Author Topic: Warehouse Next Door  (Read 80587 times)

snailhook

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Re: Warehouse Next Door
« Reply #195 on: June 02, 2006, 04:03:00 pm »
Clavius Productions presents:
 
 Monday, June 5
 Warehouse Next Door
 1017 7th St NW WDC
 $8, all ages
 doors at 8:30, show at 9:30
 
 Nudity (ex-Tight Bros From Way Back When/Dub Narcotic/Two Ton Boa/Behead the Prophet)
 Triple Burner (mem. of Godspeed You Black Emperor! and featuring acoustic guitar wizard Harris Newman, from Montreal)
 Pup Ten (DC post-punk a la Mission Of Burma and Wire, mem. of DCIC/Sarah Azzara)
 
 from the Washington City Paper:
 
 By counterculture-fashion-trend-longevity standards, the recent resurgence of gingham, empire-waist dresses, and commune beards on the music scene should have faded faster than junkie chic. Yet, the latest wave in a seemingly endless stream of indie psychedelic bands continuously manages to keep the hippie-look both hip and relevant by dutifully kicking out the jams of their forebears. And when it comes to keepin‚?? on keepin‚?? on, Nudity knows what it takes to really go the distance: sitars and congas. Led by former Tight Bros From Way Back When guitarist Dave Harvey, Nudity has a sound that‚??while certainly psychedelic‚??is decidedly dashiki. Still, the band‚??s not to be pigeonholed (even in such an obscure-to-the-point-of-nonexistent genre), and their recent EP features songs such as ‚??The Nightfeeders‚?Ě that venture into krautrock-esque territory. (Imagine Comets on Fire with restrained guitars and a motorik beat.) Get your be-in on when Nudity performs with Triple Burner at 8:30 p.m. at the Warehouse Next Door, 1017 7th St. NW. $8. (202) 783-3933. (David Dunlap Jr.)
 
 
 Triple Burner
 http://www.harrisnewman.com/tripleburner.html
 
 Harris Newman is one of the most diverse guitarists to emerge in the last 10 years and Bruce Cawdron is most notably known as the drummer for Godspeed You Black Emperor. Together they've both played as Esmerine with Beckie Foon of A Silver Mt. Zion, and without her, the duo has released their first album as Triple Burner.
 
 Their debut album sounds more like one continuous performance: like a concert in various movements. It starts quiet -‚?? very, very quiet ‚??- and from the first real full song, "The Wherewithal," it seems as if this duo is going to head down a more languid Esmerine-like path: with Cawdron bowing the marimba to the serene notes of Newman's guitar. Things are still calm by the start of "Roundabout" but they build in volume, intensity, and pace, with Cawdron fully engaged in the hand and malleted percussion. By the song's end the duo are blazing at a lightning pace, and the energy is maintained more or less throughout the rest of the disc.
 
 I don't know if Bruce is playing the plastic spoons at the beginning of "Bride of Bad Attitude" but this song is a distinct turning point in styles for Harris. Whereas before the guitar playing was more in line with the sort of new folk sounds coming out of people's guitars like James Blackshaw or Ben Chasny, "Bride" looks south of the Mason-Dixon line, with a Kentucky Bluegrass tinge, and by the next song, "Wall Socket Protector," the train-like snare drumming from Cawdron matches the piercing slide guitar in a very Mississippi Blues manner.
 
 Although the serenity returns for the most on the nearly 14-minute "The Pulse of Parc Ex," it sounds as if Bruce has built his drumset up, piece by piece, with either cymbals or cymbal-sound producers (you can never tell with this guy). The song naturally progresses between the quiet and more moderately paced playing, never quite getting out of hand, leading naturally into the closer "Regresso," which echoes "Wall Socket Protector" with a much more complete drumset in the hands of Bruce.
 
 Newman and Cawdron are excellent players but they clearly work well with each other: Newman's playing is fantastic but a guitarist needs something more to make the sound a little more full without becoming a complete distraction. With the flood of new folksters it's becoming hard to keep up but thankfully Newman doesn't look like he's planning on getting lost in the shuffle. It's a perfect time now to catch up with Esmerine and Newman's solo releases (see Strange Attractors) and those lucky enough to live in the Northeast US and Canada can catch them on the road in the next few weeks. (Jon Whitney)

Jaguar

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Re: Warehouse Next Door
« Reply #196 on: June 02, 2006, 04:13:00 pm »
Damn! I wish that I could get down to see The Pink Mountaintops.
 
 Somebody go for me, please.
#609

kurosawa-b/w

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Re: Warehouse Next Door
« Reply #197 on: June 03, 2006, 08:41:00 am »
I'm going to try to get to the Pink Mountaintops show. Snailhook, are they 2nd on the bill or headlining? I'd rather not stay out too terribly late since I have a couple other shows this week.

snailhook

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Re: Warehouse Next Door
« Reply #198 on: June 03, 2006, 01:51:00 pm »
kurosawa, pink mountaintops are playing third, for 40-45 minutes. sound of urchin is headlining, which is good for you because they're not that great and will allow people to see PM before the metro closes. PM should be on from about 10:30-11:15. they will definitely be done by 11:30.

BookerT

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Re: Warehouse Next Door
« Reply #199 on: June 05, 2006, 09:52:00 am »
y'all should've shaken off the sunday night doldrums and made it out for pink mountaintops. very good stuff, and there was actually a pretty nice crowd there too. take one killer riff, half spacemen 3/half velvets (with just a pinch of stones), add plenty of percussion, including multiple tambourines, and lots of backing vocals, repeat, repeat, repeat. great druggy music but without being so over-the-top druggy, like the warlocks can get at times. i actually like 'em a little better than black mountain. less "interesting," perhaps, but they sure do that one thing they do very well.
 
 catfish haven was a pleasant surprise, too. straight up bar band indie rock; not like the hold steady, but just power chords and stompin', catchy stuff.

snailhook

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Re: Warehouse Next Door
« Reply #200 on: June 05, 2006, 01:55:00 pm »
what BookerT said. i think i still prefer black mountain a wee bit more -- they're slightly heavier and more eclectic -- but pink mountaintops were very consistent and catchy. the warlocks comparison is accurate, though PM are not quite as slow.

snailhook

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Re: Warehouse Next Door
« Reply #201 on: June 09, 2006, 10:53:00 am »
Clavius Productions presents a very special evening with two up-and-coming California bands in the vein of Comets On Fire and Mudhoney. Vincent Black Shadow just got "album of the month" on Julian Cope's website Head Heritage. And local noise merchants Facemat will tear it up, with a special guest from Kohoutek on percussion. A Sunday night not to be missed:
 
 Sunday, June 11
 Warehouse Next Door
 1017 7th St NW WDC
 $8, all ages
 doors at 8:30, show at 9:15
 
 Residual Echoes (Holy Mountain, heavy garage psych from Santa Cruz CA)
 Mammatus (Holy Mountain, stoner psych from Santa Cruz CA)
 Facemat (DC improv noise/psych)
 Vincent Black Shadow (Baltimore garage psych)
 
 
 Residual Echoes
 http://www.holymountain.com/echoes.htm
 
 The Residual Echoes were formed by Adam Payne after he moved to Santa Cruz and met the encouraging forces of Ethan Miller (Comets on Fire) and Ben Chasny (Six Organs of Admittance). They have blossomed into one of that city's finest groups. Their sound is a vibrant collage of everything that has ever happened in music, all deftly manipulated and manicured by Mr. Payne into some of the most farfreaking-out jams ever heard.
 Santa Cruz, California -- known for abandoned military bases where rumors persist of strange mind control experiments a la Montauk -- is an area that was at one time the "serial killer capitol of the world." I know, I missed that sign, too. Anyway, you've got these mountains full of getting-away-from-the-city-type cults and communes rife with pure magical evil and ritual sacrifices. Whoa, Maury Terry; hold on there, Preston Nichols -- what's this got do with a high-energy psychedelic rock band? Have you heard about these experimental drugs that afflict enemy soldiers with intense halitosis, or cause their hair to fall out, or the one that makes everyone super-horny? This album is like a really small dose of that kind of drug. Go to one of their shows. The band gets crazy and the people who see them get even crazier.
 
 Phoenecian Flu And Ancient Ocean is another seething mish-mash of psychedelia, krautrock and free-noise -- the perfect follow-up to last year's highly regarded self-titled debut LP. Partially self-recorded and partially recorded in the studio, Phoenecian Flu and Anciet Ocean is full of absolutely staggering material. The endless riff-sanity of "Death Comes for the Archbishop" is followed by billowing smoke, then a fuzzy-wuzzy pop number that finally shoots itself when the smell of smoke turns out to be an amp that was on far too loud for far too long. That piece of reverbed noise insanity might've been all were it not for the depraved psychedelic dub and Monoshock tribute that follows. Odes to the acoustic guitar and former gods of the six-string close the album. What does it sound like? Everything and nothing, baby.
 
 
 Mammatus
 http://www.mammatus.org/
 
 Whoa, heavy!! This is a whole-body-vibrating, brain-melting, serious amplifier-worship ceremony! The first time I (Allan) saw these guys, last year sometime at the Hemlock here in San Francisco, I was blown away...I'd been told they were a heavy "stoner rock" outfit from Santa Cruz and worth checking out, but I didn't realize they were gonna be quite so AMAZING. Hairy backwoods hippy dudes, the drummer wearing what looked to be a home-made Whysp t-shirt, guitars turning the air to cottage cheese a la Blue Cheer while creating a trance-zone worthy of Finland's Circle!! So good that I immediately bought the live cd-r they were selling...we were gonna try to get some for the store, in fact, but then we found out that local label Holy Mountain run by our pal JW was on the case already and would be issuing Mammatus's debut studio full-length CD Stateside (with Rocket Recordings, home to the most recent Ufomammut, putting it out in Europe).
 
 So yeah, heavy stoner rock this is, but waaay psychedelic and Hawkwindy, kinda like what maybe you thought Circle side-project Pharaoh Overlord was gonna (and sometimes does) sound like. Loud, massive and mesmerizing, swirling sludge psych! Their songs, often of epic length, are ever chugging skyward, dripping molten goo, full of feedback and fx. Their energetic riffage and warm drones are adorned by drifting vox (not unlike Dead Meadow, with whom they share certain proclivities) and fantastic, metallic, progtastic imagery. Take note of titles like "Dragon Of The Deep" (parts one and two!) and the Roger Dean-esque cover art by Arik "Moonhawk" Roper.
 Further musical comparisions aren't hard to come up with -- Mammatus belong in the company of such bastions of cosmic heaviness as Sleep, Boris, YOB, Ufomammut, Earthless, old Monster Magnet, Acid Mothers Temple (at AMT's heaviest, like on Starless & Bible Black Sabbath), Tarantula Hawk, and even Amon Duul (especially on the druggy, krautrocky jam "The Outer Rim"). And of course they're now labelmates with OM, which also makes perfect sense. If you love many, or even just any, of those bands and the sounds they make, this comes highly recommended. (Aquarius Records)
 
 
 Vincent Black Shadow
 http://www.heartbreakbeatrecords.com/
 
 "...Moreover, with regard to the sound made by Vincent Black Shadow, their unrighteous Israeli Wall of Sound issuing forth behind this Great Stone Eater is an ultra confident stop-start micro-Detroit machine-shop of the highest order, nay the newest order! Mix one part of Blue Cheer‚??s ‚??Out Of Focus‚?? with two parts early Pa Ubu (‚??Non Alignment Pact‚?? via ‚??Cloud 149‚??), then filter all through Beefheart‚??s ‚??Moonlight On Vermont‚??. Drain and serve on a bed of Terry Knight production values, and you got this debut LP by Vincent Black Shadow...
 
 VINCENT BLACK SHADOW is a monumental debut, and damn me if it ain‚??t righteous the way they bring in the whole ship and cargo at just over thirty minutes. Place yourselves in central Greece, brothers‚??n‚??sisters, for that is where our tale ‚??The Legend of Side A‚?? begins with ‚??Child Of Orion‚??. High on the broken battlements of Orchemenos sits the heroic bearded figure of Bobcat Rufus Platt, each drum having been hefted, dragged, threatened and cajoled up to the citadel from the Boeotian Plain below. Bobcat commences a massive soul stomp in the Don Brewer/Scott Krauss manner, and wakes from its slumber the whole of Boeotia, home of Orion. And it‚??s up here high upon the citadels of Orchomenos, ancient capital of Boeotia, that we first glimpse Brother Black Savage searching frantically at the foot of the dusty dry-stone walling for the eyes of his blinded father Orion. Insurgents armed with solid-body-six-strings join Bobcat high on the citadel and proceed to lambaste the scenery with the kind of braying Glitter Band-plays-kazoo marching band guitar snarl that was at its height of popularity in the early post-Christian late 1960s, but which continued to inform the rock genre until the middle of the 22nd century, via the accidental re-discovery in 2078 of the DEVOTION LP, an unlikely 1970 hybrid proto-metal doom epic from the pre-Mahavishnu‚??d mind of John McLaughlin during his forgotten Black Sabbath-informed period on Douglas Records. That‚??s Outer Dave Litz standing in the doorway, his dreadlocked longhair streaked with dry egg and cereal, for he is the Guitar Muncher and often makes his most beautiful sounds when he‚??s eating the strings. Parallel with Outer is his shorthaired be-shaded counterpart Dan Van Owen. When he‚??s strangling hoary clich√©s out of his axe, some call him just Dan Owen, but it‚??s the ‚??van‚?? of vanguard that is the key to this man. And when Dan kicks his middle name into gear, The Van accelerates to new heights. Over this fully-loaded twin fuzz Mekong Delta soul stomp, Adam Black Savage fesses up to being the grandson of Poseidon and the son of that great Boeotian hunter who took so much shit from Apollo and Dionysus. It‚??s a barbarian classic, if you‚??ll ‚??scuse the oxymoron. The ducking and diving triple riffing of ‚??Real Wood‚?? kicks in next, a raging Tiger B. Smith dumb punkathon, with stop-start rhythms somewhat akin to ‚??I Want, Need, Love You‚?? by the legendary Australian band The Black Diamonds, but played harder as though by ABSOLUTELY FREE-period Mothers. That bass ‚??- what the fuck? A single torn 8" speaker cone mike‚??d up by someone‚??s home tape recorder‚??s microphone. Is the Savage yelling ‚??It‚??s hard work‚?? or ‚??Sod work!‚?? Both ways is fine by me, as bottleneck guitars and blistered bluesy fuzz bass underpins the ‚??American Woman‚??-styled harmony twin lead. The Savage screams over and over: ‚??Tell me I‚??m a sucker, tell me I‚??m a sucker...‚?? over and over and fucking over into the ending. Then, with barely a moment‚??s rest: ‚??Heat rays is what we‚??ve got going on‚?? and the small beginning of ‚??Blow It Up In The Sunshine‚?? suddenly blows up and opens out into a flattened and shimmering motorik kraut (small ‚??k‚??) road-trip in an open-topped pre-WW2 Mercedes (black with massive fenders) in the style of Can‚??s ‚??Mother Sky‚?? or The Stooges‚?? ‚??Loose‚??; as the Savage wishes he was a lightning bug because he‚??s out of control, he‚??s out of control, he‚??s out of control. Then, as the urging siren guitars feedback on and into each other in pure coagulating sonic alchemy, the sky turns red and the Savage‚??s lupine howl announces a sunset, as the feedback guitars, panned now hard right and left, decorate the horizon with the good jismick juice. Side One concludes with ‚??Colours & Feelings‚??, a kind of one-minute instrumental ‚??Boris The Spider‚?? bass-player take on the GET CARTER-theme that swans in, does a once around the block, then sods off quick. I want more...‚??Ain‚??t No Law‚?? kicks off Side B like Joy Division playing a demented Hawkwind song (DOREMI-period), with FX of the Thirteen Floor Elevators persuasion, as the catchy bastard ‚??Ain‚??t no law, ain‚??t no law‚?? chorus blasts a seemingly endless repeat, that is until they slow it all down to half-speed (this is becoming an excellent habit) and THEN some (Joey Smith-stylee), as the scything schrieking feedbacking guitars howl and stratospherize the nacht into a towering ack-ack anti-aircraft gun search for enemy planes flying too high to be detected up at 50,000 feet. Then we‚??re off to the pure LOVE IT TO DEATH of ‚??Raoul‚??, a kind of Alice-meets-side-two-of-the-red-Grand Funk second LP. Darker than usual is the ‚??Legend of Sex‚?? with its lead bass and Terminal Lovers/Downside Special rock melody over uncanny and strange chords, eventually dropping down into another classic repeated chorus: ‚??Does anyone know about the body?‚?? Some places this band go allow the bass insurgency to climb right up there freaking out alongside the guitars, leaving excellent room for a fuggy haze of chordless free-rock to hang about the air conditioning system, facilitating the entrance of the final song ‚??Drunk In Space‚?? to kick in like early Alice does with the free-rock of ‚??Return Of The Spiders‚??. ‚??I know no God‚?? bawls the Savage over a riff somewhat akin to The Stooges playing a pounding and far more remedial version of the ‚??School‚??s Out‚?? riff. The Savage would only need to sing ‚??let me in‚?? at this point for the Alice-Iggy Cycle to be completed, but the twin 15 minutes of this Vincent Black Shadow is already over, Brothers‚??n‚??Sisters. However, I‚??ll tell you this, gentlemen of the Shadow, you‚??ve achieved one excellent and real motherfucker of a debut. It‚??s hard as nails, catchy, obsessive, smart and dumber than almost everything out there. This stuff will be on the compulsory listening list in a few years‚?? time, of that I‚??m sure. You catchy motherfuckers deserve to go far." (Julian Cope, Head Heritage)

SPARX

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Re: Warehouse Next Door
« Reply #202 on: June 10, 2006, 07:40:00 pm »
Quote
Originally posted by snailhook:
  Clavius Productions presents a very special evening with two up-and-coming California bands in the vein of Comets On Fire and Mudhoney. Vincent Black Shadow just got "album of the month" on Julian Cope's website Head Heritage. And local noise merchants Facemat will tear it up, with a special guest from Kohoutek on percussion. A Sunday night not to be missed:
 
 Sunday, June 11
 Warehouse Next Door
 1017 7th St NW WDC
 $8, all ages
 doors at 8:30, show at 9:15
 
 Residual Echoes (Holy Mountain, heavy garage psych from Santa Cruz CA)
 Mammatus (Holy Mountain, stoner psych from Santa Cruz CA)
 Facemat (DC improv noise/psych)
 Vincent Black Shadow (Baltimore garage psych)
 
 
 
I hope some of you are going out to enjoy and support this show. Should be an excellent evening.

snailhook

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Re: Warehouse Next Door
« Reply #203 on: June 12, 2006, 03:45:00 am »
absolutely fantastic show, though nobody came out and supported it. everybody's loss...mammatus and residual echoes were both phenomenal. wolfmother wasn't even close.

snailhook

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Re: Warehouse Next Door
« Reply #204 on: June 22, 2006, 05:52:00 pm »
Clavius Productions presents:
 
 Friday, June 23
 Warehouse Next Door
 1017 7th St NW WDC
 http://www.warehousenextdoor.com
 $8, all ages
 doors at 9, show at 9:30
 
 Zodiac Mountain (mem. of Wooden Wand/Davenport)
 Religious Knives (mem. of Double Leopards/Mouthus)
 Chris Grier (solo electric guitar, of To Live And Shave In L.A.)
 Insect Factory (improv drone, mem. of Kohoutek/Go To Sleep)
 Rivers In Fields (DC guitar/drums duo)
 
 from the Washington City Paper:
 
 It's no surprise that Joanna Newsom, Devendra banhart, and the rest of today's folk and psychedelic acts get the fun freak-out sound right: After all, one doesn't have to own too many Pentangle records to have a firm grasp on the retro instrumentation and mystical lyricism that have come to characterize nu-campfire. The true explorers of New Weird America, however, are the ones who dig a little deeper. From Delta spirituals to Chicago free jazz, from Appalachian ballads to Louisville noise, Wooden Wand Jehovah and Clay Ruby have never met a musical style they weren't ready to record. Jehovah is best known for his role as the frontman for Wooden Wand and the Vanishing voice. In that lineup -- one of several different Wooden Wand incarnations -- Jehovah is joined by singer Heidi Diehl, whose gypsy-esque wail anchors hoodoo explorations. Ruby's Davenport Family -- the most visible of his innumerable Madison, Wis.-based projects -- has a more literal wanderlust: Just one of the collective's dozens of recordings resembles a traditional studio album; the rest are outdoor field recordings from performances, happenings, and other sound experiments. Jehovah and Ruby perform together as Zodiac Mountain, and with the accompaniment of who-knows-how-many artists from their respective extended musical families, the two have set out on a course across the heartland frontier. Zodiac Mountain performs with Religious Knives, Chris Grier, Insect Factory, and Rivers in Fields at 8:30 p.m. at the Warehouse Next Door, 1017 7th St. NW. $8. (202) 783-3933. (Kriston Capps)
 
 
 Zodiac Mountain
 http://www.woodenwand.net/
 http://www.23productions.net/
 
 Zodiac Mountain is Wooden Wand & Clay Ruby (Knoxville/Madison), known for fronting Wooden Wand & The Vanishing Voice and The Davenport
 Family, respectively. For this tour, the duo (plus occasional special guests like Tovah Olson of Dead Machines and Maya Miller of Double Leopards and Religious Knives) come together to shake the demons out and let the blues muse cruise wild weekend style. In other words, anything goes! No requests for certain songs will be honored and may very well get you shoved around. The boys have been listening to tons of Hawkwind and Velvet Underground bootlegs, to give you an idea of their current mindstate (hedonism/reverence/heaviosity), and they hope maybe you can pick up what they're putting down this time around.
 
 
 Religious Knives
 http://www.doubleleopards.org/
 
 Religious Knives is Maya Miller, Michael Bernstein and Nate Nelson. They spend a lot of their time playing in bands like Double Leopards, White Rock, and Mouthus, and running labels like Heavy Tapes and Our Mouth. This recent incarnation of Religious Knives has been compared to Goblin and Popul Vuh, which is chill, because who wouldn't love that? Electric Piano, Guitar, Drums, Percussion, Tapes, Effects, and plenty of Singing, Moaning, and Screaming all find themselves together at last in Brooklyn, New York. Come and love with them today.
 
 
 Chris Grier
 
 DC-based writer and member of To Live And Shave In L.A. whose guitar pieces saddle both the beautiful and bloody. His early recordings layer fuzzed-out rhythms and charming string plucking. Grier can also be found jamming around DC with Don Fleming, Big Cats, and Ultimate Vag, among others.
 
 
 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.

snailhook

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Re: Warehouse Next Door
« Reply #205 on: June 29, 2006, 07:39:00 pm »
Clavius Productions presents a night of youthful energy running the gamut from psychedelic improv noise to fierce garage-punk:
 
 Friday, June 30
 Warehouse Next Door
 1017 7th St NW WDC
 http://www.warehousenextdoor.com
 $7, all ages
 doors at 9:30, show at 10
 
 The Good Anna (improv guitar/drums duo from UK)
 The Blizzards (avant-pop trio from NYC, mem. of Castanets/Owl Sounds/La Otracina/Lust Ionics)
 Knife Crazy (garage rock from Buffalo, mem. of The Bloody Hollies)
 
 
 The Good Anna
 http://www.myspace.com/thegoodanna
 
 The Good Anna is a free improvisation duo made up of Graham (20) on guitar, and Patrick (22) on prepared drums and amplified objects. The Good Anna came together by chance after Patrick returned from a 6 month stay in India, where he
 was taught classical North Indian Tabla by Pandit Nayan Ghosh. As a result of his stay in the East, Patrick began to think about treating the drums more as textural surfaces rather than just an outlet for rhythm. During the same period Graham was taking a contrasting path to Patrick's geographical excursions, but had equally cocooned himself in study. He began absorbing a vast array of new music, furiously digesting jazz harmonic theory, performing locally to trial run fresh ideas and teaching to make ends meet, all the while constantly composing and improvising. They united in Spring 2005 with a burgeoning interest in spontaneous performance and a mutual appreciation of music such as Milford Graves, AMM, LaMonte Young, and John Coltrane. Holed up in a tiny garage in the Midlands recording all sessions on a weather beaten Dictaphone, they set about applying the knowledge they had garnered over the past year to hone their abilities for immediate __expression.
 
 from a review of a live gig:
 
 "Onwards to 'The Good Anna' from Nottingham who played on our festival last year and blew us all away with their power and finesse. This is a duo that combines technique (effortlessly) with the physical Grantham plays with his back Miles Davis style to the audience tonight, focusing on his amp and effects, but jerking and waving his guitar, always moving. And Porkbowl on the drums uses his whole body it seems to get the rhythms and cross rhythms pouring out in a wild, abandoned stream. I've been around, you know as Al Pacino said in 'Scent of a Woman' and I've heard some great drummers in the last year Denardo Coleman and Tony Oxley to name two world beaters (no pun intended) and this young guy is going to be a contender, mark my words. He reminds me a little of the free-jazz drummer Milford Graves in the ways that he uses his hands and other objects as well as sticks and brushes, pummeling, stroking, banging and paradiddling, elbows utilised to mute drum heads and alter timbres, feet up on them at times (interesting socks), at one point exploding whatever implement he was using a maracca or something similar (don't write in it's not that important) in a spectacular shower of dust - I was up front and am still coughing out the debris! Girdle seemed further back in the music than the last time I saw them but still contributed a fiery blaze of guitar that seems to cross from rock to free-jazz while maybe they are just playing Good Anna music screw the labels At times he had a high, squealing series of notes that reminded me of Pharoah Sanders when he used to play with Coltrane The audience were captivated throughout O.K this is 'difficult' music, but played with this intensity and vigour it proves that it can cut through to people prepared to listen."
 
 
 The Blizzards
 http://www.vorg.net/csr/artistsblizzards.htm
 
 Blizzards are a minimalist informed avant-pop trio of musicians usually dabbling in the worlds of free-jazz, noise, stewed electronics,
 psychedelic-prog, blissed drones, and imaginary time music. Adam Kriney is the drummer and runs the Colour Sounds Recordings label, plays in the groups OWL XOUNDS Exploding Galaxy (one of Wire magazine's top jazz/improv releases for
 2005), La Octracina, Dead Girls, Quivers, Divine Invasion, and is a touring member of Castanets and The Places. Cousins Anthony Lebron and Hektor Fontanez are both the guitarists, vocalists, and electronics wizards of the group, and they have released many dazzling solo and collaboration discs under the monikers of Twi, Liek, and Lil Humble Veli, on the Learning The Language label. Blizzards runs slower than you walk fast!

nkotb

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Re: Warehouse Next Door
« Reply #206 on: July 12, 2006, 11:19:00 am »
Snailhook, what's the deal with the Vetiver show on Sunday?  What time, cost, etc?

snailhook

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Re: Warehouse Next Door
« Reply #207 on: July 12, 2006, 11:19:00 am »
TONIGHT!
 
 Clavius Productions presents:
 
 Wednesday, July 12
 Warehouse Next Door
 1017 7th St NW WDC
 $8, all ages
 doors at 8:30, show at 9:15
 
 Carla Bozulich's Evangelista (Constellation)
 Brandon Butler (ex-Canyon)
 Dead Science (Absolutely Kosher)
 with a short set by Carla's violist Anni Rossi
 
 
 Carla Bozulich describes her latest record, Evangelista, as "a sound that you can open your chest with, pull out what’s inside and make it change shapes." Frankly, I think it sounds like the former Ethyl Meatplow and Geraldine Fibbers frontwoman is asking her audience to rip their hearts out of their chests, stick microphones into their still-beating ventricles, and use the damn things as drum machines. It would certainly provide an appropriately minimalist backing beat to the sparse atmospherics Bozulich and her new Constellation Records cohorts serve up on the record’s nine tracks. Yet, as Bozulich explains, "Even inside this void there is sound. You will hear it...the sound of your own pulsing blood." Pray the only human heart on display is the one Bozulich always wears on her sleeve when Carla Bozulich’s Evangelista performs with Brandon Butler, Dead Science, and Anni Rossi at 8:30 p.m. at the Warehouse Next Door, 1017 7th St. NW. $8. (202) 783-3933. (Matthew Borlik)
 
 
 Carla Bozulich's Evangelista (playing in a full band with members of GYBE and A Silver Mt Zion)
  http://www.carlabozulich.com/Evangelistamenu.html
 
 Carla Bozulich needs no introduction. Her work with Ethyl Meatplow, The Geraldine Fibbers, Scarnella, The Red-Headed Stranger (with Willie Nelson), and many others spans over twenty years of uncompromising sound, driven by a voice and
 vision that consistently delivers spine-tingling beauty, originality, and directness. You may have seen her on tour with WILCO or heard about her most recent work with members of Godspeed You Black Emperor and A Silver Mt Zion. Carla's new
 album (her first on Constellation, and the label's first release by a non-regional artist) is a devastating, elegiac, brutally honest song cycle that finds her voice unleashed with
 unprecedented emotive depth and determination. Evangelista is heartrending and gutwrenching, with isolation and desperation redeemed by incantatory sonics and out-reaching, soul-saving
 words. One damn compelling exorcism of a record, churning and channeling out of loneliness to heal and rebuild connective tissue through sound -- pocketful of beautiful noises and loops with various guest players adding strings, guitars, drums, organ, piano, hums, and other sounds. Constellation Records.
 
 
 Brando Butler
 http://www.brandonbutler.net/
 
 "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, on his own, shows a mature, strong songwriter with an extremely unique voice. 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. 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."
 
 
 Dead Science
 http://www.thedeadscience.com/
 
 With roots in jazz, art/experimental, and the more accessible side of post-rock, the band creates an enigmatic yet uniquely compelling sound which showcases vocalist SAM MICKEN's
 breathtaking tenor over the group's gritty
 guitar-drums-upright bass arrangements. Like experimental pop running mates Blonde Redhead, Deerhoof, and Xiu Xiu.
 Absolutely Kosher Records.
 
 
 Anni Rossi
  http://www.myspace.com/annirossi
 
 A girl who writes songs on the viola (with vocals ala Joanna Newsom, Regina Spektor). It's slightly out of tune, but not too much, just enough to be rough.

snailhook

  • Member
  • Posts: 1608
Re: Warehouse Next Door
« Reply #208 on: July 12, 2006, 11:21:00 am »
Quote
Snailhook, what's the deal with the Vetiver show on Sunday? What time, cost, etc? [/b]
8:30 doors, show at 9:30, $10, two DJs
 
 more info coming soon...

Vas Deferens

  • Member
  • Posts: 8981
Re: Warehouse Next Door
« Reply #209 on: July 12, 2006, 01:07:00 pm »
Sad to say I'm gonna miss this...I went to 4 shows in a ROW! I'm so tired and have a cold. LOL
 
 
Quote
Originally posted by snailhook:
  TONIGHT!
 
 Clavius Productions presents:
 
 Wednesday, July 12
 Warehouse Next Door
 1017 7th St NW WDC
 $8, all ages
 doors at 8:30, show at 9:15
 
 Carla Bozulich's Evangelista (Constellation)
 Brandon Butler (ex-Canyon)
 Dead Science (Absolutely Kosher)
 with a short set by Carla's violist Anni Rossi
 
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