Friday, June 05, 2009
CHICAGO - ABOUT THE MATCHITEHEW ASSEMBLY...
No Fun this year was mild and pleasant, a big accessible to-do with a real cochlea-blasting set from Prurient and Kevin Drumm, and all kinds of fresh-faced kids plugging their ears, wondering what the fuck they’d just gotten themselves into. What they’d gotten themselves into was buying a ticket to a weekend-long festival just because they saw Emeralds and Blank Dogs on two different nights, and along with that came a mini education in noise. But now founder and organizer Carlos Giffoni is bringing the whole thing to Europe (Stockholm’s first, in mid-September this year); word on the street is that it’s too difficult to make a living here, that there aren’t enough fans and appreciators and he needs some more money because we live in a world where you need dollars if you want to survive.
On the other hand, you’ve got these one-off experimental/noise/whatever fests every once in a while, where promoters shroud themselves in a sense of integrity, refusing to do Things The Way They Are Done these days (i.e., sponsorship, accessible venue choices, general friendliness to other human beings who might be interested in their project). These people are willing to financially die for their cause, a cause of purity and integrity, and that is very noble. Most of us can agree that seeing a company’s name—even one that is recognized as “cool,” such as Aquarius Records, Klaxon Records, and Autopsy Kitchen Records—slapped on to something that’s supposed to be strictly entertaining is at least a little bit of a bummer. But most of us accept this phenomenon as reality at this point; we sigh disgustedly at the visual pollution that’s trying to sell us shit, and then don’t ever buy it.
Matchitehew Assembly, a two-day noise and black metal fest in Chicago is trying to keep it real. Vice pal Bryan Clopton interviewed co-organizer Nicole Chambers, and Bloodyminded’s Mark Solotroff sat in too. Bloodyminded play tonight.
Vice: On the Matchitehew website it says you guys don’t want corporate sponsorship. Why’s that?
Nicole Chambers: My co-organizer comes from a metal background where shows happened at these bars and sponsors would show up and she would get really mad about that. There was this thing about Wolves In The Throneroom being sponsored ... it’s actually easier not to deal with any of that. To have it like, for me I know, just to have a room and bands.
Mark Solotroff: Eh, I don’t know that it’s easier.
Nicole: Well, to get a corporation involved at a noise show would be weird. It just seems unnatural.
Mark: Well, it’s different because of the music. Music and sponsorship have been hand in hand for quite a long time to really disgusting heights and lows.
Nicole: But for us to go ahead and get a space get some bands...
Mark: Depends how ambitious you are. Bringing a Hungarian band over and it’s a risky proposition getting flights paid for in advance, banking against ticket sales and whatnot. Getting a suitably massive P.A….
Nicole: Mostly it’s people putting themselves into it and not some company. My co-organizer is really adamant about that. Well, not super-adamant, it’s just on the site, it’s like, “By the way, we’re just people doing this. There are no corporations involved.”
Mark: There’s a history of black metal, though that obviously parallels second-wave punk, like Crass-era punk. Not first-wave punk ‘cause that was obviously all corporate and major label. But, from the early anarcho-crusty punk time that rejected any of that sort of interference from corporations and was very outspoken against it. Black metal has paralelled that a lot so there’s a tradition of early-90s black metal to work outside the domain of you know the record industry. It was all very DIY, much like punk was, so there’s a history of “why” this makes sense in a philosophical or maybe ethical way or something.
Nicole: The idea wouldn’t make sense to put out the effort of learning how to get some corporation involved or some other big organization that could help us financially. It would be extra work, unnatural and excessive. If it was an appropriate one ...
Mark: Sometimes it can work out for you, it’s just you have to answer to them.
Nicole: To me, it’s just too complicated.
Have you received any kind of sponsorship whatsoever?
No, we have nothing, really.
Mark: What’s Aquarius’ involvement?
Nicole: Just like, “Cool. We’ll be there.”
So you guys are paying for it out of pocket?
Sort of. I mean, we have ticket sales. My co-organizer is putting her own money in.
Is this going to be re-occurring or a one time only thing?
I’m pretty sure it’s one time only. It’s interesting that we learned so much about it, you know, putting it together. We would know how to go about doing it again and improve upon it, but I don’t know if we’re going to be living in Chicago next year, so ...
So, noise music has to be considerably different today than when you guys started out.
Mark: There didn’t use to be such a thing as “noise.” When I first started with my old band, Intrinsic Action, the term “industrial” was what was used. The rise of Wax Trax and all that hadn’t really happened yet. There was “power electronics” which was the subset that we came out of and it had just been christened by the band Whitehouse. There’s definitely been more of a sectioning off of the noise world. The term “noise” would come up more in the mid-90s as Intrinsic Action was stopping and Bloodyminded was starting. It really referred to the “harsh noise” artists that were out at the time. Over the years it became the term. Then, below noise there’s power electronics, dark ambient, harsh noise—all these different sub-genres. Part of it is that it’s branched off in a lot of different directions and the fact that there are eight billion more people doing it now.
It seems like it was a few years ago that noise became part of the lexicon of underground music, probably having a lot to do with the internet. Did you notice that turning point where it wasn’t becoming mainstream but a lot more people knew about it?
It kind of happened at two points. When suddenly everybody had email and internet access, there was that first bump. Roughly ’96, ’97, there was much more communication online. Then, probably around the time of the rise of Wolf Eyes was the second one, early-2000s. That was the next big bump when things really started to change because they were working with slightly bigger labels. They were the first to get noticed by people outside the noise domain and that opened up things for other bands that were growing at the same time, being recognized by mainstream press. Then, with Wolf Eyes signing to Sub Pop, that changed the accessibility of noise.
Do you think it’s for the better or worse?
I think mainly for the better. In any music scene there’s going to be people who jump on the bandwagon for a while and dabble. Either collect stuff, listen to stuff, show up to shows or start their own bands, start their own labels. The noise/experimental/industrial scene has seen it happen several times and those people fall off after a while. So you’ll get a little bit of an artificial boost cause people are jumping on the bandwagon. But I think it’s a positive thing in general because it’s given other bands opportunities to play in better venues and have more exposure.
But what about poser noise, ‘cause black metal has false metal, so there has to be some bands that are fakin’ it, right?
Nicole: There are a ton.
Mark: There’s a term called “MySpace noise,” where it’s bands that really only exist because of mp3s and all that ...
Nicole: It’s the kind of thing where you go to their page and it’s like PSHHHHHHHH and they’re just playing with their radios and it’s just distortion, distortion, distortion.
Mark: You’ll see people get really enthusiastic for a very short time and then disappear. They’ll start a band, a label, a zine and put out a hundred things while last year they were into grindcore or emo. It’s difficult.
But how do you tell if it’s good noise or bad noise?
Nicole: There’s a lot of layers to it.
Mark: Personal taste. It’s totally subjective. For me it’s always been about the complete package. Knowing that an artist or band has put a lot of effort into coming up with music, lyrics, if there’s vocals on it, a theme or subject matter for a release, that artwork that goes with it. I love when someone really takes the time to think a concept through fully and then go through with it. Probably the drawback of the noise onslaught is that people vomit out noise releases constantly.
What are some good qualifications for a good noise song?
You know, a good pop song has to have a nice harmony, a good hardcore song has to have a cool breakdown, so what does a good noise song have to have?
Nicole: It’s doesn’t necessarily have to be about the song, but the release. Sometimes the song will be the entire side of a tape or side of a record. Sometimes songs are twenty minutes long. Content is important. It’s easier to tell you what I don’t like.
Tell me what you don’t like.
For me I hate over usage of distortion. Some people just drench things in reverb. There’s also this thing now where people make harsh walls of noise. That doesn’t interest me too much. I’m not really into effects personally and I can’t always tell when I listen to it. I like more processed things like cassette manipulation. I like to see all the different ways people do things. When I get a release and it’s something I don’t expect, I like that. Also, the good thing about the noise world is you see somebody play live and then you seem them again and you end up talking to them. There’s always an ongoing dialogue. You get to see people face to face and interact. When you get to know somebody it gives you a different slant or view of their music. You might hate a tape and then you get to know someone’s personality and you’re like, “Ah! This makes so much sense.” There are just so many different layers to it, there’s no specific things. It’s not like a pop song on the radio where you’re never going to have a dialogue with the person who wrote that song. It’s just some track that somebody came up with.
What if it got mainstream, like, maaaaaaainstream?
Mark: It won’t. There’s no way it ever will. I think we’ve seen it get as big as it’s ever gonna get with the period Wolf Eyes was on Sub Pop. It’s just too harsh, too dissident. The music does not appeal to most people out there, the subject matter is consistently too ... there’s just no way. It’s dabbled, it’s bubbled up over the years here and there, but, even in the experimental music world, noise is still looked at like it’s a piece of shit in the corner.
So, black metal. Isn’t it a bit racist?
Some is. There’s super left-wing, there’s super right-wing. Black metal when it started was Satanic. It was cartoon, a lot of it. The racist thing sort of blew up in the 90s and it’s just a side effect of all of that.
But it’s racist to assume that just cause it’s black metal, black people are going to listen to it.
Have you seen that YouTube video? It’s a black guy calling a number he saw an ad for in a newspaper. Some black metal band looking for a replacement guitarist and it’s fantastic. You should look that up. That’s the final word on that. It’s these really frustrated kids saying, “No, we’re not black metal, we’re black metal.” Sorry if I just stymied your direction ...
Yeah, thanks for tanking my only joke. A lot of time when I’m complaining about black metal or noise and I’ll be like, “It gives me a headache” and people will be like, “well, that’s the point.” So let’s play a game called, “That’s The Point” where I complain about black metal or noise and you guys say, “That’s The Point!” Ready?: It gives me a headache!
That’s not the point.
Then what’s the point?
You want the point?
Erm, let’s try a few more first: Nobody is really trying.
Nicole: That’s not true. I think they try too hard.
Mark: People try really hard.
It all sounds the same.
It does sometimes, yeah. That’s not really the point. I would say for some noise guys and some black metal guys that is the point but ...
Nicole: That’s the fun thing, though, about black metal. On the surface it might sound the same but some people like to get really specific, “Well that’s this type of black metal, that’s this, this and this, like nature and Satan.” Whatever. There are different shades of black.
Noise and black metal ... makes me want to puke!
Can I watch?
Mark: I’m sure for some people that’s the point.
Noise and black metal are inaccessible to the typical person.
Nicole: That’s not true.
Mark: Eh ... that’s almost the point. It’s definitely meant to go against the mainstream of music, people’s tastes and popular culture. It’s meant to be a reaction against common tastes.
Then what’s the point of noise or black metal?
There are a lot of points. It’s either a creative or musical outlet for people, it’s no different than any other sound or visual or performing art as far as coming up with a concept, working through a process to have a finished thing to present whether it’s a live performance of a live piece or a recorded performance. One of the big threads that ran through Japanese noise was a real about-face against traditional music structures; a way to reduce music, more so to destroy music. To take sound and remove beat, melody, harmony and all the typical things of music. That wasn’t for everybody but it was a big movement to literally destroy traditional music. Black metal, in some sense, has tried to destroy rock ‘n’ roll even though it’s still blues, punk, whatever. They’re still using traditional instrumentation and basic riffs. One thing that ruined black metal for me for a bit was when I realized it sounded like surf music. It sounded like The Ventures or something. It was like, okay. I can’t listen to this for a while. But it was meant to be a reaction against overproduced, melodic heavy metal. There’s a reactionary motivation in both forms.
What about funny black metal that’s beginning to surface?
It’s all pretty funny.
Nicole: I think it would be good, though. It could be fun. It’s gets too serious, dark, serious, dark.
Mark: See, I like serious and dark.
Nicole: I just get tired of it. Sometimes you meet someone who plays it and they’re a total goofball. It’s rocking out in its broadest form. I don’t think they’re intentionally trying to make a joke out of it.
Mark: Black metal is supposed to be very grim by its nature. That doesn’t go to say that I haven’t met some black metal musicians with a great sense of humor.
It seems, to some degree, that recently black metal has broken into the mainstream again.
It’s certainly gone much further than noise. It’s still a music form that people can see as being derivative of rock 'n’ roll. Metal is very mainstream. It’s not hip-hop, but it’s close.
Describe to me what a day in the life of a typical noise rocker would be like. First thing he’s gotta do is wake up. Then what happens?
Nicole: The first thing he probably does is go on the internet.
Mark: And go to a message board, check their Paypal account.
Punch their amp.
Nicole: Listen to some tapes.
Do you think noise rockers have boyfriends and girlfriends and stuff?
Nicole: Some of them do. The interesting thing is when guys make music and then they get girlfriends and stop. I think for a lot of guys it’s a way to fill the void of time before they meet that girl or whatever.
Mark: That was always the joke about power electronics. It’s done by guys who can’t get girls so they’re screaming about murdering girls.
How about you guys give me one good reason to go to Matchitehew Assembly.
Nicole: A weird lineup that will never happen again, especially since there will be some bands you’ll never get the opportunity to see again, especially in Chicago. Marblebog is from Hungary, they’ve never played the US, and it’s their only US show. It may be the first time a Hungarian black metal band has played in America. Anybody that’s mildly into this realm of music will discover something and have a great time. It’s all-ages, too.
Mark: I just think it’s an excellent mix of styles in music. Metal and noise have co-existed since, I don’t know, almost 20 years now. I think this is a great opportunity if you’re into heavy and extreme music and little bit open-minded. This is a pretty impressive collection of bands coming together. Air Conditioning hasn’t been here for two and a half years.
Are there going to be hot chicks and hot guys?
Nicole: The ladies should come so they can meet the hot guys, there’s going to be tons of hot guys there.
Thursday, June 04, 2009
Blood Ties: Estranged fans of extreme music assemble for Bridgeport festival
Written by: Brandon Hopkins
“It does surprise me,” says Mark Solotroff, “how within genres of music that are underground, confrontational, and aggressive, people can still be closed-minded to other underground, aggressive, dark music.” The Chicago musician and scene veteran hits upon an all-too-common contradiction in musical subcultures, which preach nonconformity while erecting their own rigid aesthetic expectations. Matchitehew Assembly, a two-day festival featuring a range of acoustically vicious performers that “encompass the spectrum of dark sound,” breaks down boundaries by uniting diverse patrons of extreme music under the Co-Prosperity Sphere’s roof.
About two-thirds of Machitehew’s performers fit somewhere in the cosmology of black metal, clad in corpse paint and T-shirts printed with band names stylized to illegibility; on the other side of the spectrum are big names in the international noise scene, including Sword Heaven, Hive Mind, and Air Conditioning. Bands will travel to Bridgeport from as far away as Hungary, and a considerable out-of-town crowd is expected.
Mark Solotroff has been involved with Chicago’s experimental music community since the ‘80s, and his band Bloodyminded, which fits more neatly into the noise category, co-headlines one of Matchitehew’s two nights. He also runs the local label Bloodlust and provided Jacquelyn Kilmer, Nicole Chambers, and other organizers with support and contacts as the festival came together. He describes the Assembly as the outgrowth of a planned Chicago show for California headbangers Bone Awl. Because of the different tastes of individuals involved in setting up the show, he says, Matchitehew ended up being split, quite organically, between two normally separate spheres of the extreme music underground.
Though, as Solotroff points out, “there has always been cross-pollination between the two worlds,” and “it’s all high-energy, extreme, aggressive-sounding music,” there is a clear divide between black metal and harsh noise. While metal goes for the throat with its trademark Cookie Monster vocals and its gore-draped lyrical offerings to horned gods, noise represents a more calculated attack on listeners’ ears, as its craftsmen manipulate analog equipment and reroute electrical signals, often shunning traditional rock instruments, in order to generate their concussive sounds. Noise’s lineage ties it to canonized artists like Cage, Xenakis, and La Monte Young, while black metal’s obvious heroes are Gilles de Rais and Vlad the Impaler. For his part, Solotroff got involved in Chicago’s early noise scene while studying painting and printmaking at the School of the Art Institute. Nonetheless, Bloodyminded’s lyrical subject matter includes morbid contemplations of serial murder and venom-spitting social critiques. Solotroff’s Bloodlust label has also released music by metal-inspired bands like Dead World and fellow Matchitehew performers Locrian.
Black metal, whose truly cult-like audience has attained the status of an urban legend thanks to some real life church burnings and cannibalism cases in Scandinavia, has donned a more thoughtful mantel in recent years and gained mainstream critical attention, with groups like Locrian and Menace Ruine appearing in wide-circulation magazines like The Wire. Style practitioners keep to the characteristically raw four-track recordings and gloomy obsessions, but younger artists layer slow, deep guitar drones to create an eerily unsettling atmosphere that might give listeners chills, but won’t boil the blood, as one expects from death metal, grindcore, and other brutal-minded subgenres.
Solotroff points out that although Matchitehew’s artists can be divided into two musical tribes, each of the festival’s performers has its own ear-abusing idiom: “There are a lot of different themes going on, even within the noise bands that [will be] there—Bloodyminded, Sword Heaven, Air Conditioning, and Hive Mind. We’re all drawing from the same well of histories, interests, and influences. On the surface, there’s that darker aesthetic, but content matter-wise and sound-wise, there couldn’t be four more different bands. That’s four bands that sound so different, from dark ambient, to guitar noise, to almost Swans-like dirge with Sword Heaven, to us being more extreme electronics.” There’s a similar variety to the metal bands, whose inspirations range from ‘90s shoegazing to crust punk and at times even revel in a kind of sadistic beauty. Metal and noise fans can expect to have their expectations denied and exceeded at Matchitehew. But perhaps it’s simply best to check all expectations at the door.
Co-Prosperity Sphere, 3219 S. Morgan Ave. June 5-6. Friday-Saturday, 5pm. $25 each day/$40 both days. matchitehew.com
Novice promoters Jackie Kilmer and Nicole Chambers throw what might be the world’s first black-metal and noise fest.
By Miles Raymer
June 4, 2009
Fri-Sat, 6/5-6/6, 5 PM, Co-Prosperity Sphere, 3219 S. Morgan, 773-862-1232, $25 per show, $40 for a weekend pass. All Ages
Jackie Kilmer, an artist and clothing designer who tends bar at Metal Shaker, was living in Omaha when she put on her first rock show. She had no experience as a promoter, but the Naperville band Velnias were looking to play the area, and for help they’d contacted Kilmer, who’d moved back and forth from Chicago to Nebraska a few times. Rather than place them at a club, she decided to stage the show in Hummel Park, on the northern outskirts of town. It seemed well-suited to their spooky, atmospheric black metal: the place is supposedly haunted, says Kilmer, and “notorious for murder-suicides, occult activities, Indian burial, blah blah blah.” So they played in the woods, powering the gear with a generator. According to Kilmer it was a success: “No one got arrested.”
By the time Kilmer returned to Chicago about two years ago, an even more ambitious project had begun to take shape in her head: to throw a daylong black-metal festival, for no other reason than to have her favorite black-metal bands all in one spot. After months of research and planning and the addition of a partner—Nicole Chambers, recently laid off from a job doing Photoshop work for an insurance company—this weekend it’s finally happening.
The Matchitehew Assembly (Matchitehew is an Algonquin name meaning “he has an evil heart”) isn’t one day but two, Friday and Saturday at the Co-Prosperity Sphere. And thanks to Chambers, who came into it with a bit of experience booking friends’ bands, there’s plenty of experimental noise mixed in with the black metal. The nearly two dozen bands on the bill hail from all over—the midwest, Texas, California. The Hungarian band Marblebog anchors Friday’s bill; after Matchitehew, Kilmer is accompanying them to an invite-only gathering in the Rockies whose precise location is a secret.
Like many dedicated black-metal fans, Kilmer is suspicious of media exposure almost to the point of paranoia, so Matchitehew has barely been publicized through the usual channels—the news has gotten out mostly person to person, either by word of mouth or online (with a little help from the noise freaks at Aquarius Records in San Francisco). I’m a little surprised she agreed to talk for this story—but as she reminds me, I had to badger her repeatedly.
Kilmer and Chambers have secured nonprofit status under the auspices of the Public Media Institute, which runs the Co-Prosperity Sphere and presents the Select and Version festivals. They’d hoped to scare up donations with the lure of a potential tax deduction, making it easier for the festival to forgo corporate sponsorship, but all they got were small gifts from a couple friends. Aside from selling tickets—at matchitehew.com and Metal Shaker, 3394 N. Milwaukee—the only way Kilmer and Chambers are bringing in money is by renting merch-table space to independent black-metal labels like Sepulchral Productions and Autopsy Kitchen. After they meet a few of their expenses—they’ve fronted a lot of cash they don’t expect to see back—they plan to turn over all proceeds to the bands.
Kilmer detests festivals where corporate logos compete with the bands for attention. She has especially harsh words for the recent string of high-profile metal events sponsored by Toyota’s youth-marketed Scion brand, including a February blowout in Atlanta that featured American black-metal heavies Nachtmystium and Wolves in the Throne Room. “It’s all bullshit,” she says. “It ruins everything when dad gets involved. It’s no longer any fun.” (The Co-Prosperity Sphere has a deal of its own with Grolsch, which provides beer for some of the space’s art events, but I’ve never seen any banners there.)
Black-metal fests are rare outside Europe and not exactly common there either, but rarer still are festivals that mix black metal with noise. In fact, if there’s ever been another one, I don’t know about it. The social divisions between the genres are deep enough to trump their commonalities: punishing tones, calibrated for maximum effect on the body; lo-fi recordings, often in extremely limited runs and on cassette tape; and audiences with a significant contingent of serious misanthropes. You also occasionally encounter appropriated fascist imagery and, in extreme cases, fascist ideology. There are National Socialist factions in both scenes, but Chambers and Kilmer insist that no artist at Matchitehew has direct ties to those groups or shares their beliefs—not even California black-metal punks Bone Awl, who’ve used Nazi symbols in their artwork.
If noise artists and black metal bands aren’t mingling, it’s also probably due in part to their fascination with establishing increasingly obscure and exclusive subgenres—in Chambers’s words, they “like to get the boxes really tiny.” I figure this is largely an attempt to control the context in which they’re heard, by fleeing the taint of association with a style that’s either too trendy or insufficiently brutal. “I told Fenriz from Darkthrone about this fest,” says Kilmer. “He was like, ‘Oh, the arty side of music.’ I think he just passed on it as an arty thing because of the noise aspect.”
Actually, by calling the fest simply a mix of black metal and noise, Chambers says, they’re “dumbing it down really far to the most brief thing we could call it in conversation.” The noise acts run the gamut: locals Bloodyminded combine searing power electronics and assaultive ranting; Sword Heaven, from Columbus, Ohio, create a confused tangle of throbbing and clanging that sounds like a pagan army loose in a scrapyard; and Houston’s Rusted Shut favor sludgy, troglodytic stomping. The black-metal contingent is equally varied, ranging from Marblebog’s traditional Mayhem-style epics to Bone Awl’s oi-influenced take on the style to Locrian’s postapocalyptic drone.
I’d be remiss if I didn’t mention the most obvious difference between Matchitehew and other similar festivals. At most noise and metal shows you can count the women in the crowd on your fingers, but here women are in charge—Kilmer and Chambers direct a team of part-time volunteers, mostly men. As remarkable as that might look if you know the scene, though—especially considering that the two of them had so little previous promoter experience—they seem pretty nonchalant about it.
When I ask what they’ve learned from putting the fest together, I’m hoping for something philosophical, but Chambers just talks about navigating a German-language airline Web site to book Marblebog’s plane tickets. Kilmer, though, seems to be feeling more reflective. “The devil will find work for idle hands,” she says. “So I went and made a black-metal festival.”
In the early part of the decade, black metal attracted a heap of prurient rubbernecking thanks to books like Lords of Chaos, which chronicled the church-burnings, murders, and alleged cannibalism in the Norwegian scene. But those who've followed past the scandal have been rewarded with an exciting cross-pollination between BM and the American noise underground. The two-day Matchitehew Assembly brings together local noise stalwarts (Bloodyminded, Oakeater), national luminaries (Air Conditioning, John Wiese), and blackened cult heroes (Bone Awl, Marblebog). These bedfellows are strange, but weirdly symbiotic.
– Stephen Gossett
Tuesday, June 02, 2009
- The test pressings for the Locrian "Drenched Lands" LP are in production and should be in-house in about a week
- I managed to get another duffel bag full of packages to the Post Office before Anatomy of Habit practice. Most of the Mauthausen Orchestra singles have now been sent out, barring a few combined orders. The first of the Intrinsic Action T-shirts are also in the mail. I should be wrapping up most outstanding paid orders prior to tomorrow afternoon's practice with Bruce Lamont and Delina Russell
- Severe ringing in the ears...
- I am starting to pack up combined orders now, and I may try to get a second mail run in today before practice
- Orders including the new Intrinsic Action T-shirts will start getting packed up today. There was a one-day delay in receiving the shirts, due to the holiday last Monday
Monday, June 01, 2009
Monday July 13, 2009
The Empty Bottle
1035 N. Western Avenue
Chicago, Illinois 60622
Locrian (http://www.myspace.com/thelocrian) [BloodLust! LP release show]
Anatomy of Habit (http://www.myspace.com/anatomyofhabit)
The Human Quena Orchestra (http://www.myspace.com/thehumanquenaorchestra)
Last.fm link: http://www.last.fm/event/1050324
Sunday, May 31, 2009
Dark spirits unite at a weekend fest feting everything from black metal to feedback-drenched drone. A smattering of international acts—Hungary's Marblebog, Canada's Monarque and Menace Ruine—appear alongside national and local noisemakers, including Bloodyminded, Velnias and Oakeater. See matchitehew.com for tickets.