Author Topic: Warehouse Next Door  (Read 80137 times)

shoot ur shot

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Re: Warehouse Next Door
« Reply #15 on: February 28, 2005, 02:50:00 pm »
circle takes the square always play with a lot of passion and it really transfers to record too. I hate to use the dreaded term noisecore, but for my money they are the best ones doing it. I'm not too familiar with the other bands but it should be a sick show.
 
 Snailhook,
 I read on dusted that Double Leopards, Mouthus & Axolotl are touring in March.. any chance you'll be booking this here? I think Double Leopards are fucking great (one of the highlights for me at noise against fascism as well) and I've liked pretty much everything I've heard from Mouthus up to this point but have yet to see them live. Also.. Afrirampo is touring the US in June.. Id be pretty stoked if this came through DC!

snailhook

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Re: Warehouse Next Door
« Reply #16 on: February 28, 2005, 03:26:00 pm »
Quote
I read on dusted that Double Leopards, Mouthus & Axolotl are touring in March.. any chance you'll be booking this here?
axolotl is going back to the west coast today, but will probably be back in the fall. i talked to them when they played tarantula hill and they definitely want to play DC next time around. i have also been talking to mouthus and those guys want to come down here soon. in fact, i just scored richard bishop of the sun city girls for a house show in may and i'm gonna ask mouthus if they want to come down and play that. no word from double leopards. most of these bands are better suited for 611 florida than the warehouse.

snailhook

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Re: Warehouse Next Door
« Reply #17 on: February 28, 2005, 03:51:00 pm »
If you have not come to enjoy the guitar and synth drone duo that is The Angus Brainpan, hit 'DELETE' now.
 
 If you have become enamored of their buzzsaw lull, or wish to experience it for the first time, proceed directly to:
 
 THE WAREHOUSE NEXT DOOR
 1017 7th St NW
 Washington DC
 on Tuesday, March 1
 at 9pm
 
 Pay $5 to gain entrance, visit the bar or the coffeehouse next door, won't you?
 
 OPENERS:
 The Amoeba Men (Richmond, mem. of Suppression)
 The Angus Brainpan (DC, mem. of Northern Machine)
 
 THE HEADLINERS:
 (((Microwaves))) (Pittsburgh, mem. of Don Caballero/Creta Bourzia)
 
 The Amoeba Men may be heard here:  http://www.cnprecords.com/the_amoeba_men.htm
 
 3 men with mutating abilities and huge record collections dive headfirst into a wood chipper and attempt to reassemble, dissect, and rearrange their flesh, blood, and bone pieces into endless musical experiments...sometimes very dance-friendly, sometimes horribly monstrous. Driving, thick, distorted, rhythm section (formerly of KOJAK fame) with sharp, angular and/or all-over-the-place guitars (ex-SEVEN HEARTS). Crazy vocals too.  FUCK YEAH!!!
 
 Read all about The Microwaves at
 http://www.surefiredistribution.com/cgi-bin/showdescription.pl?catno=CT7
 
 and
 
 http://www.pittsburghpulp.com/content/2004/05_27/arts_live.shtml
 
 Because no other band generates the sound that (((Microwaves))) do. Early live shows and their previous release (the Professional Systems Overload CDEP, released on Cenotaph Audio) hinted at a taut, noisy post-punk sound akin to bands like Devo, Chrome, Dimension Hatross-era Voivod, and MX-80. But with System 2, the band overhauls this sound to integrate with the imposing Technopolis it's been living in the shadow of for so long. Unrelenting rhythms and heavily processed guitar and bass shift (((Microwaves))) into overdrive and shake their songs to their firmament. The noise these guys generate hearkens back to the first wave of aggressive, non-metal rock of the late 80s/early 90s (Unsane, most of the AmRep roster, Dazzling Killmen, etc.) and ups the ante by adding levels of John Carpenter-esque tension that no band before or since has been able to match. Cinematic flourishes of Carpenter's scores and the music of Italian prog-horror outfit Goblin can be heard bubbling to the surface all throughout System II, stirring the chaos even further (no surprise as Moore moonlights in prog-horror kings Zombi).
 
 The Angus Brainpan remains without a website or release of any kind.  You are encouraged to absorb the tones directly in the presence of the performers.
 
 Thanks for reading this far.  See you there?

snailhook

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Re: Warehouse Next Door
« Reply #18 on: March 03, 2005, 10:01:00 pm »
sunday, a trio of up-and-coming stoner rock bands doing their own thing: nitroseed jams boogie rock by way of doom and math-rock, valkyrie plays dual-guitar epic metal with anthemic vocals, and eldemur krimm creates dark, heavy soundtracks to horror/sci-fi literature. fans of clutch, sabbath, and maiden will find much to like here.
 
 Sunday, March 6
 $6, all ages
 doors at 8:30, show at 9:15
 
 Nitroseed (MD instrumental stoner/doom, mem. of Earthride, ex-Spirit Caravan)
 Valkyrie (from Harrisonburg VA, psych-tinged NWOBHM)
 Eldemur Krimm (stoner metal from Maine, like Mountain on crack!)
 
 Valkyrie
 
 "According to Norse mythology, VALKYRIE were Odin‚??s angels of death, flying over him during battle, sending fallen heroes to Valhalla. Once in Valhalla, they served the chosen heroes unlimited wine and meat.
 
 Well, the VALKYRIE have risen again; only this time, they are serving us with some great SABBATH inspired groove metal. "Sunlight Shines" is a three-track EP from the band. The last author, from the dogsite to do a review on this band, (for their first demo) The Dutchman, was very impressed with the band's sound. However, the production was a bit on the nonexistent side of things. While the production on this EP is not perfect, it easily passes, which really allows one to appreciate the music for what it is.
 
 The first track, "Endless Crusade," begins with a dreamy, almost melancholic guitar lead before kicking into a bass-driven, uplifting riff and subsequent chorus. The song continues to alternate from dreamy to charging, and for the most part, really gets my head nodding in approval.
 
 The second track, "Lost in the Darkness," kicks in immediately with some dirty heavy metal guitar riffing. Soaring above the noise is Pete Adam‚??s vocals, which are quite clean in a traditional heavy metal way. These vocals and the filth of the guitar provide a great contrast and a great sound. The song ends with an extended instrumental jam that comes off really well.
 
 The final song on the EP, begins as a sprawling doom feast. The song hits a catchy riff that is very reminiscent of one played by Mr. Iommi back in the mid-'70s. The song then explodes into a jam of twin guitar soling, catchy bass lines and a driving drumbeat packed with some great fills. It is a fine way to end the CD.
 
 "Sunlight Shines" is a great EP, containing three great tracks. My only problem is that there is not enough of it. Maybe the production could be improved a little, especially on the vocals. If you are a lover of metal or rock, this is an EP that would please your ears, get your hands on it, and if you are not...well...what the hell are you doing here?" (Peace Dog Man)
 
 Eldemur Krimm
 
 "Their brand of fantastical rock could have served as a soundtrack to H.P. Lovecraft's well documented nightmares."
 
 "From Maine comes Eldemur Krimm, a four-piece band that shares a similar sound to neighbors Scissorfight and with some of the quirks of Clutch, but with less aggression than the former and more of a feel for ‚??70s southern roots rock, tempered occasionally with jazz-like playing.
 
 The album starts with ‚??Elephant Gun,‚?Ě a fast tempo rocker that highlights the band‚??s strengths ‚??- strong playing throughout (check out some of Jason Marshall‚??s bass licks), the John Fogarty-ish vocals of singer/guitarist Fred Dodge, and bluesy solos. It‚??s easily the strongest song. Eldemur Krimm have a seemingly natural knack for songwriting, which also shows on tracks like "Black Fog," "Chopper," and "Alabaster."(Fuzzrock)

snailhook

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Re: Warehouse Next Door
« Reply #19 on: March 09, 2005, 06:50:00 pm »
Texas psych legend -- and Roky Erickson cohort -- George Kinney will be making a very exclusive appearance in the DC area.  For 13th Floor Elevators fans, this is an event not to be missed!
 
 ++++++++++++++++++++++++++++++
 Friday, March 11
 Warehouse Next Door
 doors at 9pm / $7
 ++++++++++++++++++++++++++++++
 
 GEORGE KINNEY (The Golden Dawn)
 BRANDON BUTLER (ex-Canyon)
 PAGODA (mem. of Shortstack)
 
 ++++++++++++++++++++++++++++++
 
   http://www.pagodamusic.net  
   http://www.brandonbutler.net  
   http://www.georgekinney.com  
 
 ++++++++++++++++++++++++++++++
 
 GEORGE KINNEY
 Texas musician George Kinney will be appearing in Washington, Richmond, and Baltimore this weekend for an evening of storytelling and original music. He is a 2005 Texas Music Hall of Fame Nominee and also the creative force behind The Golden Dawn, who released the album Power Plant in 1968 on the legendary International Artists recording label out of Houston. He is a childhood friend of Roky Erickson and Roky has been often quoted as saying that Power Plant was the best album ever produced by International Artists.
 
 In the early 1970s, Kinney formed Pyramid Publishing Co. and published Erickson's first edition of "Openers". The manuscripts were smuggled out of the Maximum Security Ward at Rusk State Mental Institute for the Criminally Insane
 (where Erickson was incarcerated on a minor marijuana charge) by Kinney, in his boot, to avoid detection and possible confiscation.
 
 In 1973, Kinney headed for Nashville and bought a house at the very spot where his car broke down. There, he was introduced to the legendary Johnny Cash, who was so impressed with his singing that he was given the lead part in a musical documentary being produced by Cash. For the past thirty years to the present, Kinney's musical appearances have been almost exclusively reserved for Terry Boothe's campfire concerts at his south Texas ranch in Bee Cave. In 1999, Kinney was persuaded to go back into the studio and the result was the critically acclaimed album After The Fall.
 
 In 2001, Kinney reformed the Golden Dawn with several original members and added guitar wizard Jerry Lightfoot. In the Spring of 2004, the band toured the US. The result of the tour is an excellent live recording, The Legend of the Dawn, available now from Freedom Records, a component of the Texas Music Round Up, based in Austin.
 
 +++++++++++++++++++++++++
 
 BRANDON BUTLER
 The name Brandon Butler may not be familiar, but any fan of indie-rock and emo probably is aware of Butler's previous projects. He fronted one of the most overlooked emo bands of the mid- to late-90s, Boys Life, which produced two of the finest albums in the vein of Christie Front Drive and Mineral. One album with his next project, Farewell Bend, showed a more hooky indie-rock style with those same emo leanings. Then Butler disappeared for a while, re-emerging with his project Canyon, on which his unique vocal styles took a more country- and folk-based rock sound. Now Butler has released his first album under his own name, and Killer on the Road shows a mature, strong songwriter with an extremely unique voice.
 
 Butler's joined on this album by cellist and pianist Amy Domingues, who adds a lovely and lighter accompaniment to his guitar and voice, and the production by Fugazi veteran Brendan Canty (with Butler) maintains a raw style that fits
 the songs perfectly. Butler has a raw, whiskey-soaked voice an octave or so higher than one might expect, and while it may have sounded out of place to some in his earlier rock offerings, it fits here nicely. He has a country-esque twang that doesn't sound at all forced, and the soft acoustic tracks speak of a harsh Midwestern life.
 
 The title track kicks things off, with the cello adding a dark and sweet touch to this standout song. The country style of guitar on "First Day" feels more akin to Butler's Canyon work, while there's some nice studio effects to provide an echoey quality to the quiet "Throwing Roses." The stark "Sixty Stitches" is an especially moving storytelling track, and the closing "True Believer" sounds like Butler was perhaps recording the song live in a large space, the echoes of his softly plucked strings tinkling in the background, his voice stark and prominent.
 
 The more upbeat "Sparks" finds Butler providing both melody and rhythm through his stellar and often beautiful guitar playing. The rock-n-rolling "Next Time" is another fun, upbeat tracks, with some rhythm and what sounds like mandolin adding a nice touch to the song. Butler adds a few recording moments into the powerful "Surrounded By Flowers," which adds some rich piano and feels
 like a more enveloping song.
 
 Butler's voice and style reminds me of Lucero frontman Ben Nichols. For singer/songwriter fare, it definitely leans toward the country side of things, but the songs here evoke the rich songwriting style of Neil Young more than Willie Nelson, and Butler pulls it off as if he's lived a hundred years, his raw voice and stark style proving it. This is a stellar album, and it's far and away better, in my opinion, than the Canyon albums that seemed to lead Butler in this direction. (Jeff Marsh - Delusions of Adequacy)
 
 +++++++++++++++++++++++++++
 
 PAGODA
 Pagoda is a four-piece band from the Washington DC area that began when Ben Licciardi persuaded some friends to help him record songs for Lazyline Records. DC paradiddle champion Kevin O‚??Meara tackled drums and vibraphone. Old friend and long-time musical co-conspirator Raj Gadhia helped write lyrics and later took on bass and keyboard duties. College cohort and Merle Travis aficionado
 Adrian Carroll played electric guitar while members of his country quartet, Shortstack, lent a hand with stand-up bass and lap steel. Ben played guitar, keyboard, and sang.
 
 Starting in mid-2002 the boys jumped back and forth between a local studio and Ben‚??s apartment, hard at work crafting melodies and cobbling together ideas. What had begun as a sort of solo project quickly expanded into a collaborative
 effort. Together they constructed a group of songs that would make up their debut album, Dearly Departed. The music, inspired by the likes of the Clean, Yo La Tengo, and Big Star is catchy, moody, and melodically rich.
 
 The group and its line-up continue to evolve. Kevin recently decided to overcome his punishing bicycle-crashing fetish and focus his energies on school. This meant leaving the band unfortunately, and they are breaking in his successor Elmer Sharp. Despite the transformations, Pagoda remains focused on creating good tunes, eating more potted meat, and working on a new invention called the
 computer.

snailhook

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Re: Warehouse Next Door
« Reply #20 on: March 09, 2005, 07:22:00 pm »
VICE, PLANARIA, and WAREHOUSE NEXT DOOR present...
 ++++++++++++++++++++++++++++
 SATURDAY, MARCH 12 at Warehouse Next Door
 9pm / $7
 ++++++++++++++++++++++++++++
 
 PANTHERS
 TURING MACHINE
 PARTS & LABOR
 
 ++++++++++++++++++++++++++++
 more info
 ++++++++++++++++++++++++++++
 
 PARTS & LABOR
 "Parts & Labor are an exciting prospect, drone rock that's as much rock as drone...this is an intriguing, challenging album and an excellent introduction to two artists full of great ideas." (Joe Tangari, Pitchfork)
 ++++++++++++++++++++++++++++
 
 TURING MACHINE
 Formed after the demise of Justin Cherno (guitar) and Scott Desimon's (bass) previous skronk outfit, DC's noise punks, Pitchblende. Pitchblende released three albums and a boatload of seven-inches for of-the-moment labels like Cargo, Matador, and Jade Tree. After relocating to NYC, Cherno and Desimon teamed up with drummer Gerard Fuchs (previously of ex-Bitch Magnet guitar god Jon Fine's time-signature-obsessed outfit, Vineland). Named after the obscure English
 theroitician Alan Turing's abstract machine used in complexity theory and computation theory, Turing Machine do indeed deliver with precise and
 appropriately complex music.
 
 Brought together by their common background in noise/experimentation and a mutual love for esoteric Krautrock and psychedelic music the members of Turing Machine, Desimon, Fuchs and Chearno began playing together solely for a good
 time, but rock and roll habits die hard. As their ideas progressed they began to search for a singer to participate in the project (an early quartet version of the band featured Matador Records founder Gerard Cosloy on 2nd guitar). After 2+ years of miserable auditions, lost friends and unreturned phone calls, it became increasingly obvious that they weren't going to find a vocalist and the decision was made to continue as an instrumental trio. With the vocal burden lifted the music began to take a turn away from the strict math rock structures of their previous combos and headed toward more fluid, percussion driven sound reflecting German avant-gardists like Can and Neu! as well as English art school rockers This Heat.
 
 Turing Machine's DFA produced debut, "A New Machine for Living" ended up in heavy rotation as soundtrack music to two seasons of MTV's The Real World and several skateboarding and BMX videos, and the band found themselves opening for Interpol, The Faint, Don Cabellero, Jets to Brazil, and The Champs, among others.
 
 After three years of on/off playing, the band headed into the Bridgeport CT's Tarquin Studios in October 2003 with engineer Steve Revitte (Yeah Yeah Yeahs, Liars, and Chearno's other outfit, Panthers). Again, the band set up and tracked the record live, playing the 10-minute-plus compositions in their entirety, but this time they added multi-instrument overdubs to flesh out the sound on their own. Just as the band finished tracking the record Desimon relocated to London for a year as his fianc√©e completed her graduate studies overseas, returning in June of 2004 to mix the record at Gigantic Studios NYC with Chris Zane (Calla, Les Savy Fav, Inouk).
 ++++++++++++++++++++++++++++++++++++++++++++++++++
 
 PANTHERS are not the band you've read about. Despite attempts by critics to link the group to John Sinclair's White Panther movement, the Black Panther party, and even that smarmy pink insulation peddler, with Things Are Strange the Brooklyn quintet earns the right to possess a name without bringing outside buzzwords into the discussion.
 
 On their first full-length since 2000's Are You Down?? (Troubleman Unlimited), Panthers continue mining the dense David Yow machinations of last year's propulsive Let's Get Serious EP (Dim Mak) -- but after dosing on Magma, Swans, Hawkwind, Pink Floyd, Ash Ra Temple, and other agents of the baroque they've emerged with a bit of King Crimson clinging to their Jesus Lizard.
 
 Recorded over ten days with Theory of Ruin's Alex Newport (Melvins, At The Drive In, The Locust) in relative seclusion at the Clubhouse, a converted barn in Rhinebeck, NY, Things Are Strange's nine densely sprawling tracks stretch to just about 50 minutes: single notes turn into swarms; incidental moments unroll and burrow into newer, unexpected movements before dissolving into a
 disorienting pan.
 
 "Since we are all into different music that kind of long heavy psych stuff is really where our Venn diagram overlapped," says vocalist Jayson Green.
 
 To assist in the freak-out, German musician Simon Wojan contributes piano, organ, mellotron, and trumpet. Also beefing-up the atmosphere, Turing Machine drummer Gerhart Fuchs throws down additional percussion and a second kit. All in
 all, it's an intense, almost claustrophobically expansive ride.
 
 The initial blast of the Borbetomagus free jazz of "We Are Louder" is buried by an avalanche of cascading guitars ringing like sheets of ice until the ultra heavy drums initiate a pummeling, the voice's sighs twist into rages, and the dynamic undertow takes the track someplace else entirely (a land that includes some smokin' heavy metal fretwork). A humid biosphere breeds an echoing piano on "If You Were Once Young, Rage." And like the best of early (and hungry) Sonic Youth, "My Commodities Have Been Fetishized" builds itself upon the temporary autonomous zone of an ever-shifting, ringing guitar scrawl foundation. Each guitar line's a trampoline, lifting the song to higher levels until things explode into total rock-out ballistics.
 
 Let's Get Serious' strongest track, "Thank Me with Your Hands," returns with its sexy swagger: David Yow copping a feel from George Michael's "Monkey." It's a warped, multi-layered shouting spree about slang and sleeping: "I was thinking we should sleep in separate beds, but the heat's gone to my head/ Let's get tired at the same time (tonight)." The pick-up line of 2003 makes as much sense in 2004.
 
 Though the hardcore kid on the street still swears by Orchid, the seminal '90s screamo that paired Guy Debord and Born Against, you'd never guess
 vocalist Jayson Green, bassist Geoff Garlock, and drummer Jeff Salane made up 3/4 of that Ebullition crew. Beside that hardcore section of the family tree, the six stringers also have pedigree: Justin Chearno is in Turing Machine and was in Pitchblende (as well as a single turn in Unrest) and Kip Uhlhorn tore it up in The Red Scare. A testament to Panthers' explorations, besides the cheeky song titles, Things Are Strange shares very few similarities with its makers' past
 musical projects.
 
 Well, the text does remains as intelligently dense as ever. Jayson Green characterizes the album on the whole as reading politics/theory through personal experience: "Sexuality, non-monogamy, gentrification, the validity of modern theory as it makes a decisive move into popular culture and as we watch the last major theorists get old and die. It seems that the two things that come up again and again are the difficulty of nontraditional (read: progressive) sexual
 relationships and the confusion and impotence of being a radical post 9-11."
 
 Green continues: "I‚??ve been in a non-monogamous relationship for about 3 years now and so a lot of the record deals with this experience directly.  Just trying to have a relationship that is honest, but exists outside the lines of traditional dating/marriage type relationships. So obviously sex is the big sticking point in all of this, otherwise it would be a record about having a lot
 of good friends."
 
 So Brooklyn's answer to Comets On Fire kicks the political while seducing your girl into shaking her moneymaker. Though they do reside on the hipper side of the East River, musically Panthers stand quite alone in their community. Uhlhorn posits: "We're not dancy enough for the dance people, not garage enough for the garage people." "I guess we are just the Tad of the Brooklyn scene," says Garlock. Green agrees: "We don‚??t have a sibling band out there that we can link ourselves to at this point, but I love a lot of what‚??s going on in Brooklyn so I‚??m glad to add to the pile."
 
 Sharing space on VICE with British working-class rap act The Streets could very well be another detail that sets the band apart from its Brooklyn peers. And in a larger context, will the oldster Orchid fans chaff at some of the magazine's non-P.C. stunts? Green enthuses: "I get excited about the prospect of being on a label that isn‚??t genre specific, that just puts out music it likes. I generally think the magazine tends to be pretty smart, though Gavin‚??s terrible neo-con bullshit needs to go in the dumpster." But he's quick to add: "VICE will officially be the first label that has put out one of my records that actually really likes the band. It‚??s sadly refreshing."
 
 With Things Are Strange, Green and company should have very little trouble converting any remaining haters. Yeah, even the nostalgic hardcore kids armed with Crimethinc sound-bytes and baggy-ass Dickies.

Captain Jack

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Re: Warehouse Next Door
« Reply #21 on: March 10, 2005, 01:33:00 pm »
Panthers are rad; its most certainly "the cool thing" for hardcore kids to talk shit about Panthers, they've put out some damn good records. Last time I saw them, they had a sweet ass lightshow/video loop projected at them, that was rad.

snailhook

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Re: Warehouse Next Door
« Reply #22 on: March 10, 2005, 04:35:00 pm »
i'm pretty stoked to see panthers' progression. i last saw them in 2001 when they were just a good screamo band, a lot like orchid. i am eager to hear this psychedelia they've embraced. turing machine and parts & labor are great, and this will be a solid three-band bill.

snailhook

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Re: Warehouse Next Door
« Reply #23 on: March 10, 2005, 04:40:00 pm »
SUNDAY MARCH 13th
 THE WAREHOUSE THEATER
 1021 7th St. NW
 202.783.3933
 www.warehousetheater.com
 
 ++++++++++++++++++++++++++++++++++++++
 a night of music and film featuring
 ++++++++++++++++++++++++++++++++++++++
 
 FILMS BY BRENT GREEN with live improvised score by Amy Domingues (Garland of Hours), Brandon Butler (Canyon/Boy's Life), Brendan Canty (Fugazi), and Jim Becker (Califone).
 
 The premier of BURN TO SHINE CHICAGO featuring footage of  Wilco, Shellac, Tortoise, Freakwater, The Ponys, Red Eyed Legends, Tight Phantomz, Lonesome Organist, and Pit Er Pat.
 
 And the D.C. premier of DEAD MEADOW's "At Her Open Door" and WEIRD WAR's "Grand Fraud" videos directed by Eric Cheevers and Scott Mueller.
 
 ++++++++++++++++++++++++++++++++++++++
 ONE NIGHT ONLY!
 TWO SHOWINGS OF ALL FILMS / PERFORMANCES
 FIRST SHOW at 7:00pm / $6
 SECOND SHOW at 9:30pm / $6
 +++++++++++++++++++++++++++++++++++++
 
 more information:
 
 +++++++++++++++++++
 BRENT GREEN
 +++++++++++++++++++
 "Hadacol Christmas," "Francis," and "Susa's Red Ears" are three animated short films by Brent Green with a special live improvised score by Amy Domingues (Garland of Hours), Brandon Butler (Canyon/Boy's Life), Brendan Canty (Fugazi),
 and Jim  Becker (Califone). "Hadacol Christmas" is a twelve minute story where Santa Claus invents Christmas with a belly full of cough syrup and a head full of dying crows. "Francis" is  based on a dream in which an elderly woman at the end of her life taunts the lethargic bears in her backyard into finishing her off. Francis achieves liberation amidst the chaos of a Hollywood press conference, her exploding children, and a kleptomaniac narrator. It was written by Tim Rutili of Califone and animated and directed by Brent Green. "Susa's Red Ears" is a six minute short about a girl with a firetruck  in her head. In the film the sun explodes. She doesn't save the world or anything. But she saves herself, mostly.
 
 Brent Green is the recipient of a 2005 Creative Capital grant. He also received a 2005 Pennsylvania Council on the Arts Media Arts Fellowship, administered by Pittsburgh Filmmakers.
 
 www.nervousfilms.com
 
 
 +++++++++++++++++++
 BURN TO SHINE
 +++++++++++++++++++
 BURN TO SHINE 02 CHICAGO is the second installment of a film series produced by Fugazi's Brendan Canty and directed by film maker Christoph Green. It features Wilco, Shellac, Tortoise, Freakwater, Tight Phantomz, Pit Er Pat, The Ponys, The Lonesome Organist, and the Red Eyed Legends performing in houses that are about to be demolished or burned to the ground. They document the doomed house, the bands, and the  demolition.
 
 http://trixiedvd.com/

snailhook

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Re: Warehouse Next Door
« Reply #24 on: March 14, 2005, 06:43:00 pm »
Thrill Jockey/Mego/Tortoise/IDM fans take note:
 
 Wednesday, March 16
 $7, all ages
 doors at 8:30, show at 9:00
 
 Radian (Thrill Jockey, from Vienna)
 Machine Drum (electro-acoustic IDM from Florida)
 Band of the Name (FL)
 H8 (FL)
 
 Radian (experimantal Austrian bass/drums/synth trio)
 
 Radian is a Vienna trio formed in 1996 made up of Martin Brandlmayr (drums), Stefan Nemeth (synth), and John Norman (bass). The three met through a blossoming music scene and spent the better part of the year exchanging ideas, borrowing records from one another, and practicing. It was a full year after forming that they played their first show supporting DJ Pita aha Peter Rehberg. In attendance that evening was Christof Kurzmann, who at the time was running the label Rhiz. After the show, Christof asked the band if they wanted to do a record for Rhiz, and thus their self-titled EP was immediately given a home. Shortly thereafter, the Mego label also approached the band about a potential release. For its full-length debut, TG11, the band chose to issue the record as a joint release on both the Rhiz and Mego labels, a first for both labels and a dubious distinction for the band. Throughout Europe, the band has become highly regarded for their live performances which utilize a combination of traditional instrumentation (drums and bass) with modern technology (synths, mixers, and samlers), seamlessly blending the conventional with the non-conventional to form something wholly original. The band has shared the stage with everyone from Tony Conrad to Tortoise and made a distinct impression of the discerning music fan through appearances at a number of festivals, especially All Tomorrow's Parties.
 
 Sounds like: A brainy jazz-rock band caught in malfunctioning musical software. Their attempts to escape result in some fascinating sounds.
 
 How is it? A great example of making the most from the sonic tension existing between the analog and digital realms.
 
 Kindred spirits: Tortoise, Jim O'Rourke, Isotope 217, This Heat
 
 "Post-rock, minimalist classical, and that brainy, laptop-torturing bastard stepson of modern dance music known as IDM are perhaps three of the most enriching sonic head trips this side of Pink Floyd's darkest moon. And like a ruefully masterminded jam session betwen Tortoise and Autechre, testing the boundaries of John Cage's and David Tudor's 1960 "Cartride Music" movement, Austria's Radian creates an organic electronic experience of equal majesty." (Shout NY)
 
 Machine Drum
 
 "Machine Drum has always been the most high-profile and in-demand artist over at Miami's Merck imprint -- no wonder given the impact his awesome Now You Know album made on its release some four years ago. Travis Stewart sticks to the Machine Drum agenda here, though dipping into some distinctly jiggy territory while he's at it. Past the glorious droned-out bliss of opening segment "Entrau", "Disa Bling" sets the agenda with a narrowly cut-up b-boy flick through hiccup funk, Prefuse stylee, though with those trademark warm strings turning things fluffed-up and blue. "Stevie Bam Jackson", "Offs," and "Inner Outer", meanwhile, add the scuzzed-up vibe that Dabrye has personalised in recent years -- though they serve as a good reminder of how upfront and up to the minute Machine Drum's sound has been, not to mention influential. 22 tracks wide, deep, instrumental electronic hip hop shiznizz, ya'hear?" (Bidnezz)

Dandy01

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Re: Warehouse Next Door
« Reply #25 on: March 15, 2005, 06:49:00 pm »
Quote
Originally posted by Jaguär:
   
Quote
Originally posted by snailhook:
  mono is going to be amazing, too. their new record is as good as anything by explosions in the sky and mogwai.
I plan on trying to make it to this show.
 
 Would you please post the extended calendar again in this thread? The one without all the details that has all of the shows on the list. [/b]
I'd like to go to that:  Tue Apr 12  Mono
 Eluvium 8:30 $8

snailhook

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Re: Warehouse Next Door
« Reply #26 on: March 21, 2005, 05:18:00 pm »
++++++++++++++++++++++++++++++
 Wed Mar 23 / 8:30 Doors / $6
 ++++++++++++++++++++++++++++++
 HAND FED BABIES (x-Black Eyes)
 BARR (Kill Rock Stars / www.barrbarr.com)
 CAUTION CURVES (Tristana Fiscella, Rebecca Mills, Amanda Huron /
 www.thecautioncurves.com/)   
 
 ++++++++++++++++++++++++++++++
 Thurs Mar 24 / 8:30 Doors / $6
 ++++++++++++++++++++++++++++++
 HORSES (x-Black Eyes, EtAtIt, Meltdown)
 THE COOLIES (New Zealand Band Girl Punk / www.thecoolies.com)
 PARTYLINE (the original girls with glasses / members of Bratmobile & Hott Beat /
 www.partylinedc.com)
 
 
 ++++++++++++++++++++++++++++++
 Fri Mar 25 / 9:30 Doors / $8
 ++++++++++++++++++++++++++++++
 
 ENON (w/ Seth from Les Savy Fav on guitar)
 SWEARING AT MOTORISTS
 
 ++++++++++++++++++++++++++++++++++++

snailhook

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Re: Warehouse Next Door
« Reply #27 on: March 29, 2005, 06:36:00 pm »
a mini-noise against fascism...
 
 Friday, April 1
 $5, all ages
 doors at 9:30, show at 10
 
 USAISAMONSTER (Load Records, guitar/drums duo)
 Northern Machine (DC duo, mem. of The Angus Brainpan)
 Facemat (DC scuzz noise ensemble)
 
 USAISAMONSTER
 
 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‚?Ě 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. USA IS A MONSTER 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.
 
 "...That‚??s why filing USAISAMONSTER under Load Records‚?? ‚??noise rock‚?Ě umbrella just doesn‚??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 ‚?? there‚??s no gratuitous speaker-frying sludge here (not that there‚??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 Hohmann‚??s deep snare splattering huge throughout the mix. When it comes to year-end recognition, Tasheyana Compost stands above most." (Dusted)

shoot ur shot

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Re: Warehouse Next Door
« Reply #28 on: March 29, 2005, 07:23:00 pm »
Tell me more of these Northern Machine & Facemat types you speak of....

snailhook

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Re: Warehouse Next Door
« Reply #29 on: March 29, 2005, 08:27:00 pm »
northern machine is a synth/electronics/some guitars duo of a couple of DC cats who've been around the noise scene for a while. one of them is in the angus brainpan, who are more drony/atmospheric. facemat are a collective of younger dudes (and a chick) that have a core of three or four members. they were up at no fun last week with us. every time i've seen them, it's been different and always good.
 
 for $5 on a friday night, this show's a bargain. there's nothing else interesting going on that night.