Tonight (11/07/07)

Wednesday November 7, 2007

Enemy
1550 N. Milwaukee Avenue, 3rd Floor
Chicago, IL 60647
http://www.myspace.com/enemychicago
http://cranksatori.net/enemy/

8:00 PM
$5.00 Suggested Donation
All Ages

Demons
http://www.myspace.com/demonscool
http://wolfeyes.net/aaindex.html

Vertonen
http://cipsite.net
http://myspace.com/vertonencip

Jason Soliday and Mark Solotroff
http://cranksatori.net/js/
http://bloodlust.blogspot.com
http://www.myspace.com/officialbloodyminded


From the Reader:
http://www.chicagoreader.com/music/thelist/index.php#DEMONS

If the MO of your average noise musician—dicking around without even trying to produce a recognizable rhythm or melody—is pretty lazy, then switching on your gear and then just standing back has to be the most indolent damn thing you could possibly do in front of an audience. That’s how Demons—aka Nate Young from Wolf Eyes and his old friend Steve Kenney—started out, with two fardled Pro-One synths they’d turn on and basically let play themselves. These days they use tape-echo units and bent circuits to shape the output, but they still treat the machines as organisms with minds of their own. In a slow-motion cycle that feels almost ritualized, each haunted Pro-One summons one random waveform after another—motor-meltdown fluttering, dump-truck diarrhea squishing, pop-eyed gaga babbling—accompanied by what sounds like a whirring gale of shredded metal almost out of earshot. Young and Kenney have also added experimental video artist Alivia Zivich as a third member, and her visuals—mutating prismatic blobs that transcend the blankly psychedelic to become dark cosmic portents—turn Demons’ live show into biorhythmic sorcery. Vertonen and a duo of Jason Soliday and Mark Solotroff open. 8 PM, Enemy, 1550 N. Milwaukee, third floor, 312-493-3657, $5 donation requested. All Ages - Liz Armstrong

Review of Whitechapel 2 x CD-R

Vadim just alerted me to this new review written by Travis Henke for Negation is Freedom zine. Aside from an inaccuracy, or two, it is a nice write-up:

Jason Soliday & Mark Solotroff 2x5" cdr

"Here we have a collaboration between Jason Soliday and Mark Solotroff. Mark Solotroff, mostly known for his work in Bloodyminded, Intrinsic Action, and the Bloodlust! label. Jason Soliday is somewhat of a mystery to me. I've read his name before, he has releases on Box Media and Bloodlust!, but I'm not familiar with his music. After very little research it appears he runs with the TV Pow crew. First of all, the packaging for this is incredible. And it should be noted that everything I've received from Whitechapel has been extremely top-notch. This double CDR comes in a gatefold sleeve with great artwork from Soliday. On the first cd, there is a 15 minute track. I'm not sure what part either Solotroff or Soliday play on this recording and I'm not familiar with either artists solo material. But this track starts off with some percussive blasts of noise with what appears to be casual conversation over it. Very lofi, sounds as if it was recorded live using an open air mic. There is a base track of hypnotically churning waves of sound, which seem to maintain a pretty consistent tone throughout the entire cd. Sharp squeals of feedback break in and out of the recording, but because of the fidelity of the recording, I can't tell if its actual feedback or metal manipulation. At times it sounds like someone did a field recording of a machinist shop; squealing machinery grinding and cutting away at metal while all the machines drone and hum in the background. On the other cd we have another track that clocks in at 18 minutes. The metallic torture continues, this time with a greater focusing on painful squeals of such high end frequencies that only dogs may be able to hear it. The feedback progresses into throbbing and pulsating rhythms. The cd has a similar feel when Prurient was going through that feedback manipulation stage. It is refreshing to see an artist like Solotroff take a different direction when working on a side project. Wish I could speak for Soliday but I'm not familiar with his work."

Credits

Ah... photo and video by Nick (of Katchmare), who drove up from Normal, Illinois. With "thanks"!

http://scissordeath.blogspot.com/
http://www.myspace.com/scissordeathrecords
http://scissordeath.com/

Friday Recap, etc.

This weekend went by in a blur... Isidro, Heber, and I, went to see Neurosis and Minsk, last night, at the Logan Square Auditorium. U.S. Christmas from North Carolina opened up, and their style of Theremin-infused, spaced-out, psychedelic stoner/doom (Hawkwind, "Tab"-era Monster Magnet, Comets On Fire, maybe even Chrome) was a very nice introduction to an intense long night. Minsk played an excellent, dynamic, trance-inducing set, augmented by guest player Bruce Lamont on sax/loops. This was probably my favorite Minsk set, yet, and they seemed to take advantage of the cavernous, echoing sound at LSA. After seeing Neurosis several times in the 1990s, it has been a while, for me. I have continued to follow their progress, even if the last few albums have not held up for me out as well as most of their earlier material has. But as a live force, Neurosis has really mastered their craft. They have fully realized their grasp of dynamics... learning well from later Swans CDs, regarding how to build slowly, hypnotize with repetition, then knock you back to reality with bombast. They were tight as hell, they rocked hard, and their video, while "simpler" an affair than it used to be, was extremely well executed and was a great accompaniment to the sound.

The weekend also included some DVD viewing: "Zoo" (a bit dull and something of a letdown), "Le Boucher" (a great old Claude Chabrol film), and "Chacun Sa Nuit" ('One To Another" - a fairly disappointing, newer French film).

------------------

Friday's show was a lot of fun. Tom from Rococo Records called me at about 4:00 PM to let me know that Pink Reason and Psychedelic Horseshit had been in a van crash, or something like that, and that they were not headed for Chicago. A couple of telephone calls later, and Terence Hannum (Locrian, Unlucky Atlas) and Druids Of Huge had agreed to jump on board at the last minute. Terence opened up the night with a densely woven sound, taking elements from his side of Locrian, building up amazing loops of melodica, harmonica, and voice, and laying them over decayed backing tapes. His set was easily as compelling as the best Locrian sets that I have seen --- no offense, Andre! Check out his brand new New Order-inspired (the packaging, silly) solo cassette, if you can track one down. Druids Of Huge played a monster set - to family and to friends - with a clearer mix than I have frequently heard with them -- definitely a plus -- and a good time to interject that the sound guy from MPShows did a fucking great job! Ben's drums had an excellent wallop, Jon's guitar sliced through the mix - in a distorted and fuzzy sort of slicing motion, and Brett's electronics/tapes acted like the gross glue between the other two instruments. Always a pleasure to have their hybrid style in the mix. I played next, and as soon as the feedback started to really build, I saw fingers go in ears and I saw bodies head back into the front bar. I guess it got that bad. In fact, at one point, I started to smell that awful odor of burning wiring, or whatever it is that PA systems start to do in early meltdown. After changing my mind about what content to use, I looked for some inspiration and then settled on a reprise of this past Spring's "Melting" phase. I was really pleased with the results, overall, even if it was a more subdued and controlled performance. John Wiese and C. Spencer Yeh played next, and all that I can really say is that the combination of their two styles made such perfect sense in this live context. More analog versus more digital. More organic versus more processed. Soft versus loud. Subtle versus harsh. Like a true duo, the two built up a dynamic set that was really nice to watch unfold. I was really glad that I got to see this performance. It really clicked for me. The New Flesh were up next, and I need to cannibalize something that I posted on the noise board to discuss their sound... They made me think of a cross between the heaviness and the repetition of early Swans records, but played by guys in a punk or a hardcore band. I always used to imagine an impossible dream-cross between Swans and Discharge --- in about late-1983/early-1984, I had a cassette that was glued to my first Walkman: Swans "Filth" on one side, Discharge "Hear Nothing, See Nothing, Say Nothing" on the other --- and while this was not exactly it --- it was in that imaginary stylistic neighborhood... The New Flesh have no need for slicing guitar solos, like Discharge, though, and actually, the guitar and the bass are very much in sync. More like a two-bass band. Early Cop Shoot Cop, minus the samples, maybe? Who knows??? The Rococo folks drew the reference to early Amphetamine Reptile, and while I was never a fan of too much AmRep stuff, I definitely get the connection.

We ended the night at Continental, where the DJs churned out a great blend of druggy glitter, glam, and classic late-60's/early-70's rock mixed with Motown and girl group stuff. The late night conversation continued at home, and it seemed like no amount of espresso could make things right on Saturday afternoon...

Thanks to Tom at Rococo, for getting things sorted out for the show, in the first place. Thanks to the MPShows folks, for the opportunity, and for the smooth running show. Thanks to Terence, Ben, Brett, and Jon, for the last-minute save. Thanks to everyone who came out to support -- we filled the room up quite nicely!

Here is a quick video clip of me that an observant friend sent me the link to:



Here is a quick snapshot:



And a self-portrait in yet another foul bathroom:



Whoever took the video and the first photo - feel free to get in touch - so I can credit you, if you want...


Demons. Wednesday...

Killing Joke Bassist Paul Raven R.I.P.

I meant to post something here, sooner...

During his time in NYC, Raven used to hang out a bit at Big Bar, an East Village bar that Steve Silver (ex-Intrinsic Action synth, ex-Killing Joke tour manager) and I used to work at. He was a totally fun guy to talk with, and he was connected to so many bands and musicians that I have liked/known over the years... Killing Joke being a long-time favorite of mine, to say the least. "Night Time" is one of my all-time favorite albums...


Paul Vincent Raven -- bassist for post-punk pioneers Killing Joke and, in more recent years, industrial elder statesmen Ministry-- was found dead Saturday, October 20 in a private home in a small French village on the border of Switzerland, near Geneva. According to initial reports, his death was the result of a heart attack.

The 46-year-old Raven was in the thick of a couple different musical projects at the time of his death. He was in Geneva to record with French band Treponem Pal, and he planned to release an album by Mob Research-- a collaboration with members of Warrior Soul and the Mission UK-- on Ministry leader Al Jourgensen's 13th Planet Records next year.

After Raven's death, Jourgensen released a statement saying, "I am in total shock. The world of music is a sadder, emptier place. Not only was Raven an extraordinary talent, but one of my closest dearest friends. Our condolences and prayers go to his immediate family. He will be truly missed by artists, musicians, and his fans the world over."

TONIGHT - Changes in the Line-Up

Pink Reason and Psychedelic Horseshit have had to cancel due to a van wreck or breakdown... The revised line-up is:

The New Flesh
John Wiese + C. Spencer Yeh
Mark Solotroff
Druids Of Huge
Terence Hannum (of Locrian/Unlucky Atlas)

Tonight

BloodLust! November 2007 Update

The update has been posted on the catalog page and the MySpace weblog, and it has been sent to the mailing list. If you did not receive the e-mail, and you wish to do so, please drop us a line. Thanks!

Write-ups for tomorrow's show

From Flavorpill (http://flavorpill.com/chicago)

Few phrases have the power to strike fear in the hearts of pop lovers quite like "improvisational side project." For every Fripp and Eno, there seems to be a dozen October Factions. (Don't remember that Black Flag- and Descendents-affiliated noodling? Exactly.) Well, no one would confuse C. Spencer Yeh's droning violin or John Wiese's meticulous layers of noise for pop. Still, their expert improv and composition skills (not to mention the absurd decibel levels) will thrill even the uninitiated. Leave the po'-faced chin stroking at the door — Yeh and Wiese make experimental music with visceral grace. - Stephen Gossett

http://flavorpill.com/chicago/events/2007/11/2/c-spencer-yeh-and-john-wiese


From The Reader: The List (http://www.chicagoreader.com/)

JOHN WIESE & C. SPENCER YEH Los Angeles synth warlock John Wiese has released approximately 7,000 nearly impossible-to-find recordings, including collaborations with just about anybody noteworthy in the shadowy noise-nerd underworld, and everything I’ve heard him do has at least a drop of genius in it—ditto for Cincinnati voice-and-violin experimenter C. Spencer Yeh, best known from Burning Star Core. In their duo, Wiese’s sizzle-thrash showers over Yeh’s glittery drone and seizure vocals like a fine spray of molten rock, its spattery hiss eating into his gargoyle spitting and chain-saw scrapes while an evil spacecraft in the distance takes flight with an eerie hum. This set should be OMG WTF material for anyone who even dabbles in noise. The New Flesh headline; Wiese & Yeh, Pink Reason, Mark Solotroff, and Psychedelic Horseshit open. 9 PM, Ronny’s, 2101 N. California, myspace.com/ronnysbar, $7. —Liz Armstrong

http://www.chicagoreader.com/music/thelist/index.php#JOHNWIESEampCSPENCERYEH

Saturday Show Recap

BLOODYMINDED
October 27, 2007
The Flowershop
Chicago
with:
Air Conditioning
Mammal
Cadaver In Drag
Paranoid Time

BLOODYMINDED
Heber Burguette - Synth
James Moy - Live Mix + Synth + Vocals
Isidro Reyes - Synth + Vocals
Mark Solotroff - Vocals

01. LAKE STREET
02. ANGEL OF DARKNESS
03. THE LOVE HATERS VS. THE HATE LOVERS
04. MIND THE GAP
05. SEXUALLY TIMID GIRLFRIEND PUTTING HERSELF THROUGH ART SCHOOL BY WORKING AS A STRIPPER - RAPE VICTIM
06. BOOST
07. OUTSIDE THE GATE
08. STICK INSECTS
09. BLIND FURY
10. TWO DROPS OF BLOOD
11. DAZED (INTRINSIC ACTION)
12. BECOMING AN ANIMAL (ENSEMBLE SACRES GARCONS)
13. GRAIN (ANIMAL LAW)
14. VISITING AN EX-GIRLFRIEND IN THE HOSPITAL - AIDS WARD
15. WITHIN THE WALLS
16. A SONG FOR LISANNE, A YOUNG MODEL
17. TROPHY

We were up against a lot of competing events on Saturday night... Diamanda Galas at the Museum of Contemporary Art... Jesu at The Empty Bottle... a zillion Halloween parties, etc. I put the word out that things were starting on time, too. And I'll be damned, there was a pretty great, full room by 8:15 PM at The Flowershop. It was great to look out and see people who had driven from Cleveland, Milwaukee, Saint Louis... nice! I think that everyone was "in the mood" for this show, so we certainly did not need to kick things off with that one. From the opening second of "Lake Street," I knew that James had the sound worked out perfectly --- the best blend of synths, feedback, and vocals that I could possibly ask for. Even if I could barely see Heber during the set --- he does like to lurk behind those amps --- I could tell when his mid-range MC-202 was cutting through the mix --- and Isidro's high-end cut through like a knife! The long spaces between songs were pretty brutal, I think, adding to the marathon-like length of the show. I had so much to say, as I recall, but after listening to a recording of the show (thanks Arthur!), I appeared to be having trouble gathering my thoughts and spitting it all out --- lyrics, too, at some points. Sorry, I have been pretty distracted these days... Thankfully, I had Isidro and even James backing me up on vocals - not to mention Greh Holger's animalistic grunts on the Cleanse cover, "Dazed." And was it just me, or was it hard to move that night? I felt like I was swimming in molasses, or something. Weird. Anyway, we made it through all seventeen tracks, eventually --- in 42 minutes, actually --- hey, who ordered the double??? --- it was our last Chicago show of the year ----- finally retiring the floor to our esteemed guests.

Paranoid Time was up next, and once we sorted out the PA situation - after a funny declaration from Pat - he proceeded to quickly lay waste to the room with a short, loud, and heavy dose of harsh noise - and perfectly timed interjections. I guess that I should have looked more closely, because it appeared that his main sound source was a scrap-metal sculpture, of some sort, which was insane. That was how harsh noise should be done. Fast, hard, and too the point, with the perfect amount of crowd interaction and flair! What a great introduction to a Chicago audience.

Cadaver In Drag were up next, with two to three times the usual number of members that I have seen... with additional guitar, organ/keyboard, and synth. This six-man enhanced line-up brought the best elements of the new album, "Raw Child," to life. Dense, heavy, plodding, psychedelic, doomy, sludge... well composed and executed epic tracks... Someone please book them a world tour... and let me tag along. I completely got lost in some sort of zone during their set... it was just that transcendent for me.

Mammal was up next, and clearly Gary has upped the ante - yet again - since his last Chicago show - with Thrones and Growing. His live sound - for me - is the perfect blend of the pure electronic Mammal that many people expect --- and the bass guitar and drum machine style that has been emerging more recently. I think that he opened with "Repulsion" - I hope that I got that right - but even if not - that relentless track off of "Lonesome Drifter" is such a good indication of what this show was like... bass guitar as a machine caught in a series of shifting, horrific loops... relentless pounding rhythms... totally bleak... In some ways, the most true industrial music -- in a more antiquated use of the term -- that you could imagine. The physical nature of the sound caused the audience to immediately withdraw from the primal swamp of C.I.D., moving into a more active headbanging phase. Amazing! As much as I would have liked to have heard "Fatherlands," it made sense to leave the truly morbid vocal tracks out of this set - for the sake of the hellish momentum that Gary maintained.

After a brief transition to set up a different mountain of amps, Mssrs. Jurgensen and Franco built up a hideous wall of bass and guitar sound that had a much greater physical impact - which one would hope for -- but in contrast to the experience of numerous listens to their CD on Load, "Dead Rails." While there was not always a lot of differentiation, it was clear that at times the bass was winning the fight, while the guitar sometimes got the other hand. At other moments, feedback took on a life of its own, or maybe a shock of electrical noise rose up through the heavy mix -- while a true climax could be marked by Robert's "let it all out" vocal movement. I could not have asked for a better meltdown -- in an "exploding volcano" sense -- to the entire evening.

Thanks to Jake, for getting the show set up. It is much appreciated! Thanks to Thorn, and everyone else at The Flowershop, for the great hospitality, as always. Thanks to Marlene, for videotaping. Thanks to all of our friends - and to everyone else - who came out to support the show. The crowd's energy was excellent!

What followed? A really bad Halloween party. People in costumes - out on the street - fighting --- Actually getting let in, then closing Continental --- finding Slim laying on a dark, empty sidewalk in Pilsen shortly after 5:00 AM. Tasty carnitas at Don Pedro on 18th Street. Fourteen guys spread out all around my place, crashed out. A couple of hours sleep... a couple dozen espressos... eventually getting to brunch... a trip to the Conservatory... a quick show... and off to see really great sets by Burial Hex, Oakeater, and Yellow Swans at AV-Aerie on Sunday night.

There you go...