Clavius Productions presents the 3rd Annual Free Folk Phantasmagory, once again another day-long festival featuring some of the best psych-folk, improv, noise, and outsider music in the country. And once again, we encourage those who attend to bring what they will -- be it food, drink, medicine, art -- to make it as much a communal/community event as possible. Visual projections and general psychedelia will be provided by the venerable Tubevision in conjunction with the following 14 fine acts:
Saturday, September 16
611 Florida Ave NW
4pm-the witching hour
$5 suggested donation
call 202-360-9739 for info
http://www.claviusproductions.org BYOWhatever!
Little Howlin' Wolf (Heresee)
Ilya Monosov & Preston Swirnoff (Eclipse)
P.G. Six (Amish, ex-Tower Recordings)
Christina Carter (Eclipse, of Charalambides)
Max Ochs (Takoma/Tompkins Square)
Shawn David McMillen (Tompkins Square, of Ash Castles on the Ghost Coast)
Fern Knight (VHF)
Dan Higgs (of Lungfish on guitar? Jew's Harp? poetry?)
The Big Huge (Secret Eye)
Lida Husik (Shimmy Disc)
Neg-Fi (NYC noise duo)
anti:clockwise (of Tono-Bungay)
Aswara (devotional raga from members of Death Chants, Time Lag)
Kohoutek (DC improv psych)
Little Howlin' Wolf (James Pobiega) has been cutting insane slabs of vinyl since the late '70s. In recent years, with the help of Twig Harper and others, his vast body of work has gained notoriety and acceptance. With a repertoire of well over 100 songs and various approaches, no two Wolf sets are ever the same. Somewhere akin to Captain Beefheart, Tom Waits, Jandek, John Lee Hooker, and Albert Ayler but nothing like any of them, the Wolf is truly in a class of his own, and if you let him, he'll school ya!
http://white-rose.net/mystere12.html james pobiega lives on the southwest outskirts of chicago, where he has spent a great deal of time playing as a street musician. his aliases include little howlin' wolf, deacon blue, buccaneer bob and shadow drifter. he described himself as a musicologist. he has an extensive list of credits, including street theater and his long career as a do-it-yourself musician.
if you are fortunate enough to meet him and spend some time listening, he will proudly share with you accounts of other adventures.. . as a bounty hunter, scuba diving instructor, activist with the solidarity movement, secret agent, even working in character as a children's entertainer in pirate guise. famous names are sprinkled thru the conversation, mentioned as both friends (mr. t) and those who have derived inspiration from his activities (steely dan).
during the time i spent with him, he was kind enough to share several of his recordings, some released, some unreleased. he also had a huge quantity of documentation of his career, including clippings from newspapers, magazines, cartoons, man on the street interviews, pictures of him playing in europe.
he has primarily worked within the blues & freeform jazz idioms, but is very open to other influences.. .cajun, voodoo, pirates included. his recordings are hard to come by, and are much sought by collectors. the one lp i have, the cool truth, is a melange of styles: drums with chants in tongues i cannot recognize, multi-tracked blues songs that seem to threaten to fly apart, but hold together somehow, growling buccaneer-speak and channeled new orleans spirits. i have to mention the hand-painted & lettered cover as well, becuase it reflects the quality and personality of the music in the grooves perfectly.
hopefully, james pobiega's work will become more available in the next year or so, as the destijl label is set to release shadow drifter lp, and there is hope that his live performances with nautical almanac will become available at some point. Wolf will be joined by
Ilya Monosov & Preston Swirnoff (and probably others):
Monosov Swirnoff is the collaboration between Ilya Monosov and Preston Swirnoff. The two have released several "recorded works" (and a few other goodies) in two separate LP volumes. On the first volume, employing only piano, melodica, organ, hurdy gurdy, and harmonica, the two create some vital and cerebral studies. Using the instruments in non-traditional manner allows them to get to the essence of their timbral possibilities without being constrained by how they may have been employed in the past. Beyond being a purely sterile exercise, the two manage to strike a balance in that tricky space between exploration and entertainment where most of their efforts are successful.
The pieces in Volume 1 draw on the 20th century classical tradition of explicit emotional narrative (e.g. the "program music" of Ravel or Debussy) and reconsider it inside an aesthetic of abstract expressionism. Like "program music", Monosov Swirnoffâ??s pieces focus on emotional states and transitions, but they do not seem to be tied to anything near a linear narrative. At times playful, at others expressing sorrowful mourning, there is no doubt that this is music concerned with expressing a great emotional range even if there is no specific "story" to tell. Owing as much to structured composition as it does to more spontaneous forms of improvisation (e.g. European Free Jazz), it is often hard to remember that these are composed pieces. Dense resonant piano chords are juxtaposed against spacious and dissonant scrapes and drones. Sometimes Swirnoffâ??s piano is so light and airy it threatens to float away and disappear into the haze. At these times, the background is a barely controlled whisper. For his part, Monosov eschews the stark tension of Architectures on Air... and builds hypnotic backdrops for Swirnoffâ??s piano figures, only to rupture them with breakthrough outbursts. His playing is almost routinely more exciting the closer he gets to the limits of the range of his instruments.
As good as the interplay is on all of Volume 1, the real winner on the entire set is Volume 2â??s opener, "Sail On." Using guitars (bowed and strummed), air organ, and the occasional murmur of voice and whistles, the two construct a smooth flowing, warm and gorgeous drone that builds slowly and steadily. Starting with inviting modulations and gaining momentum as it adds rumbling bass notes, this one opens like a flower to the sun before slowly introducing a cyclical mesmerizing guitar line that gently pulls under the surface like a riptide. The air organ waltzes around a simple sea chantey as whistles fade into the mist. This is followed by "Ver. 1"â??s metallic drum machine percussion clatters, echoes and booms as the air organ weaves lazily around stretching itself to capture wayward cymbals in a soundscape reminiscent of some of the more experimental 1980s bands on the 4AD label. The drums at first seem arrhythmic but soon become an anchor for the sounds that swirl around them. Pleasant enough, though not as great as "Sail On."
Saving the most bizarre for last, the second side of Volume 2 consists of a couple of "Outtakes" from Monosov and Swirnoffâ??s "space rock" outfit called The Shining Path. Inspired almost in equal measure by the work of Spacemen 3, Les Rallizes Denudes, and Suicide, The Shining Path is a chaotic, sprawling mess. On the first track, skewed keyboard bass lines are beset by sheets of atonal guitar wails. The keyboardâ??s bass line speeds and slows at will while intermittent cracks of percussion erupt like backyard fireworks. The second track features Velvets-like hammered guitars alternately urged on and corralled by keyboard oscillations restlessly forming and re-forming in dull throbs that coax and bludgeon. Eventually the guitar culminates in a Paul Leary-esque frenzy. The side finishes with a lovely off-center pulsing keyboard lock groove worthy of Terry Riley.
These are records made by artists of broad musical tastes that will probably best resonate with listeners of equally broad tastes. The music swings from the complex chordal interactions and spacious feel of Volume 1 to the rudimentary and off-kilter space rock of the Shining Path in Volume 2. Itâ??s as if Monosov and Swirnoff donâ??t want to commit to being highbrow or lowbrow. Fortunately, Ed Hardy gave them enough space (over two LPs) to introduce the breadth of their vision. There are plenty of interesting threads for the two to follow and possibly integrate on a collaborative path one hopes can continue for years to come. (Steve Rybicki, Foxy Digitalis)
P.G. Six http://www.perhapstransparent.com/pgsix.htm Along with his identity as P.G. Six, Pat Gubler is also a founding member of Tower Recordings. Tower Recordings took its name from a loft space in Port Chester, New York called "Tower Gallery" where Helen Rush and Matt Valentine were living in the early nineties. Pat soon was living there too and it was in this loft space that the core of the Tower Recordings collective began putting songs and improvisational sessions to tape. The group put out the
Rehearsals for Roseland LP (in a limited edition of 500 copies) on Superlux (Lux 003) packaged in hand-painted covers in 1995. Stylistically the record takes cues from contemporary bands like Sebadoh, GBV, Palace, Silver Jews, and the Fall. Following this record came
The Fraternity of Moonwalkers on Audible Hiss (AH 16) which sounds more reminiscent of sixties folk and psych, as well as bands like the Godz and Amon Duul. This record was followed by the amazingly beautiful Planet T.R. release
Let the Cosmos Ring on Spirit of Orr (SO
where, along with a few "group" songs, each Tower member is showcased on their own tracks. P.G. Six's "The Seventh Member" reveals a beautiful droning folk sound, reminiscent of a loosely improvisational traditional folk tune. This was followed by the full-length
Furniture Music for Evening Shuttles on Siltbreeze (SB 54). Most recently, a one sided 12" entitled
Folk Scene (Shrat Field Recordings) documents the expanding Tower line up, which now includes Tim Barnes, Samara Lubelski, and Dean Roberts, to name a few.
Prior to his involvement in Tower, in the early nineties, Pat Gubler studied music at SUNY Purchase. While at Purchase he met Matt Valentine and Marc Wolf who formed the Captain Beefheart/Pussy Galore-inspired Memphis Luxure. Memphis Luxure did some live shows around the Northeast with like-minded noise outfits like Danbury, CT's Bunnybrains and released two 7"es on Superlux (Lux 001 and 002), a label started and run by Matt Valentine, Helen Rush, and Pat. In 1995, Pat also released "Book of Rayguns" (Lux 005) on Superlux, which is P.G. Six's formal debut. This 7" is a Branca-esque piece of concert music for the electric guitar performed with Tom Keller and P.G. Six. At one point in its development, Pat had twelve guitarists rehearsing in the basement of SUNY Purchase Music Division. The Superlux 7" features an edited version of this larger concept and composition.
Parlor Tricks and Porch Favorites is a continuation of P.G. Six's development.
Pat has also played with one of his musical heroes, Robin Williamson of the Incredible String Band. The influence of Williamson is clear throughout
Parlor Tricks and Porch Favorites especially on the Pentangle-inspired "When I Was a Young Man" with its echoes of Irish and Scottish folk music. P.G. Six covers Anne Briggs' "Go Your Way" as well. P.G. Six also shares a strong connection to folk instrumental virtuosos like Sandy Bull and John Fahey especially on "The Divine Invasion" and "Unteleported Man." The bluesy sound of the American Christian backwoods is evident on the "The Shepherd." Like most American art forms, the record has experimental flourishes and, in this case, Pat references minimalist theory, on the drone epigraph/epilogue "Letter to Lilli St Cyr" and free improvisational playing on "Quiet Fan for SK." "The Fallen Leaves That Jewel the Ground" is clear P.G. Six, melding the harpsichord-like sounds of a wire-strung harp and electronic drone.
Tim Barnes mixed
Parlor Tricks and Porch Favorites and lends a hand on percussion. Tim is the percussionist for Jim O'Rourke, Tower Recordings, and has most recently made great musical contributions as an archivist of sixties Ludlow Street legend/Velvet Underground percussionist Angus Maclise with his Quakebasket series. The beautiful artwork on the CD references everything from Marie Curie to Native American culture and was done by Chris Krol and Steve Gubler.
In his various musical incarnations, Pat has shared the stage with the aforementioned Robin Williamson, To Live and Shave in L.A., Alan Licht, Tony Conrad, Tono-Bungay, Bert Jansch, the Shadow Ring, and others. Live shows of P.G. Six include an amazing set at Tonic on June 11, 2000, which featured an interactive performance between P.G. and the audience highlighted by an extended drone of a hundred harmonicas on top of which Pat improvised. This kind of performance reflects Pat's musical inclinations, combining the traditional with the avant-garde.
Christina Carter http://www.southern.com/southern/band/CARCH/biog.php Christina Carter first joined Tom Carter and Kyle Silfer in an unnamed trio in 1991; they went on to become a duo called Charalambides. Charalambides is a singular entity that has constantly defined itself by gripping music and its operation outside the parameters of the music industry. Beginning with self-released cassettes, then moving on to the Siltbreeze label in 1993, Charalambides garnered attention from those in the know with their unique mix of noise, gospel, folk, and blues. Jon Dale wrote in Signal to Noise that "For more than a decade, the trio have continually re-defined an attitude towards music-making that's about capturing the emotional and spiritual intensities of the moment, working from within skeletal song-forms and expanding outward through improvisational tactics and psychedelic sound-mapping to reach an ideosyncratic space of pure heart-to-heart communication. "
Operating their own label, Wholly Other, Tom and Christina Carter have released music by themselves and Charalambides as well as friends' bands and collaborative efforts. Wholly Other utilizes short-run CDR releases to capture the spontaneity of live and improvised music-making and to keep inventory at a minimum and flexibilty at a maximum. In Christina's words: "We developed the belief that it is a good thing to know how to take care of things yourself, take initiative, know the whole process from beginning to end...In our minds the short runs weren't so short. When we were gettings CDs and CDRs made for us by an outside manufacturing place we were making enough to sell through in a good amount of time. Then we could move on to the next release without having a bunch of extra copies sitting around."
Alongside Charalambides, Christina formed the duo Scorces with Heather Leigh Murray, and by 2000 Murray had joined Charalambides for a tour and eventually a series of recordings that would culminate in the Joy Shapes album released by Kranky in spring 2004. By this time, Christina had worked on numerous solo recordings, using guitar and voice recorded in the simplest manner possible.
Living Contact is a compendium of those self-recordings made between breaks in Charalambides activity. Originally released in an edition of 100 CDRs by Wholly Other, this stunning recording is being released by Kranky as a part of a Charalambides reissue program, including to date Tom Carter's
Monument CD and the Charalambides
Unknown Spin album.
Living Contact is more than a history lesson or an exercise to see what happens when Christina is subtracted from the group setting. The acoustic guitar playing and singing stand on their own as riveting music. Placed directly in front of the listener, this music stands on its own.
Christina Carter (who now uses Madonia as her surname) and Tom Carter are no longer married and live on the east and west coasts of the USA, respectively. Heather Leigh Murray is living in Scotland. Charalambides continues as the duo of Christina and Tom and the group will be playing and recording together in the future.
Christina's plans for late 2004 and early 2005 include a European tour with Black Forest/Black Sea, a CDR on the Irish Deserted Village label, a cassette release on the Finnish Invited Out imprint, a split release with the Italian band My Cat Is an Alien and books of poetry on Slow Toe Press from Cleveland and a self-released book of poetry called Many Breaths.
Max Ochs http://www.tompkinssquare.com/max.html Max Ochs was featured on the very first Takoma Records compilation,
Contemporary Guitar, Spring '67, and has since been criminally unrecorded. He was born in Baltimore, is Phil Ochs' cousin, was responsible for turning Robbie Basho on to folk music, and played in the seminal, if obscure, ESP raga band Seventh Sons. Admittedly enamored with Pete Seeger, Ochs until recently operated Annapolis' 333 Coffeehouse, where he occasionally performed. This is, incredibly, only his second DC appearance in years (the first was at 611 last fall). More information on Max can be found in this interview:
http://www.bayweekly.com/year04/issuexii12/lifexii12.html Shawn David McMillen http://emperorjones.com/mcmillen.html Bowed bass and metal, Indian goat bells, analog synth, a rusty old autoharp, amplified springs, and an abundance of guitars were used to create this acid folk masterpiece. The final lengthy track ("Quintannaâ??s Head Dress") was recorded live at 3am in a hot living room with BC Smith (Iron Kite, Ethereal Planes Indian) and Matt Martinez (The Friday Group). McMillen is formerly of Galveston's Ash Castles on the Ghost Coast and currently sweats and staggers in Iron Kite and Rubble. Blackened audiophile vinyl is housed in a heavy chipboard jacket featuring an eye-blistering drawing by the artist.
Shawn David McMillen is one of many under-acknowledged presences from a Texas psychedelic music scene most notable for spawning Charalambides. McMillen has crossed paths with several members of said outfit, forming Ash Castles on the Ghost Coast with Heather Leigh Murray (now of Taurpis Tula) and playing in The Friday Group with Tom Carter; he is also a member of Rubble and Iron Kite.
Catfish is McMillen's debut solo album and it shares the peculiar sense of temporal and topographical resonance that exemplifies the soporific, glazed music created by artists from Texas. Through their music references psychedelia (a notionally 'placeless' aesthetic), there is something very specific about the manifestations of place and space in Texas psych.
Pieces like "Neon" and "The Lawn" are easy to pin down, with McMillen gingerly strumming curving folk phrases from his acoustic guitar, shading in nighttime detail with percussion and electronics. McMillen lets bowed bells ring out over the filigree melancholy of "The Lawn," while on "Old Bullets" he scratches high tones from an old autoharp and slowly disassembles the guitar's tonality with the help of a sloppy slide. The extended "Quintanna's Head Dress" is the highlight of the record. The beatific grace of the opening moments recalls ritual movement, unravelling all kinds of clattering sound sources before resolving to an elegant drone.
Catfish's foggy otherness recalls the blasted contents of unravelled private-press documents or the extended sprawls found on 1990s underground titles from labels like Majora. (Jon Dale, The Wire, Jan. 2006)
Fern Knight http://www.fernknight.com/ FERN KNIGHT from Philadelphia, PA is an ensemble with an ever-changing lineup, fronted by guitarist/cellist and singer Margaret Wienk, who creates delicate, organic acoustic songs orchestrated by layers of accordion/harmonium /electronics drones, pysch-tinged strings, canonic vocals, harp, bells, percussion, and singing saw. The resulting sound is a mixture of experimental acid-folk and baroque-pop, with influences ranging from Marc Bolan to Vashti Bunyan to Ennio Morricone. The music of Fern Knight is a tasteful wedding of medieval/minimalist sensibilities a la Arvo Part with mystical Murakami-esque lyricisms, and, if you choose to follow, will lead you on a faerie-folk romp through otherworldly dark woodlands.
Wienk has been known to lend her acid-cello and upright bass playing skills and voice to other neo-psych contemporaries Greg Weeks, Espers, In Gowan Ring, and Alec K. Redfearn and the Eyesores. Her second full-length
Music for Witches and Alchemists was recorded at Hexham Head July 2005 with Greg Weeks at the helm, due for release in 2006. The latest CD EP
Blithewold contains covers by Nico and Donovan, as well as an original and some interpretations of songs from soundtracks, such as Morriconeâ??s theme from Dario Argentoâ??s 1969 "The Bird with the Crystal Plumage."
Dan Higgs http://www.dischord.com/bands/lungfish.shtml Daniel Higgs is the singer for the band Lungfish and is an absolute modern day shaman. His presence in person and on stage is absolutely mesmerizing. In another time he would have ruled the world, or been burned at the stake, or had his own cult. But instead, he has carved out a wholly unique musical niche. In Lungfish, his stream of conciousness vocals, add a distinctly spiritual quality to Lungfish's droning repetetive caveman krautrock jams. On this here solo record, Higgs weaves a buzzing melodic otherworld, all from the sounds of a single Jews Harp. Those of you not familiar with the instrument, it's a small loop of steel with a thin strip of metal in the middle. The player plucks the strip of steel making it vibrate, and uses the shape of their mouth and position of their lips to change the tone and timbre. Same sort of method for the the 'talk box.' The results here are divine, droning, alien buzzing rhythms, slowly shifting and stuttering, with strange overtones drifting and colliding, before slipping into vibrating harmony. Imagine a sitar run through a metal digeridoo, held up against your mouth so you could sort of 'vocalise' the notes. Weird and so wonderful.
The Big Huge http://www.thebighuge.org/ Brought up on American folk and British psychedelic pop music, The Big Huge wears its influence on its sleeve, while being sure not to recreate the past. After the split of Sonna, a Baltimore-based ambient instrumental group, The Big Huge (Drew Nelson) decided to revert back to his love of acoustic instrumentation. After a few solo shows, he decided to recruit a fellow Baltimore-based musician, Michael Lambright, to help with accordion, ukelele, glockenspiel, and banjo. After a year of shows in Baltimore and the east coast, Drew and Michael began recording their first LP,
Crown Your Head With Flowers, Crown Your Heart With Joy. Recorded by Chris Freeland and Drew in Chrisâ?? parentsâ?? living room, the record has a summer vibe with lyrics harking back to a time of Welsh communes during the summer of love.
RIYL: early Incredible String Band, Donovan, Vashti Bunyan, Pentangle, etc.
Lida Husik http://www.lidahusik.net/ "Lida Husik's voice is in the cosmos, soaring, melting, and turning tricks on your ears and soul..." (Vice)
"..shimmery layers of ethereal sound mixed with Husik's intimate vocals, which dip and soar according to the song's mood." (Rolling Stone)
Singer/songwriter Lida Husik's music has shifted several times since she began recording in the early '90s. Starting with 1991's
Bozo, she recorded three albums for one of New York's most prominent independent labels, Shimmy Disc. Husik played all the instruments except drums on these albums, which also include 1992's
Your Bag and the following year's
Red Emma. Though these early works focused on Husik's ethereal, psychedelic indie-pop, she also experimented with dance beats and samples, elements she explored further after signing a joint deal with Caroline Records and its electronica imprint Astralwerks in 1994.
The Caroline-released Joyride was the first fruit of Husik's new contract and followed the pattern of her previous albums, but 1996's
Green Blue Fire (released on Astralwerks) featured trip-hop beats, ambient textures, and breakbeats, along with her smooth vocals and guitar. Her collaboration with Beaumont Hannant of Outcast Productions facilitated this artistic shift; her appearances on his album
Sculptured and on the EP
An Evening at the Grange cemented their artistic relationship before they worked on
Green Blue Fire.
The following year, Husik moved from New York City to the L.A. area and signed with Alias Records, who released the more pop-oriented
Fly Stereophonic as well as 1998's Husik/Hannant collaboration
Faith in Space. After moving to Washington DC, Husik released
Mad Flavor in 1999, which featured Husik handling sampling and programming duties. (All Music Guide)
Neg-Fi http://www.myspace.com/negfi "In the '50s, a time of postwar optimism and faith in science, there was Hi-Fi. In the '90s, an era of slackers and diminished expectations, there was Lo-Fi. In the '00s, a time of neanderthal government and outright contempt for the arts, there is Neg-Fi. A watershed moment in the history of art and music -- some might say sub-nadir... " (Tom Moody, art guy)
"One very memorable one for me was a presentation by a group named Neg-Fi, and it was great because I forget who was on either side of them but it was some fairly high-tech sophisticated stuff, and what they brought in were these little cardboard boxes they had assembled that sort of crackled if you plugged something into them. And their band is named Neg-Fi, which is a pretty great name. So they just put these little boxes on the table and sat behind it and it was very stark and they were very kind of serious and they made these little crackles and they were being serious on purpose because it was funny." (Douglas Repetto, founder of Dorkbot and Artbot, in an interview in WIRED NEWS)
anti:clockwise http://www.tensionheadache.org/anticlockwise.htm The solo project of Brooklyn's Robert Dennis, who plays guitar in improv/psych band Tono-Bungay (Twisted Village Records). anti:clockwise has been described as "solo/improv/ambient/with-garage-damage/and turntable audio collage", and based on listening to
Rewatching (Parallelism), I'd say that captures the essence. Live, Dennis plays guitar and turntables and the direction the pieces take are unpredictable and spontaneous, veering from dub to noise to mellow, ambient tones.
"Collage is also the operative key for Tono-Bungay member Robert Dennis, in his solo guise of anti:clockwise. His new recording,
Rewatching (Parallelism), is a trio of lengthy dense electronic improvisations that have more in common with early '80s British industrial music (think Throbbing Gristle and Cabaret Voltaire) than with contemporary electronic strains. Dennis conjures up a shuddering load of post-media overkill and saturation; the buzz of late-night television, overheard snatches of music and conversation, wriggling electric guitar runs, and a low-tech buzzing undercurrent all combine to make a work which strikes the solar plexus like a dull thud. If this is the sound of the city, then perhaps a vacation is in order."
Aswara http://www.smcm.edu/users/aastout/deathchants/ DC-area freak folk quartet explain themselves as follows: "DEATH CHANTS WAS BORN FROM THE RIME OF GINNUNGAGAP AND NOW WALKS ABROAD THRASHING TROLL WIVES AND CHANNELING THE NUMINOUS KNOWLEDGE OF THE COSMOS THROUGH CORPSE-HEAP WOLF-SONG!! METAL AND WOOD CALLERS IN VOICE-MESH COMMUNION BEYOND THE BOUNDS OF ALL FORETHOUGHT!!!!" Those who attended the 2005 Free Folk Phantasmagory at 611 Florida will fondly recall their expansive "guerrilla" set in the bombed-out backyard. CDR description from Time Lag records:
"Gorgeous new full-length disc from these newborn sonic voyagers, and their best stuff yet...all the finest elements of the band's two self-released cassettes,
Natural History &
Moss Master, lifted ever higher by added electricity and some slight distillation...flickering neon smoke rings of sound dissolving into the atmosphere...alternating melancholy/ecstatic vibes with raga-esque acoustic guitars, chiming electric guitars, slippery liquid flute, harmonium, sparse percussion, blissed female/male vocal bits, low level bass drone, kosmic synth tickles and damaged tape warble, plus one beauty of a "song"...the kind of smoked-out bedroom cult, eyes to the ceiling, home-fi psychedelia we just can't get enough of..." (Time Lag)
Kohoutek http://www.claviusproductions.org/kohoutek/ "Kohoutek followed and I had not had to the chance to check out the band beforehand so I was going into this pretty blind. The set started to some pretty interesting guitar and bass textures with some electronics thrown in. It was soon obvious that the band was doing so pretty average, and uninspired, post rock with the only difference being some electronic "noise", badly done at that. As they chugged along their very long songs, I was getting increasingly bored and wanted to get out. Fortunately they did not play too long and moved along as Bardo Pond was coming up fairly soon." (some dude in Montreal)
