country, often resulting in similar reactions to those now legend within Texas.

Often misdiagnosed at the hands of reviewers and listeners alike, the reference is never the same. Compared to everything from Pere Ubu to Gang Of Four to the Stooges, the otherwise straight line has been blurred. Point A to point B is lost in the translation and what occurs in between is signature in its delivery. With floor show swagger and fire on the teeth, The Fatal Flying Guilloteens have abandoned the verse-chorus-verse devices of "once was" and have created the upright working model of "what will be."

"Disjointed blues riffs wrap themselves neatly around foot-tapping (yet anarchic) drum beats, with the screaming of our pubescent superstar layered on top, combined to form an Extra Value Meal of blues-punks-who-used-to-like-indie-rock-but-got-bored-with-it-by-grade-ten. Hands down the best thing to emerge from Estrus since the Drags. 9 out of 10." - VICE MAGAZINE

Tijuana Hercules
http://www.tijuanahercules.com

"Tijuana Hercules' gravelly deconstructions of the blues fare better; while no White Stripes clone, the band feeds off a similar nervous energy that springs from the built-in limitations of a smaller band. When the Moon Comes Up Wild (Black Pisces), this Chicago trio's second album of stripped-down, ramshackle white-boy blues, worships at the altar of Howlin' Wolf, covering the man himself on the album opener, while nodding at fellow acolytes Tom Waits and Jon Spencer along the way. Featuring two former members of Mount Shasta and newcomer Zak Piper on tin cans, cowbell, tambourine, trumpet, and trombone, Tijuana Hercules dishes out rip-roaring times for sloppy drunks and good times. (Skyscraper)

16 Bitch Pile Up

they have no website, but you can learn something about this amazing live band – who i felt were the highlight of January's Noise Against Fascism – here:

http://www.columbusalive.com/2004/20040721/072104/07210401.html

Originally posted by snailhook:
16 Bitch Pile Up

they have no website, but you can learn something about this amazing live band – who i felt were the highlight of January's Noise Against Fascism – here:

http://www.columbusalive.com/2004/20040721/072104/07210401.html

!

Stoner doom tonight at DC9!

Monday, September 19
$7, 21+
doors at 9

VOG (VA sludge-doom)
Burnout (Iowa doom)
Weed Is Weed (debut of local doom supergroup playing weed anthems, featuring current and former members of Spirit Caravan, Unorthodox, King Valley, Wretched, and many others!)

VOG
http://www.whereisvog.com

Formed in the peak of the summer of 2004, VOG had its first jam in a basement in Oakton, Virginia. VOG came to fruition based on an intent to play music with other members who were serious enough to commit to playing on a regular basis. Riffs written out of pipe dreams flowed through the aura of dirge that released the steam of sour days.
VOG is the hawaiian term for a wretched gas/smoke present when volcanoes erupt that makes all that come in contact with it nauseous.
VOG also has symbolic meaning in the Runic language, an ancient European language that was used on inscriptions, monuments, and for magical divinatory purposes. In the Runic language, each character means something particular and combined into one they form something greater. Here's it correspondence with VOG:
V (Wyn) - the rune of pure joy and happiness, not through others but through the achievements of one's dreams and unique life path
O (Odal) - is the homestead, which was very precious to wandering peoples. It is used to represent all domestic issues and is a protective rune of the home.
G (Gyfu) - means the gift of giving. It also represented relationships, especially sexual ones, and is therefore one of the fertility runes.
The band is making great headway and will have a demo available soon consisted of their first epic song, "The Colors of Infiniti," which is around 25 minutes long.

VOG consists of ex-members of such bands as Lost It, The Seventh Gate, and The Ludivico Technique. Ex-members play in such bands as Durga Temple (www.myspace.com/durgatemple) and Anvil of Crom (RIP). VOG played their first show in the basement of a house in Dale City, Virginia with good friends The Wayward (formerly Carrion) and Durga Temple. Since then, the band has played in Baltimore, Harrisonburg, Leesburg, etc, with such bands as 5ive, Baroness, Beaten Back to Pure, Buried Inside, Dragon Green, Durga Temple, Earthride, Gates of Slumber, Nitroseed (ex-Spirit Caravan), Off Transmission, Pearls & Brass, Rebreather, Reverend Bizarre, Syzslak, the Tenth Key, Unearthly Trance, Unorthodox, Valkyrie, The Wayward (ex-Carrion), Witch Hunt, and Withered (ex-Social Infestation, Leechmilk).

The band entered the studio of Jeff Kane (City of Caterpillar, Malady) in late 2004 and recorded three songs: "The Stepping Stones of Humane Survival" (released on a split 7" with Valkyrie), "The Colors of Infiniti" (self-released on 100 pressed CD-Rs), and "Like the Sky Above" (unreleased to date). These releases have gotten good write-ups in several underground zines, and have been well received in both the US as well as abroad. Sean McEleny, the band's drummer on the first recordings, left the band in January for personal reasons. VOG found another drummer named Shawn Gisreal, who did the outer split 7" art. Shawn Gisreal was with the band for our weekend with Unearthly Trance and a couple of other shows before he decided that he would not be able to put as much time into the band as we needed. The original drummer, Kifah, returned to the band after leaving for personal reasons out of his control. He has been with the band since May, and learned the songs way quicker then expected.

After a few months of practice, VOG was ready to record their followup to "The Colors of Infiniti," their epic 22-minute-long song. VOG recorded with Jeff Kane again in a newly-improved studio in early September. The band recorded eight songs over the course of five days that ended up being 80 minutes long. The band is now going over the rough mix and preparing for the mixdown process that will take place in mid-October. The recording will then be given to Steve Austin (Today Is The Day) for mastering. The band is playing several shows this fall in support of their upcoming full-length with such bands as Burnout, El Buzzard, Unearthly Trance, Wooly Mammoth, Unorthodox, Weed Is Weed, Valkyrie, Sex System, and Torche. After early December, the band will be focusing on songwriting, taking a short hiatus from shows, and not dragging their equipment through shitty winter weather. The band will probably resume playing shows in late February.

Burnout
http://www.burnoutrocks.com

Burnout's latest, <I>Armour of the Gods</I>, is full of heavy, chunky riff after riff and strong melodic vocals…their overall sound is simple with catchy guitar parts and stonery goodness.

This 11-song CD is packed with one trucking song after another. It's all pretty much straight-up, no-frills rock and tuned-down roll with plenty of sludge. Musically it reminds me of bands like Clutch and ATP with their thick, heavy, saturated bass and guitar lines. Vocals are right up front and painted over the thick canvas…Burnout aren't necessarily pitching in anything that groundbreaking, and the album tends to be kind of the same thing from song to song (a lot of the songs are even in the same key); nonetheless, these cats lay down the law and just plain rock, pure and simple. The sound is just throttling and the production is top notch. I don't know what these guys tune their strings down to, but it reminds me of the same sort of heavy riff sound that Goatsnake gets across.

There is plenty of southern dirge influences throughout this CD as well. It reminds me of a heavy, evil Skynyrd at times…twisted for sure.

I dig Burnout for their pure heavy goodness. If you dig ATP, Sixty Watt Shaman, and Unida, then you will almost certainly appreciate what these guys have to offer. It's heavy, evil, and just downright mean and dirty at times. A good one to throw on when you are heading home from work and are about to pick up a 6-pack of Pabst on the way. (Stonerrock.com)

Wolf Eyes on Tuesday!

For every Ariel there must be a Caliban. Just as mellow beardos and spooky-chic wisps are on the rise, so are their troglodyte foilsâ??born from the bogs of New Weird America, not the verdant woodlands. Instead of fireside thrums and lysergic madrigals, the folk music of this beastly race is all mechanical clatter and crank. Tonight, three delegations from this savage republic will gnash ears and shatter synapses in a show of might and bloodsport for all. Baltimoreâ??s Nautical Almanac kicks out toxic drones on homemade, electricity-free gear. With just a mike and a battalion of butchered FX pedals, Dominic Fernow (aka Prurient) spews streams of hiss and bile. Topping the compost heap with a cherry bomb is Sub Popâ??s Wolf Eyes. Praised by Sonic Youth and Anthony Braxton alike, the band has only grown more feral in the face of success. Wolf Eyes, Prurient, and Nautical Almanac play with The Show Is the Rainbow and Books on Tape at 9:30 p.m. at DC9, 1940 9th St. NW. $8. (Bernardo Rondeau)

Thursday, October 6
$7, 21+
doors at 9, show at 10

Terminal Lovers (from Cleveland, current and ex-members of Guided By Voices, Pere Ubu, Rocket From The Tombs, My Dad Is Dead, The Electric Eels, Keelhaul, Integrity, Boulder, and Abdullah)
Admiral Browning (instrumental prog-metal from MD)

Terminal Lovers
http://www.davecintron.com/terminallovers.shtml
http://www.myspace.com/terminallovers

"Another band from Cleveland that gets it…If only we had more bands like this in New York – interested in the art of rock, rather than rock fashion."

"Watt a way to kick the New Year in! Dammit, this record is the goods â??- usable, crushing, cremating, resurrecting and the ROCK!!! Terminal Lovers are dragged around by their collective hooter by one helluva talented snot-nosed longhair called Dave Cintron, a Cleveland guitarist/artist/McJagger-esque howler with a permanent boner that would tear Sir Lord Mickâ??s tight asshole apart purely for the pleasure of dissing the ancestors, if (strike that and make it WHEN) he gets the chance. Did you ever wish Woody Leffel coulda permanently pushed Clevelandâ??s Granicus to the same cultural corners he hounded â??em into on the ever-ascending â??Youâ??re in Americaâ?? and that Viet-mawkish/dorkish 11-minute sub-sub-Stairway epic â??Prayerâ??? Well, Terminal Lovers reach it often and in spades, motherfuckers! (What is it about Cleveland, brethren? Is the city really THAT fucking dreadful?) Terminal Lovers is garage-y as White Lightningâ??s â??Williamâ??, smacktastic as Janeâ??s Addiction, demented as The Outcastsâ?? â??1-2-5 Blairâ?? and still as simultaneously smart AND despairing as a Kim Fowley, Kurdt Kobain or Bobby Liebling. Did you ever wish the Iggy-meets-Zappa blackface voice Axl adopted for â??Itâ??s So Easyâ?? had abandoned its owner and gone solo? It did, boysâ??nâ??girls. It snuck into the plumbing of Everytown USA and called itself Dave Cintron. Now itâ??s mumbling the lyrics to â??Rising Tideâ?? from inside the cistern of each and every corporation washroom. Imagine Iggy reconstituted as the same Muppet that intoned their freak hit â??Mnah Mnahâ?? and youâ??ve got the voice Cintron adopts for addressing his mysterious female Muse. This is one confident motherfucker and sheâ??s as tricky as Salvador Daliâ??s Gala at the very least.

Did you ever wish The Tubes had taken their tongues out of their cheeks long enough to reach once more for that truly Death & Resurrection moment on â??White Punks on Dopeâ?? when you glimpse the despair of that sad fucking Hollywood Heights teen wanker? Dit-fucking-toe for the answer! Did you ever catch Bobby Lieblingâ??s vocal on â??Last Night Hereâ?? when you was at a particklier low ebb and genuinely wonder if it was your last night on Planet Oyth? Me three, motherfuckers. And obviously the big Ja for Herr Cintron aussi!!! This guy might wipe his nose and be your well-mannered boy for Auntie Martha and Uncle Joeâ??s Thanksgiving meal (hail, heâ??s even got his own www.davecintron.com), but believe me this is one druid whose entire being is giving the whole world the Inner Finger right up against yer fucking face, yozeâ??nâ??mine brudder! Buy his music now because he ainâ??t getting any more alive than this." (Julian Cope, Head Heritage)

Read the rest of Cope's slobbering: http://www.headheritage.co.uk/unsung/albumofthemonth/944

Admiral Browning
http://www.admiralbrowning.com/

Epic, instrumental prog/psych metal, recommended for fans of King Crimson, '70s Rush, Yes, Mastodon, Don Caballero, Voivod, Iron Maiden, and Breadwinner.

Sunday, October 9
$8, 21+
doors at 9, show at 9:30

The Aquarium (DC, Lujo Records)
Barbez (NYC jazz/folk/psych/post-punk with an Eastern European flavor)
Benjy Ferree (DC, Box Theory Records)


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 Aquarium
http://www.aquariummusic.com/

"The original inspiration was to make music to watch fish to," remarks Jason Hutto about the origins of his band The Aquarium. The name was, therefore, a no-brainer. But the scope, breadth, and depth of The Aquarium sound goes far beyond simply being the soundtrack of the coolest pet store that never was. There is something longing and nostalgic about their music – something that touches on the beauty of childhood. Their music would be a far more appropriate soundtrack to a dream about one perfect day as a child – running, eating, napping, looking at stars. (And yes, fish). The kind of dream one would have and wake up feeling refreshed. Since The Aquarium began playing shows in their hometown of Washington, DC in the summer of 2002 this freshness of sound has made them a distinct light in an occasionally dark scene and has earned many endearing fans. There is something about them and their music that makes them a good pairing for a wide range of bands. This can be seen by the list of bands they have played with in the last two years, such as The Dismemberment Plan, Beauty Pill, Medications, Twilight Singers, The Cassettes, and The Out_Circuit to name a few. Watching an Aquarium show, it is easy to forget for a moment that there are only two of them. Laura Harris unabashedly lays down the beats, while Jason provides both bass and melody on his two keyboards, making a full sound that is not in want of more instrumentation. Their music, combined with their wide range of 8 millimeter educational films playing on a screen behind them, takes the listener somewhere beautiful and unique. They do not demand oneâ??s attention, but reward it. Those who are willing to pay attention will not be disappointed.

Since their inception, The Aquarium have steadily been gaining fans and building a repertoire of wonderful songs but have yet to release anything. That is about to change, however, as they go into the studio this April to record their first full-length, which will be released on Lujo in the fall of 2005.


Benjy Ferree

Hailing from DC, by way of Prince Georges County Maryland and parts unknown, Ferree embodies a back porch pop vibe on par with the lazier side of Beachwood Sparks and Jack White's acoustic forays. His songs rely on a keen understanding of the spiritual side of music from a variety of sources, from the honky tonk to the pulpit. Rarely playing outside of his DC bedroom, Ferree and friends recorded a blissful EP (mixed by Brendan Canty of Fugazi) due out October 1st.

Sonic Circuits DC 2005 and Clavius Productions present:

Tuesday, October 11
$7, 21+
doors at 9, show at 9:30

LoVid (NYC audio/visual experimenters)
Violet (DC solo noisescapes)
Projexorcism (NC a/v political pranksters)
RDK (DC synth duo in the vein of Goblin and early Tangerine Dream)


LoVid
http://www.ignivomous.org/projects/lovid/

LoVid (Tali Hinkis and Kyle Lapidus) scrambles ordinary TV output into hyperkinetic audio-visual abstraction using homemade electronic devices, repurposed analog toys, and low-res video loops. In the duo's real-time performances, an intense, variable audio signal disrupts the video's horizontal lines into swirling or stroboscopic patterns. Whether projected on a large screen or worn on the body as mini-monitors, the static sizzles and mesmerizes in an orgy of post-consumer creative destruction. LoVid's installations and object-based work includes video stills transformed into fabric patchwork, wall collages, laser-etched tiles, electronic-mixed media sculptures, and photos. In these, LoVid focuses on the materialization of glitch video and electric signal into fixed objects.

This current tour is centered around a LoVid exhibition in Tulsa called "Don't Draw The Blinds," opening on October 6. They'll perform at the opening in wireful VideoWear, and will be using wireless transmitters – though still with plenty of wires, don't worry – for most of the
performances on the tour.

Violet
http://www.zeromoon.com/violet/index.php

Violet is the current moniker for solo works by Jeff Surak, who has played in such projects as v., Normal Music, Critikal, Second Violin, -1348-, New Carrollton, and a multitude of collaborations. Organic irrational compositions, using electro-acoustic instruments and tape/CD/vinyl manipulations. Violet has performed across the USA and in Europe.

Projexorcism
http://www.multiultramedia.com/projexorcism.htm

Formed in 1999, Projexorcism started life with the acquisition of two Bell & Howell 2592 auto-shred projectors and 200 educational films. Originally much time was spent making splice reels to accompany various musical projects. Lens manipulation and shuttling film back and forth through the projection gate were the hallmarks of the early days.

Early in 2003, Projexorcism made great advances in their unique flavor of experimental hyperactive expanded cinema and has since been pushing the boundaries of weirdness. Projexorcism began using a quad 16mm projector array suspended from a lighting pole – the projectors synchronized with a 4-channel sound-actuated variable speed lighting controller. The projected images are split, inverted, and bent using silver reflective CD-R's and plastic fresnel lenses. The optical audio is replayed directly from the internal projector speakers, though on occasion the audio is routed through effects and samplers. In May 2005, The Catawba Council for the Arts awarded Projexorcism an Innovative Project Grant to add a Film-to-Video Regurgitation Array to their quad 16mm setup. Unbound from the linearity of film, the 16mm setup is now augmented with real-time video capture, manipulation, and projection devices.

The film is "PJ'd" using various techniques to create new contradictory action sequences and soundtracks in real-time in the found sound/plunderphonic tradition – without splicing. Films are chosen to reflect relevant, and at times irreverent, themes. Some of our recent themes include presidential politics, African-American history, math, water, chemicals, Middle-Eastern war, spiders, gila monsters, voting, and "Do androids dream of electric sheep at xmas?", a mixture of pro and anti-consumer film and Charles Dickens' "Christmas Carol."

You never know what to expect at a Projexorcism show. Film often breaks or passes through the projection gate in a manner inconsistent with film preservation, much to the dismay of Jedi film preservationists. The kinetic swinging and shaking of the projecto-tree will warp reels and pool hundreds of feet of film all over the floor – CDs and lenses fall to the ground – the shriek of optical sound feedback as dust clogs the sound bulb, the randomly choreographed accidents of brilliance and stupidity, the audience turned projection screen, the audience on the projection screen.

Projexorcism is often joined by a rotating cast of musicians and frequently collaborates with other artists (see the live show archive). 2005 has Projexorcism touring with a melange of experimental noise musicians and collaborations with the likes of Michael Thomas Jackson, Jabberwocky, Former Yugoslavia, Khate, Feralcatscan, Hellblinki, and more.

RDK
http://soundcamera.tripod.com/rdk.html

DC's own retro-futuristic electronics duo of Davis White (ex-Lorelei) and David Rickert play Satie covers and dark soundtrack originals that reference early Kraftwerk and Tangerine Dream, Tomita, and Goblin to delight and amaze you. Their CD is beautiful, complex, classical pop, a Belle Epoque vision of the future.


other Sonic Circuits/Clavius events:

10/14 at 611 Florida: Nautical Almanac (Load/Heresee)/psi/Life Partners (Twisted Village, mem. of Major Stars)/The Trust Riots (Scarcelight, mem. of Accelera Deck)/Lust Ionics

10/25 at DC9: USAISAMONSTER (Load)/The Planet The (5RC)/Kites (Load)/Facemat

http://www.claviusproductions.org
http://scdc.alkem.org/about.html

Originally posted by snailhook:
Sunday, October 9
$8, 21+
doors at 9, show at 9:30

The Aquarium (DC, Lujo Records)
Barbez (NYC jazz/folk/psych/post-punk with an Eastern European flavor)
Benjy Ferree (DC, Box Theory Records)

Who is headlining?

there is no "headliner," but the aquarium will be playing last.

Sonic Circuits DC 2005 and Clavius Productions present:

Tuesday, October 25
DC9, http://www.dcnine.com
1940 9th St NW WDC
$8, 21+, doors at 9

The Planet The (5RC, mathy spazz punk from Portland)
USAISAMONSTER (Load Records, prog/psych/noise duo from NYC)
Kites (Load Records, solo noise maverick from Providence)
Facemat (DC improv noise)


The Planet The
http://www.theplanetthe.net

Punk, prog and new wave is what The Planet The do. Vocals entirely drowned in effects, slicing guitar, danceable beats, and spacey keyboards come careening straight for your ears and don't let up until you collapse from dancing in 9/8 time.

"You Absorb My Vision has all the trappings of classic geek rock: science fiction imagery, misanthropy, cynical social commentary, Ritalin-induced spasms and, above all, a dire attempt to understand what all the sciences can't explain – the attractive woman. So yeah, Portland, Oregon's The Planet The are essentially Devo disciples, but their music is as carnal as it is calculated. Sounds like Brainiac, you say? Well, yeah, but The Planet The are more aptly framed rather than pigeonholed, falling squarely in the middle of the Devo-Brainiac spectrum.

Unlike those other bands, TPT have a handful of infectious indie pop melodies, albeit ones mucked up by sputtering time signatures, clamorous sound effects, and squawking vocals. The Planet The seem more prone to backbreaking frenzy than pristine new wave pop – they're more Hella than "Hella Good". Song structures seldom derail completely, but rather jar loose from the track before pulling everything together for an anthemic chorus hook. "Wet Dust" begins relatively clean cut with man and synthesizer in bubbly unison before the song spontaneously devolves into pathological moaning and dizzying chromatic guitar riffs. To the rescue comes the a massive refrain – synths blaring, vocals straining, and drums raising Cain.

This unstable formula pays dividends on standout track "Please Don't Kill Myself", combining rickety Pere Ubu time signatures with morbid paranoia á la the Unicorns. The track single-handedly propels The Planet The beyond new wave quacks like Numbers and Dynasty, bands that still struggle to affix feasible vocals to their fractured, over-baked instrumentation. Similarly, "Please Don't Kill Myself" does lose momentum on its protracted bridge, but the catchy staccato verse synth reemerges from the rubble and lulls the listener back into lo-fi pop euphoria.

Unfortunately, You Absorb My Vision wears off its already porous pop coating by the album's final third. Back-to-back numbers "Free Jewelry" and "Tighten Your Dreams" hiss and snarl like morose Cex tirades, justifying reviewers' shackling of The Planet The to many unseasoned Tigerbeat6 rock acts. Still, even weaker late tracks "Tennis" and "Envision My Zorb" sport some nifty musical ideas, albeit less polished and fully integrated ones. They may be poking around in niches already claimed by previous bands, but these new wave dweebs got the smarts to pull it off without provoking wedgies, swirlies and/or petty lunch money theft from bullying traditionalists." (Adam Moerder, Pitchfork)

USAISAMONSTER
http://www.usaisamonster.com

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

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

Kites
http://www.loadrecords.com/bands/kites.html

One-man electrical system operator Kites continues his man-and-machine battle for your mind. A blend of painful, electronic feedback nerve bake, quirky, simplistic songwriting, tinkling soundscapes, and atmospheric roars. Violent, sweet, unpleasant, and nice.

Facemat

"Fed Windham Hillâ??like timbres into a wood-chipper…" (Mark Jenkins)

Wednesday, October 26
DC9, http://www.dcnine.com
1940 9th St NW WDC
$8, 21+, doors at 9

Green Milk From The Planet Orange (Japanese prog/psych/space rock!)
Ostinato (DC atmospheric post-punk, ex-Hidden Hand)
The Plums (mem. of Hat City Intuitive, Spaceships Panic Orbit, and Portions Toll)
Vincent Black Shadow (Baltimore fuzzed-out garage psych a la Mudhoney)


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

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

Reggie White -â?? the dearly departed defensive lineman/ordained minister â??- once infamously said to the Wisconsin state legislature, "If you go to Japan or any Asian country, they can turn a television into a watch. Theyâ??re very creative." Though White was, in his own strange way, trying to be complimentary, the remarks only served to incense and confuse. And speaking of incense and confusion, thereâ??s this new art-rock band from Japan called Green Milk From the Planet Orange, which at least proves Whiteâ??s statement about Asian creativity to be true. The group may not be able to do something so useful as, say, turn a television into a watch, but the members do accomplish something even more improbable: They turn prog rock into something cool for the modern age. Whatâ??s more, they do it without compromising any of prog rockâ??s excesses -â?? witness the sprawling, 38-minute "A Day in the Planet Orange" from their latest disc, City Calls Revolution. Green Milk From the Planet Orange plays with Ostinato, the Plums, and Vincent Black Shadow 9:30 p.m. at DC9, 1940 9th St. NW. $8. (202) 483-5000. (DD)

Ostinato
http://www.ostinatoproject.com

Ostinato construct their sound in the same sporadic way the mind changes: Emotional impulses are often overwhelming and rampant. Their songs are structured in the same fashion, capturing the inexplicable exhilaration or devastating anger that is often so hard to translate. The result is a rich blend of melodic stimulation which evokes feeling, sonic guitar, swelling drums, and a fibrous flow of bass mesh harmoniously to produce a unique ethereal vibe, surprisingly created by only three musicians. Ostinato, an Italian musical term meaning "a recurring melodic fragment," is a name perfectly suited to the band.

Ostinato hails from the Virginia/Washington DC area. After years of friendship and relaxed free form music creation, Ostinato was officially baptised in 1997. Jeremy Ramirez (bass), David Hennessy (guitar and vocals), and Matthew Clark (drums) rented a house and got focused, eventually amassing the material which was recorded for the 1998 self-release <unusable signal>. Extensive gigging in Washington DC and Virginia followed, as did several extended hiatuses. Their second record was recorded throughout summer 2003 and was released on June 24th 2004 on Exile On Mainstream Records.

The Plums

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

Come join us and celebrate Kohoutek's first CD release in Baltimore and DC with the outstanding Japanese psych trio Miminokoto. Special guests include, in Baltimore, Dan Higgs of Lungfish (playing solo acoustic guitar) and electronics inventor Peter B, and in DC, our great friends (The Sounds Of) Kaleidoscope. Miminokoto is an all-star line-up of three Japanese psych masters who play some of the most beautiful and transcendently shimmering songs you'll ever hear, and we are lucky to have them play in this area.

http://www.claviusproductions.org

Tuesday, November 1
Talking Head, Baltimore
http://www.talkingheadclub.com/
$8, 21+, doors at 9:30

Miminokoto (Japanese psych, current and ex-members of Acid Mothers Temple, High Rise, White Heaven, LSD-March, Mainliner, Broomdusters, and Che-Shizu)
Kohoutek (DC improv psych/noise)
Dan Higgs (Lungfish singer playing solo guitar)
Tent (westside handmade instrument freakout power combo featuring Peter B)

Miminokoto
http://www6.plala.or.jp/Purifiva/emimi.htm

Miminokoto was founded in 2000 by Masami Kawaguchi (ex-Broom Dusters, Keiji Haino's Aihiyo), Takuya Nishimura (Che-Shizu, ex-Maher Shalal Hash Bas), and Koji Shimura (Acid Mothers Temple & The Cosmic Inferno, ex-High Rise/White Heaven/Mainliner). Miminokoto released their self-titled debut album on Gyuune (Japan) in May in 2002. Miminokoto played on "Half Japanese Japan Tour" with Half Japanese and Ruins in 2003. Their live album Miminokoto Live was released by Last Visible Dog (USA). Miminokoto toured America in 2003 and 2004. They played with Rocket From The Tombs, Kinski (Sub Pop), Wayne Rogers (Twisted Village), Plastic Crimewave Sound, and more. Their album Miminokoto 3 was released by Siwa Records (USA). Takuya Nishimura left the band in 2004. Hiroaki Takeuchi joined the band in 2005.

"Rising from the ashes of Tokyo Velvets obsessives and Keiji Haino collaborators Broomdusters, Miminokoto are a more immediately auraless proposition. Their dynamic blues constructions are held together by taut, clean guitar lines coiling and snapping around a rhythm section that's liable to alter course in mid-air. The hopping patterns beaten out by ex-White Heaven bassist and drummer Koji Shimura anchor Kawaguchi's machine gun guitar, which stutters in a polyglot tongue drawing equally from Rory Gallagher, Jerry Garcia, and Lou Reed. But Kawaguchi's remarkable vocal most defines Miminokoto's sound, his distressed moan giving every track the urgency of deathbed blues." (The Wire, Jan. 2004)

"Miminokoto are a relatively new band in the Tokyo scene of leftfield post-Les Rallizes Denudes rock groups that are inspired by, or are in some way connected to, Keiji Haino or Asahito Nanjo's High Rise. Their music is more earthbound than that of those two characters, but is also stranger in its way. Miminokoto's strangeness wastes no time in announcing its presence, though its precise character is somewhat elusive." (Howard Stelzer, The Brainwashed Brain)

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

Improvised psych with noise tendencies and abstraction. Sonic explorations in any combination of drums, percussion, guitar, bass, homemade electronics, laptop, field recordings, contact mics, chord organ, and household appliances. Have been described as "if Can were a 4AD band" and been compared to Jessamine, Acid Mothers Temple, early Sun City Girls, and Skullflower, for what that's worth. Kohoutek is 611 Florida's house band.


Wednesday, November 2
DC9, http://www.dcnine.com
1940 9th St NW WDC
$8, 21+, doors at 9

(The Sounds Of) Kaleidoscope (DC's finest fuzzy psych-pop purveyors)
Miminokoto
Kohoutek (CD release show!)
The Appletown Gun Shop (angular indie-rock from Boston)

(The Sounds Of) Kaleidoscope
http://www.thesoundsofkaleidoscope.com/

(The Sounds Of) Kaleidoscope are a noise-pop band, begun by Damien C. Taylor in late 1995. After years of light touring, perpetual lineup changes and a slew of fourtrack cassettes, Damien was joined by brothers John Dugan on drums (Chisel, Piper Cub, Heartworms, Perfect Panther, etc) and Mike Dugan on bass (the Beans, Thee Snuff Project) for a July 2000 reording session at Kurt Heasley's SoundeSpeake Studio. These demos led to what would form the current core of the band, Alex Hacker (Lilys, the Ropers, the Still) on drums and Douglas Bailey (the Ropers, the Justines, the Still) on bass and harmonies and yielded the band's first two EPs, 2001's These Are… and 2003's Can And Do What They Will.

2003 saw the addition of Edward Donohue (the Carlsonics) on rhythm guitar and Brian Kalkbrenner (the Failed Henry Winkler Pilot) on Farfisa and percussion, and found them recording their first full-length recording From Where You Were To How You Got There. In early 2004, Michael Hirst joined, adding more guitar; Edward left later that year.

Since their inception, (The Sounds Of) Kaleidoscope have collaborated with and provided music for numerous artists, art collectives, and artworks. In 2002, (The Sounds Of) Kaleidoscope provided music for the Washington DC opening of Ledelle Moe's "Dogs" installation, co-billed a record release party with an installation by notorious mixed-media art collective Decatur Blue at the Signal 66 gallery in 2003, and performed at the Hirshhorn Gallery's opening for Douglas Gordon's 24 Hour Psycho event.

Though the band still practice a light touring regiment, they have favorably shared stages along the East Coast with Luna, the Fall, Lilys, Canyon, Relay, Swirlies, the Tyde, Velocity Girl, Black Ox Orkestar, Mazarin, J. Mascis and the Fog, and Weird War, and have provided support and backing duties for Cotton Casino, formerly of Japanese psych outfit Acid Mothers Temple.

(The Sounds Of) Kaleidoscope's new album From Where You Were To How You Got There will be available in July 2005 through Alex's own Hackshop Records. They are currently preparing new materal to be recorded early next year, and planning a tour for late summer 2005.

"Imagine that Wire, post-'154', had not broken up but rather agreed to become a backing band for a coherent Syd Barrett and attempted to record pop music. If they gave it a good go it would have sounded something like this. The band combined some of the mood and sound of early Pink Floyd with the minimalist guitar tones of Sonic Youth and Wire."