NEW YORK SHOW REPORT
by Daniel DiMaggio
Temple
Of Bon Matin, Kites, Mouthus, a bunch of other bands –
18 Wooster St. in New York, in what appeared to be a very
large cargo/truck garage, Sunday, July 11, 2004.
When
I arrived at this thing, I saw that I had gotten into more
than I bargained for. Had I actually read the press release
announcement for this thing instead of just looking at the
bands listed, I would’ve seen that the entire event
was primarily “a multi-media installation by the collective
Dearraindrop this summer at our 18 Wooster space. Filling
the gallery with sculpture, video projections, paintings and
drawings, the group will transform the space into a mythical,
psychedelic fun house. Massive sculptures such as a tee-pee
village and a giant sphinx will fill the platforms and tunnels
of their maze, a hyperreal surfeit of imagery glowing in neon
and blacklight… The rest of the gallery space will be
filled with strange sculptures and twisted Americana: A Tower
of Babble, a hyperreal three-D op-art labyrinth, paintings
on the mezzanine by Robert Kitchen of the artists and their
circle, an undead tee-pee village (housing videos and dioramas
and still-smaller tee-pees), and a giant crystallized rock
face of the Mad Mountain King. Myths, symbols and cartoons
take on a life of their own, with the horror of basic concepts
in meltdown. Winking, jabbering, and hieroglyphic, this hall
of horror vacui will be an uneasy dream squeezed full of monsters
and American archetypes: a fucked-up summer wonderland.”
This meant that nearly every square inch of the cargo loft/airplane
hangar looking thing where this event took place was covered
in brightly colored sculptures and wall hangings created in
what I feel more or less comfortable referring to as the Providence
art style. I’m inferring this mostly on the basis of
some sort of Providence, RI underground art/comics periodical
I picked up once. The drawing style on a lot of these pieces
was pretty similar – very busy, with a preponderance
of cartoonish characters and bright fluorescent colors. Additionally,
on many of the wall pieces there were cut up advertisements
and album covers, along with other popular culture references,
all evidencing a collagist aesthetic very much in line with
the aforementioned comics influence. There were also a fair
amount of 3 dimensional pieces, with sculptures and some walk-through
exhibits placed at various points on the space’s several
levels. These included a tall totem pole-like construction
made with an array of different objects, including old children’s
keyboards and other found items, as well as the misleadingly
titled “Makeout Tunnel,” which was actually a
crawlspace wallpapered with lots of comic strip type things,
leading to a blacklit room in which they were screening a
fast paced cut up animation set to the music of Lightning
Bolt, natch. Craazy.
So anyway, as far
as the bands, I was surprised when I walked in cause Elvish
Presley were playing and I thought they played the
day before (this was a two-day weekend event, but I only went
to the Sunday. The day before had some other bands, I forget
who). I knew it was them cause I recognized both of the guys
from USAISAMONSTER, and I knew Elvish Presley featured members
of said band. All of the band members were dressed in funny
clothes which I thought was kind of stupid until I realized
that they were supposed to be dressed like elves, leading
me to believe that Elvish Presley is a concept band of sorts.
This was supported when the front man of the group (who I
think is also the drummer for USAISAMONSTER?) referred to
himself as Elvish Presley. So it’s as if he is Elvish
Presley and the rest of the band is backing him up. Ha ha.
I can fuck with that. I got there at the end of their set
so only saw one song, a longish number with a chugging twin
guitar rhythm and lyrics that dealt with trees and nature,
if I remember correctly. Elvish Presley did some good soloing
and after the set was over encouraged the audience to go camping
out in nature because “there’s a lot of stuff
going on out there that you’re not going to see anywhere
else.” This is totally true.
Next there was a
band who, by process of elimination, I’ll assume were
“the Tokeleys.” I liked this
band pretty well. They were somewhat out of place in the day’s
lineup, being several normal college looking kids who played
pretty straight indie rock in a vein similar to Pavement or
perhaps Archers of Loaf. I liked their songs quite a bit,
even if I found the appearance of the members themselves to
be somewhat distasteful. They had good strong choruses and
stuff, and nice two-guitar interplay. After them a band played
that I initially thought was Knifestorm but was in fact I
think called “the Ground Monkeys.”
This was an okay duo of noisy electronics and a drum set,
which alternated between beat based and free playing. This
band wasn’t famous either. Then there was a male/asian
female like organ-synth pop duo called I think Kocho-Bi-Sexual
(I have a feeling that name would be moderately funny if I
got whatever it was referencing). They sang some songs that
were ok but pretty quiet so I couldn’t hear them that
well. I had also drank a beer by this time, so I was getting
pretty tired.
Temple of
Bon Matin were up next. They were certainly the only
group of the day’s lineup that one might conceivably
refer to as ‘legendary’. I think I might do that.
To my knowledge, the group’s lineup has been pretty
fluid over the years, with the constant being drummer/leader
Ed Wilcox. With his position as leader cemented beyond any
doubt, Wilcox seems to have constructed a portable set of
drums and bells that he hangs around his neck and beats on
as opposed to using a more conventional set as he has in the
past, or like he uses when he plays with the Arthur Doyle
Electro-Acoustic Ensemble. The sound achieved by ToBM that
day was comparable to the wall of reverbed stew that is the
ADEAE’s stock in trade, but without Arthur Doyle so,
uh, more focused and less boring (the Wire comparing the ADEAE’s
Conspiracy Nation to Black Flag was perhaps the most
erroneous Wire comparison ever). The instrumentation if I
remember correctly was drums, guitar, bass, sax, synth, and
vocals. The sax was especially good as the guy stood a little
bit away from the mic, so that coils of free sax playing would
enter and retract from the mix periodically, depending on
where he was moving and on the volume of the other players.
Mr. Wilcox’s drumming style is also quite interesting
and deserves to be noted. Rather than providing a conventionally
rhythmic basis or even abstractly propelling the music through
free percussion currents as would a free jazz drummer, Wilcox
bangs on his drums with fluctuating intensity to control the
course of the music. While this style could be considered
comparatively simple or even crude, the striking figure that
Wilcox cuts while battering and at the same time carrying
his array of percussion while simultaneously hollering into
the microphone is hard to argue with, and the effect of his
techniques on the music are apparent and quite impressive.
In French and other romance languages, the translation for
drums is batterie, and this romantic derivation of
the Latin root certainly makes the most sense when watching
Wilcox in action.
As mentioned, vocals
also played a very large role in the music. The vocals were
done by Wilcox, and another lady. Here I was sort of confused,
cause I know an integral part of the band is the famous Leslie
Q, who I think married Ed Wilcox and subsequently became a
fixture in ToBM. However, that lady who I thought was Leslie
Q stayed more or less to the sidelines for the majority of
the performance (I think she was the one on guitar), while
another lady also sang and was standing towards the front,
trading off passionate avant-blues field hollers with Wilcox.
Leslie Q should keep her eye on those two. I was thinking
that elements of the whole bluesy yelling thing were kind
of gay, but then a more concrete bassline laid down by the
standup bassist about halfway through the set implied something
of a blues-based hard rock context. I say implied because
the band stayed playing free for the most part, and remained
primed for takeoff. I’d say this was probably my favorite
performance of the day. Mad people left during this.
Next up was Mouthus.
At this point I was thinking that the whole show was moving
along pretty well, not knowing I’d be there until like
11:00 or something. Mouthus are creating something of a stir
lately, with their recent debut CD on Psych-O-Path Records,
which I think is run by one of the guys from Sightings. I’ll
assume that it’s the balding guy who isn’t Mark
Morgan, as this guy showed up for Mouthus’ set in this
show, adding credence to my thought that theirs is a mentor/protégé
relationship. Mouthus are two guys on guitar and drums. The
both have pretty bad hair, one notably so, and the other one
with hair about as bad as mine, which is just kind of bad.
They use their instruments to create free floating clouds
of hostile noise. Don Rettman compared an earlier performance
of theirs to “later Blue Humans.” Uh… Their
set was pretty solid, overdriven electric guitar used to create
pure noise and drum attack, and then the guitarist switching
to plugged-in acoustic and impressively achieving almost equally
noisy results. Based on their relationship with Sightings,
I’d say that Mouthus could be the 50 Cent to Sightings’
Eminem, except that at this point 50 is many, many times better
than Eminem, but I like Sightings more than Mouthus.
At this point the
most unfortunate event of the day occurred. The next act “Slo
Jams” took the “stage.” This was
a bunch of young people dancing and doing a rough sort karaoke
to R+B/hiphop songs, one of which was a modern hit that I
recognized at the time but now forget. They would pass around
the mic and say “yo, yo” and other shit and try
to be funny, while their friends danced around. I initially
thought these people might be the members of the aforementioned
Derraindrop art collective that hosted this whole thing, but
now I think otherwise, as said collective seems to be sort
of respected (they worked with George Harrison! according
to their press release), and these kids were straight up f*gs.
They also threw around newspapers to be crazy and made a mild
mess. Jeez.
Then Knifestorm
played, which was so so. Like he was ok, it was a one man
electronics setup. He twisted some knobs a bit, and made some
slow moving feedback noises. Some of them were real high so
I hit up the homemade tissue earplugs. The set was not too
long, which was a plus. Then came Kites,
one of my three personally most anticipated acts of the day.
Kites is (I feel stupid calling a single person Kites) notable
not least for integrating lyrics and acoustic song forms with
noise/electronics. Live this divide was perhaps more palpable
than on his Load full length from last year, but this was
due mostly to logistics. For example, since it was only one
guy, he had to put down the little baby guitar he was playing
before picking up the electronics, and then he could only
do electronics cause it was just him, etc. So yeah, the first
song he played was acoustic and quite sparse, played on a
strange thin-necked guitar that had only a few strings. Then
he set up his electronics, and the remainder of the set, which
I think consisted of only one more ‘song’, was
performed with the vocals run through a mic plugged into several
pedals and noise boxes. I found this piece, even considering
its rather obvious president/war references, to be the most
affecting part of the performance. Mr. Kites would flip switches
to create loud washes of noise alternating with more subdued
feedback moments in which he sang lines about crawling across
the desert and other stuff. He started to like ‘get
into it’ and freak out towards the end, and he threw
his mike stand which was kind of gay, and he swung his mike
around by the cord. I would’ve gotten hit by it had
I not moved back, I guess.
My impressions of
Kites on a personal level were further developed by the next
act, who I think were Dreamhouse. So what
they did was like play under a giant tarp, and everybody had
to go under it to watch them and hold up the tarp so it didn’t
fall on them. Thus, standing around outside the tarp, I couldn’t
see what was going on inside, only that the tarp was moving
around. I didn’t want to go inside it as obviously I
imagined it to be a gay fest on par with the earlier Slo Jams
set. I went in just to see though, and it wasn’t that
bad; people were basically just holding the tarp up and not
doing anything out of line, and Dreamhouse put forth an acceptable
bass and drums free noise racket. Anyway, where I’m
going with this is that Kites himself was standing under the
tarp, off to the side. From both the heartfelt and frantic
emotions put forward in his set and his good looks, I developed
an idea of Kites as an angsty and sensitive young man. I have
developed a theory that when individuals of this type are
seen enjoying life and laughing, it’s really cute because
you can see them forgetting their inner turmoil for a time,
and finally feeling happy and enjoying the moment. Like, there’s
this video of Conor Oberst that I saw once on the Bright Eyes
website where he’s at a block party, smiling and clapping
along with some little kids singing “YMCA.” It’s
super cute. A similar effect was created in this instance,
as Kites was smiling and enjoying the festivities from the
sidelines, momentarily free from his troubles.
Now I would have
left after Kites, but, admittedly, I was sticking around to
wait to buy records from him and he was taking his time about
going to his van or whatever and getting them. After Dreamhouse,
the next and next to last band Feathers began
to set up. Their equipment piqued my interest, as it was comprised
of typical psych-folk instruments – a sitar, some hand
drums, bells, acoustic guitars, y’know. I am sucker
for all that stuff, at least in theory, so I decided to stay
and watch them too. Man alive was I glad that I did, cause
Feathers were certainly the surprise of the day for me and
vied with ToBM for “most impressive act” status.
I know nothing about this band, though I’ve subsequently
gathered that they might be from New England someplace. Their
style was indeed large group psych-folk, not that different
in theory from other current bands, except for the quality
of the songs. One song in particular (which was the first
song of their 3-song set and also on the CD-R they were selling)
blew me away, figuratively speaking. It’s called “Past
The Moon” and is mad beautiful. Live, a different band
member sang lead on each of the three songs, these lineup
changes presumably corresponding with whichever member authored
the song in question. “Past The Moon” was sung
by the most questionably scarf-wearing member of the group,
and what’s more was sung in a near-silly falsetto that
was dangerously close, voice-wise, to Devendra Banhart territory
(he’s ok but I hate his smug attitude and earrings).
However, the pure greatness of the song rendered all of this
irrelevant. Check these lyrics to the chorus: “We will
come full circle and believe me you’ve been saved/You’re
a living vision of the people in the grave/There’s a
bell above the sky that’s ringing upside down/It’s
mirrored in the waters who are shaking underground.”
Now imagine these framed in a strikingly beautiful melody
that approaches euro-classical clarity in its contour and
logic, and features several unexpected and ingenious chord
changes. The performance (I’m basically talking about
the CD now, it was more or less the same thing), however,
is very loosely and naturally executed, with sawing strings,
bells, violin, and acoustic guitar (the stuff I mentioned
before), and, by the end of the song, a ragged female chorus
capable of imparting Manson family jams-caliber chills to
the listener. Feathers thereby effectively bypassed the stiffness
that is a problem with some other groups of this kind (here
I’m thinking mostly about Espers, who I also like, though
I wish the girls didn’t have such high voices as I can't
understand one fucking thing they’re saying on their
record). Maybe I’m just so excited about this cause
I haven’t listened to those Tyrannosaurus Rex CDs I
bought yet, but I doubt it. Buy the aforementioned Feathers
CD-R by any means necessary, though I don’t have any
idea as of now of how you’d do that. Oh, so yeah, and
the rest of the concert was good overall too.
FOLLOWING
ARE ACTUAL PICTURES FROM THE ACTUAL EVENT REVIEWED, WHICH
WAS ACTUALLY CALLED "EVERYTHING IS SOFT, PRESENTED BY
DERRAINDROP, DEITCH, & LITTLE CAKES," COURTESY OF
LITTLECAKES.ORG (go
there for more photos from this event)
DERRAINDROP: "Additionally, on many of the wall pieces
there were cut up advertisements and album covers, along with
other popular culture references, all evidencing a collagist
aesthetic very much in line with the aforementioned comics
influence."
MOUTHUS: I think their hair looks terrific!
FEATHERS: "...a sitar, some hand drums, bells, acoustic
guitars, y’know. I am sucker for all that stuff...."
DREAMHOUSE: So that's the tarp thing he was talking about.
Ones/Saccharomanic
Targets/2673/Vampire Can’t – Tommy’s Tavern
in Brooklyn, New York, Sunday, December 12th, 2004
I
missed Ones on account of getting to this
show late. That was a real shame too, as they were one of
the acts I wanted most to see here. I had only heard them
once previously, when their cassette was played on the radio,
and thought that it was the Toni Laakso 7” cause I ain’t
listened to that in a while, but it was in any case, as I
remember, a very pleasing section of free music, sounding
like it was performed with some wind instruments, and recorded
/ processed in a way that incorporated tape cut-up techniques.
I think I might buy it, but it was released in an edition
of only 19. 19 is a pretty small run for a tape, don’t
you think?
So the first band
I was able to see was Saccharomanic Targets.
But wait, let’s back up. The venue where this show took
place, Tommy’s Tavern, is one of my favorite places
to see concerts, the 3 subway rides it takes to get there
notwithstanding, though I guess this isn’t an issue
for people who live in Brooklyn, like I bet most of the people
at this show. It’s like a straight up bar with a pool
table and stuff and then another room in the back where the
performances are. Once I succeeded in buying a beer from the
bar, but I didn’t tonight cause I had to take the train
home and you have to be alert for that shit. No jk, not really.
You just have to stay awake so you don’t fall asleep
and wake up at the last stop in Trenton, that is bad news.
Anyway, because of this set up, you get some people that are
there just to go to the bar and not to see the show, like
the middle aged Russian-looking man who walked around dancing
to himself to the disco type music that the between-set DJs
were playing and who I think at some point was trying to hit
on Can’t, though I may have misinterpreted this. Then
there was another guy sitting at the bar telling this lady
in a very forceful and meticulous manner about the commissions
he makes at his job working for Hugo Boss. And he was really
into it, he must really like his commissions. I would too,
I guess. Also, not at this show but at the same place a few
months ago, I played pool with an old man. That was pretty
weird. Members of groups such as the Double Leopards, Mouthus,
and the Magik Markers, as well as solo artist Prurient, were
at this concert.
So I saw Saccharomanic
Targets first. They were the only act of the night who I had
not previously heard of. In addition to this, their press
section on the email show announcement had no good namedrops
and I think it might’ve even mentioned something about
techno or beats, so of course my expectations were pretty
low. They just seemed like some random guys, y’know?
Well, turned out I was incorrect and was actually kind of
impressed by this group’s performance. The band is just
two fellows who, I might venture to say, are “going
for” a “Black Dice type of thing.” Not so
much in terms of actual sound (I’m actually not really
clear as to what Black Dice sound like most of the time),
but moreso in that that it’s two guys trying to make
interesting and flowing instrumental music with unusal but
generally not offensive sounds. They started off with a drone/noise
section which, had it been the entirety of their performances,
would’ve been totally acceptable. However, they then
switched from what were presumably electronics (at this point
I moved to a different spot so that I could actually see the
people in the band) to what would be their primary instruments
for the rest of the set: drums and, uh, keyboards or guitar,
I forget. From that point on the performance was marked by
a pounding rhythmic backdrop comprised of both electronic
and live bass and percussive elements and overlaid with guitar
and noisy stuff, I think. It doesn’t sound that cool
when I write about it but it was pretty good at the time.
Also, aside from a few false ends and startups with the heavy
rhythm part, the performance was a good length and wrapped
itself up before it went on for too long.
After that I went
and got a sandwich from the small supermarket across the street;
it had turkey and cheese and mayonnaise, and I also got a
bottle of the fairly new, I think, blood orange flavored Snapple.
All of these were pretty good. As I sat and ate them I eavesdropped
on some conversations and then it was time for the next set,
from 2673.
2673
is just one guy, who I like cause he is, I’m pretty
sure, from New Brunswick, which is near where I live. Actually,
there seem to be a fair amount of noise performers coming
up from that area recently. They have been reviewed in places
like Blastitude (that’s this) and Byron Coley’s
column in the Wire (including 2673 himself). Except that it
seems like every time this happens the release reviewed doesn’t
have any info and the reviewer is like “don’t
know who these people are or where to get this” so maybe
they need to work on that. Anyway, 2673 used what I’m
beginning to think is the classic set up for one man noise,
namely no input mixer and effex pedals. His set certainly
fell under the category of one man noise and as such was immensely
enjoyable. It had the high pitched feedback squiggles and
quick jumps and juxtapositions that mark a lot of cut-up noise,
and was all performed with the air of a man who takes what
he does quite seriously, in a good way. And again, set wasn’t
too long, good length. As an aside, this got me thinking that
maybe someday someone will do KBD/Pebbles style compilations
of one man/one woman noise tracks. It would sort of be the
same idea, like all of the tracks collected would be, to an
extent, variations on a very loose theme. That would be awesome,
I hope someone does that.
After this it was
time for the headliners, Vampire Can’t.
This group is so named because it’s the collabo between
Vampire Belt, the duo of young celebrity drummer Chris Corsano
and less famous guitarist Bill Nace, and electronics and voice
performer Jessica Rylan, aka Can’t. Having bought one
of the Vampire Belt CD-Rs at this show, I’ve since then
found out that the music Corsano and Nace played on this date
was less rock-flavored than their recorded work, which was
probably due in part to Can’t being there, as her other
stuff tends to fall more on the free electronics side of things.
Corsano played a couple of beats over the course of the set,
but more often the musicians fired up and down freer rock/jazz/noise
avenues. Actually my favorite part was a fairly brief episode
of quieter improvisation, where each player concentrated on
getting less conventional sounds from his or her instrument(s),
creating sort of a moving collage of sound textures that effectively
contrasted with the all-out blasting sections which were inevitably
worked up to. It was also one of the only times that you could
hear Can’t clearly, as in the louder parts her electronics
were often drowned out by the men. She still made her presence
felt though, cause you could hear her vox a lot and also she
danced and threw herself around while singing. I would call
her a very animated performer. Nace played very hard and apparently
by the time the set was finished all but one of his guitar
strings were broken. Towards the end of the last piece, he
held the end of one of the broken strings and dragged his
guitar across the floor of the whole room, through the crowd,
and out the door to the bar and back, which made some good
noise. Corsano was good too, of course, and played electric
bass with a drumstick on his lap instead of drums during the
aforementioned quiet part. Also, I like Vampire Belt because
the track titles on their first CD-R, Dead Is OK,
seem to all be Steve Lacy-themed, while those on their second
CD-R, Moth Lake, are Archie Shepp-themed. Awesome.
VAMPIRE CAN'T: Bill Nace on guitar. Everything
is psychedelic.
2673: Couldn't find any performance pix so here's some of
his cool artwork instead from 2673.org.
Everything is psychedelic.
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