Clavius Productions presents:
Saturday, December 2
611 Florida Ave NW WDC
http:www/claviusproductions.org
9pm, $5 suggested donation
202-360-9739 for more info
BYOB!
Peter Wright (New Zealand folk/psych/drone, Last Visible Dog)
Antony Milton (New Zealand psych/noise, mem. of The Nether Dawn/Mrtyu, Last Visible Dog/Jewelled Antler)
Insect Factory (DC improv drone)
Callers (psych/folk duo out of New Orleans/Providence from Missouri/Arkansas)
Peter Wright http://www.distantbombs.com/ New Zealand's Peter Wright has invested a significant chunk of the last 20 years
investigating ways of deconstructing the guitar, from avant-pop and semi-industrial grooves in the 1990s with the kRkRkRk label in his home town of Christchurch, to experimental soundscaping, semi-acoustic drones, and miniature sound poems. Wright's instrumental musings have a lyrical, poetic quality, like a half-formed memory flickering out a distant signal from damaged synapses. In his rare live appearances Wright utilises a combination of field recordings and found sound along with an open-tuned 12-string
electric guitar to improvise his way down a hidden path into an aural world inhabited by both familiar and distinctly alien spirits. The primitive musical forms that result seem deeply personal and intimate, as if you stumbled upon a private ceremony, and yet in spite feeling you are an intruder, you cannot pull away. He has released recordings on Celebrate Psi Phenomenon, Pseudoarcana, Last Visible Dog, and Digitalis.
Antony Milton http://www.pseudoarcana.com/ New Zealander Antony Milton has been making records, exhibiting sound installations and
performing live under various nom de plumes (A.M, The Nether Dawn, Paintings of Windows, Mrtyu, etc.) since the early 1990s. In his work, Milton investigates the ways in which place and presence function within the representational realm of recorded sound. With releases on underground labels such as Last Visible Dog, Jewelled Antler, and Celebrate Psi Phenomenon, Milton's work is situated at some weird junction between
electroacoustic composition, folk music, and the more psychedelic end of the noise spectrum. Using predominantly analog sources (tape loops, field recordings, amplified resonant objects, voice and guitar) Milton's performances have a high degree of intimacy and commonly range from the gestural and nuanced through to the visceral and ecstatic.
Insect Factory http://www.myspace.com/insectfactory Solo microscopic ambient guitar drone infleunced and inspired by the likes of Terry Riley, Steve Reich, Fripp/Eno, John Fahey, and Coltrane. Hypnotic layers of drone textures. Like licking the sweat off of Pandit Pran Nath's nutsack, but in slow motion.
Callers http://callerstheband.org/weare.php http://www.myspace.com/callers Sara Lucas and Ryan Seaton churn out five melancholy, unsettling songs from this New Orleans-to-Providence duo. Acoustic guitars and amazing jazz-influenced vocals, like Ella Fitzgerald, Portishead, and Rumbleseat at a campout together when the flashlight goes out. Ryan was in Halo Perfecto and Rainy Day Regatta too!
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and also, Electric Possible presents:
Sunday, December 3
George Washington University
Phillips Hall, 801 22nd St NW
Rm B120 (in the basement)
(22nd and H Streets/GW Metro)
http://www.electricpossible.org $5, 8pm, all ages!
Geoff Mullen (Last Visible Dog)
Black Hand (Providence solo folk/psych)
Facemat (DC improv noise)
Ultimate VAG (DC guitar/drums duo, mem. of To Live and Shave in L.A./Kohoutek)
Geoff Mullen http://www.lastvisibledog.com/096.htm The Wire's new superstar, Geoff Mullen, is nothing new to us. Here in Providence he's a staple at nearly any show worth seeing, but instead of developing a solid roster of standards, every night it is something different, he's trying something new that nobody has tried before (or at least that he hasn't tried before). LVD was proud to share Geoff Mullen with the world on our 6CD
Invisible Pyramid comp, which was shortly followed by a full-length CD on Entschuldige, which has already received much acclaim.
This second full-length CD shows Mullen working in much the same way he does live, namely,
The Air in Pieces is a completely different side of Mullen than the one we hear on his first CD and the compilation. Comparisons come in two forms: It is easy to think of the Neil Young that wrote the Dead Man soundtrack, just as it is easy to think of Keiji Haino in pure guitar exploration mode (those darker Fushitsusha moments), but it isn't musicians one thinks of when they listen to
The Air in Pieces. Instead come vacant worlds, glaciers and the near frozen ecosystems underneath them, endless skylines and silence save the sound of your own breath.
If there is a soundtrack to that perfect, beautiful isolation, Mullen's efforts here seem right on the mark.
