Sorry this post comes about as last minute as it gets (some notice is better than no notice though, right?), but fellow Minnesotans Paul Metzger and Tim Kaiser will be performing tonight in the living room or basement of local row house-turned-venue, the Lighthouse. Metzger rocks a self-modified, 21-string banjo, and Kaiser exhibits an exhilarating array of experimental art. Not to be missed.

First check the videos below for a live sampling of Metzger and Kaiser (in that order), then check the info below that so you can plan your night accordingly:

Paul Metzger (modified banjo and guitar)
Tim Kaiser (self-built acousto-electric contraptions)
Sejayno (????????????????????)
Friday November 21
@ The Lighthouse
1421 Buchanan St. NW
doors/food at 8:00, music at 9:00
5$ suggested
BYO

Locally run out-sounds label Thor’s Rubber Hammer has divulged the details for an upcoming compilation of tracks inspired by the winter holidays—just in time for the winter holidays. Last Winter We Didn’t Sing will feature pieces by Scott Tuma, The Instruments, Susan Alcorn, Greg Davis, Beggin’ Your Pardon Miss Joan, Fabio Orsi, Chartreuse, and D.C.’s Nicholas Szczepanik. With artwork provided by Ariel Kitch (pictured above), the collection will be the ideal stocking-stuffer for those tickled by spellbinding drones and frosty contemplation.

Mosey over to the TRH Web site for an exclusive MP3 from Tuma: an alternate take of his track “Mr. Beautiful Head” that won’t appear on the CD. And while you’re there, be sure to check out the deals offered at the shop as part of the label’s two-year anniversary blow-out.

Hopes are high for an official release by the end of November, so check back with the site soon for information on pre-orders.

In support of the third volume of Tompkins Square’s fantastic Imaginational Anthem series devoted to compelling interpretations of the acoustic guitar, three performers from the latest compilation will make a stop at the Velvet Lounge tonight: Ben Reynolds, Cian Nugent and George Stavis. Released in April, Imaginational Anthem, Vol. 3 highlights a stellar cast of performers past and present, bending time, technique and tradition through a powerful kaleidoscope of acoustic compositions.

The tour is the first U.S. expedition for both Reynolds and Nugent, hailing from Glasgow and Dublin respectively. Reynolds has been rather prolific over the past several years, releasing a smattering of his own solo material among collaborations with fellow UK outfits—most recently with Alex Neilson’s Trembling Bells. April’s release of Volume 3 also coincided with Reynolds’ latest full-length, Two Wings, for Portland imprint Strange Attractors Audio House.

At just 19, Nugent has already caused a stir with his take on pre-war blues and Takoma style; his debut EP was recorded with large reel to reel machines, infusing his sound with the crackle of an old 78.

At the other end of the experience spectrum is George Stavis, who originally released his debut full-length of peculiar banjo compositions, Labryinths, back in 1969. The tour marks his first string of public performances in decades. Check the MP3 below for a cut off his lost treasure, which is also his contribution to Imaginational Anthem.

It’s hard to think of a more appropriate stop for the tour than D.C.—childhood home of John Fahey (he grew up in Takoma Park, graduated with degree in Philosophy from American) and technical birthplace of the American Primitive school of guitar that he fathered. Tompkins Square itself is dedicated to exploring the American Primitive tradition, and has released several records by emerging young talents like James Blackshaw side by side with reissued material from folk icon Robbie Basho. The label is set to release full-lengths by both Reynolds and Nugent in early 2009, and has already made the Imaginational Anthem series available as a beautiful box set. Essential listening for Fahey fans and acoustic enthusiasts alike.

DOWNLOAD: George Stavis, “Goblins”

Before Lil Wayne decided he was a martian (which, according to XXL, was a gimmick inspired by Cee-Lo), emcee Kool Keith was already preaching his extraterrestrial status to Earthlings. His claim as Dr. Octagon in the seminal 1995 single “Earth People” (”Earth People, New York and California. Earth people, I was born on Jupiter”) seems much more justified than Weezy’s, given his ridiculous lyrical orbit over the past quarter-century. A founding member of groundbreaking hip-hop group Ultramagenetic MCs, Keith has been spouting rhythmic nonsense via a variety of absurd aliases and M.D. monikers. He’s still ragingly prolific, with two new records fresh on the shelves: his second full-length as Dr. Dooom, and a new collaboration with Tim Dog and Marc Live as Project X, who are appearing live tonight the 9:30 Club.

Keith may have killed off Octagon at the beginning of First Come, First Served—his debut album as Dr. Dooom—but apparently he wasn’t quite dead; the madman was resurrected with 2006’s The Return of Dr. Octagon. On the sequel, Dr. Dooom 2 (released last week), Keith lyrically ensures Doc Oc is officially D.O.A., quickly elaborating the tactics used to finish the job. Check the new video below for details:

The record continues in B-movie gore and horrorcore surrealism, with Keith dispatching a cool lunatic flow over dreary horn samples and creepy beats. But the gruesome imagery on Dr. Dooom 2 seems quite a contrast from his material in Project X. From the samples I heard on their MySpace, the incarnation sounds more gangstafied than Dooom, harping on thug topics with touches of boom-bap. The new album, Iconic, officially drops on October 15th, and the trio is in the middle of their worldwide tour, which just took them through Australia in September. Their appearance at 9:30 tonight should at least tie you over until the Dr. Dooom tour, which is scheduled to kick off in February 2009, according to Threshold records.

Project X
Oct. 3rd
9:30 Club
815 V St. NW
Late Show — doors @ Midnight
$20

If there was ever any doubt that D.C.’s experimental underground was alive and kicking, it’s been erased this week. Not only are we in the middle of the eighth annual Sonic Circuits Festival (ongoing through Sunday at the Velvet Lounge and the National Museum of Women in the Arts), but area artists also just unveiled District of Noise, a brand-new compilation of local music deviants released in conjunction with the week-long event. Sunday served as both the festival’s opening night and the record’s release party, hosting performances by many of the acts featured on the compilation’s 17 tracks. The show itself was a revolving door of musicians and on-the-spot collaborations, championing the vibrancy of the DMV experimental scene while exhibiting its incestuous network.

Compiled by festival curator and Zeromoon label-head Jeff Surak, District of Noise reveals a clique of artists steeped in audiophile philosophies and improvisation, emphasizing sheer sound and ambiance rather than traditional song structure or accessibility. It’s the first compilation birthed from the Sonic Circuits run, assembled from some of the area’s more active artists, though not completely all-encompassing of the numerous projects around. According to Surak, District of Noise “acts as a vehicle to promote local artists, in hopes that people will support them the rest of the year when they play out.”

The record eases in with BLK w/BEAR’s deft loop deconstruction, piling processed cello and bass atop prepared vinyl records. Such incorporation of rhythm or familiarity—however faint or obtuse—outlines the most successful approach to making difficult music more palatable for the average listener, serving as a launchpad for the surrounding overload. Both Blue Sausage Infant and Cash Slave Clique (MP3 below) invoke the technique as well; BSI drowns heavy metal riffage with synthesizer oscillations while CSC pummels a drum machine beat with seizure-inducing electronics. An enticing introduction, indeed.

Echolalia’s “Falling Out” ushers in the industrial cloud that hangs throughout the middle third of the record, mixing menacing drones with minimal flourishes. Individually, the tracks maintain their own subtle flair, but on the surface, the frigid, electronic haze and mechanistic growls melt together without much protest. Seamless or samey, it’s your call. But a close listen will reveal rewarding compositions, most notably Mind Over Matter Music Over Mind’s eerie gurgles, Janel & Anthony’s cello/guitar manipulations (mp3 below), and Northern Machine’s obliterated organ.

Tone Ghosting injects a ripple into the album’s flow with “Amaxana:Visitation,” a frenzy of clipped vocals relentlessly mutated atop flickers of drum machine and static. The meticulous sonic fetishism that the compilation emphasizes is perhaps most beautifully represented by Cory O’Brien and his Myo moniker: His contribution builds through hushed crackle that colors the background hum, escalating in pitch as the track progresses. Surak’s own electroacoustic outlet Violet concludes the record with a disorienting piece of digital skitter; a shortwave malfunction glowering in the doldrums.

District of Noise provides a welcome snapshot of Washington’s most bizarre, marrying the work of industrial/experimental pioneers like Maurizio Bianchi and Stockhausen with the new-school noise antics of NYC stable No Fun Productions. It may not have quite the subterranean notoriety of the latter’s annual No Fun Fest, but Sonic Circuits still provides an impressive array of art and innovation, putting a uniquely D.C. spin on the concept of experimental music.

Four full nights of music remain in the Festival, with several artists featured on the compilation still scheduled to play, including Mind Over Matter Music Over Mind, Myo, Janel & Anthony, Northern Machine, and RDK. You can find a full schedule up at the Sonic Circuits site.

DOWNLOAD:

Cash Slave Clique, “Sonicervex”

Janel & Anthony, “Improvisation 61″

Is this a typo on the Black Cat site, or are they being serious? I just did a triple-take, clicked on the links from the schedule a few times to make sure, and apparently it’s legit: Robert Pollard’s Boston Spaceship will be playing the mainstage on Saturday evening, supported by Detroit popsters The High Strung, and Miami noise-punk scoundrels Laundry Room Squelchers.

No, I’m not a Guided By Voices fanboy geekin’ over another Bob Pollard incarnation; the real cause for excitement (well, for me) is the presence of Miami-based madman Rat Bastard’s nebulous Squelchers unit, one of the most unpredictable outfits in all of noise’s underbelly. A founding member of the despicable To Live and Shave in LA, Mr. Bastard (Frank Falestra to Mom) has been cracking heads, bursting eardrums, and causing structural damage in shitty clubs for decades, most recently with his sprawling International Noise Conference, which touts: “No droning, no mixing boards, no laptops.”

I had the opportunity to see the Squelchers at last year’s No Future Fest in Chapel Hill, NC, where a burly man with black-rimmed glasses and beanie (Rat Bastard) hurled his static-spewing amplifier into the faces and chests of audience members. It looked something like this:

You can imagine my intrigue then, at the juxtaposition of such confrontational guitar trash and hook-laden pop-punk for Saturday’s bill, though it makes a bit more sense after some Googling and a visit to the Squelchers site. Pollard and Finestra have actually collaborated before — back in 2003 for Pollard’s Motel of Fools EP. And since the “Laundry Room Squelchers” are basically anyone who can/will tour with Mr. Bastard at the time, the lineup for Saturday will consist solely of Finestra and local guitar/electronics whiz Chris Grier, also a collaborator with TLASILA. Given that this is basically an indie rock showcase, I imagine the Squelchers set will be significantly less violent and involve a more stationary guitar assault similar to this:

But you never know, heads might roll.

Jackie’s Restaurant in Silver Spring will play host to the fourth and final benefit for the rapidly-approaching Sonic Circuits Festival of Experimental Music tonight, which officially kicks off on Sunday, September 28th at the Velvet Lounge. Visit the Festival’s Web site to peruse the event’s eclectic schedule, which includes everything from the twisted glitch of Baltimore duo Matmos, to the tormented pomp of Cleveland’s Baby Dee.

I’ve never been to Jackie’s, but the place seems like a promising venue for the evening’s festivities; there’s a large “back room” adjoining the restaurant with high-ceilings and hip decor. Details for tonight’s lineup are listed below — descriptions courtesy of the Sonic Circuits site:

Blue Sausage Infant
BSI (a/k/a Chester Hawkins) takes inspiration from the European pioneers of “difficult music” and has created sets of orchestrated feedback, tape loops, and amplified ductwork at the DC Arts Center, BBQ Iguana, DC Space and in Dupont Circle as part of the Alternatives Festival. Using electronics, acoustics, lo-fi gadgets and found sounds, the results blend nightmare noise, spacious trance and surreal weirdness. 2008 marks BSI’s 20th anniversary and a new surge of activity.

Kuschty Rye Ergot
New project from long-time DC area multi-instrumentalist/vocalist John Stanton. A collective as opposed to a fixed lineup, performances range from drifty slowburn watercolour solo guitar/synth constructs to full blown ensemble sonic exhaust blasts, along with occasional stripped down acoustic folk musings. Stanton sometimes performs as a member of DC improv-psych band Kouhotek, playing guitar, synth, electric piano and other instruments.

Corpus Callosum
Doug S. (amplified cello & effects) and Scott N. (ARP analog synth + effects) focus on a mix of melodic and atonal drones. The music is inspired by musicians who have explored the impact of frequencies on the conscious and unconscious mind, as well as feelings of despair triggered by empathy for those who suffer day in and day out, often as a result of third world exploitation.

Also just added to the bill:
True Womanhood
Read Underwater

Doors: 8:30pm
Music: 9:00pm sharp!
$6 at the Door; All proceeds fund the Sonic Circuits Festival Read the rest of this entry »

D.C. production duo Thievery Corporation will become the latest high-profile independent act to experiment with online album distribution/promotion, as their latest full-length, Radio Retaliation, will be available to stream in its entirety via iLike and Facebook on Friday, Sept. 19th — four days before the official September 23rd release date. No stranger to political statements, Rob Garza and Eric Hilton’s move certainly comes with a message: While media consolidation/homogenization of the airwaves has made terrestrial radio anything but a healthy market for musicians, the Internet can provide a direct avenue between artist and audience, free from dilution.

The group’s outlet of choice, iLike, is advertised as “the Web’s leading social music discovery service,” and is currently one of the most successful applications for online networking giant, Facebook. Users will be allowed to stream the new record while viewing original videos of the duo explaining the album, elaborating their approach, getting out the message, etc.

The iLike debut will differ from other big-name distribution models like Radiohead’s “pay-what-you-want” download of In Rainbows last year, focusing instead on using online social networking as a promotional tool. Thievery Corporation’s announcement will attempt to capitalize on the Internet’s pre-release publicity potential, in a day and age when even hardened anti-piracy warriors like Metallica have come to terms with the inevitable album leak. Radio Retaliation’s launch will mark the first “worldwide listening party” event between iLike and Facebook, which tout 30 million and 100 million users worldwide, respectively.

Recorded in the District, Retaliation is the duo’s fifth studio full-length, to be released on their own Eighteenth Street Lounge Music. “Outernational” seems to be the phrase of choice to describe the duo’s globe-trotting sound — an eclectic amalgam of groove-infused influences that range from afrobeat to electronic. According to Garza, Retaliation will be similarly genre-encompassing, and not without overt political tones.

Fans can access the stream via Thievery Corporation’s iLike/Facebook page starting this Friday, September 19th, and will be available for exclusive preorder on iTunes until the official September 23rd release. In the meantime, you can check out a preview on their MySpace page.

As Aaron Leitko noted in his post back in July, the days of amazing house shows at 611 Florida Avenue are drawing to a close. After five years of hosting a wild blend of subterranean sounds and adventurous local artists within a makeshift rowhouse venue, the good folks at 611 will hold their final event tomorrow evening, September 12. The show will be the fourth installment of the Free Folk Phantasmagory series (held annually since 2004), showcasing an eclectic lineup of ethereal songsmiths and experimental psychedelia. Music starts at 4pm, with performances by:

Kohoutek
Max Ochs
Julie Mittens
Human Adult Band
Silver Summit
Hat City Intuitive
Ilya Monosov
Teething Veils
Insect Factory
Layne Garrett

Thankfully, I moved to the area soon enough to catch at least two shows at the house during the summer, but regret I couldn’t have witnessed more. It’s definitely a shame that this place is going away; one less cozy outlet for truly out-there/interesting/odd music here in the District, and there weren’t that many to start with. But all the more reason to make it out on Saturday and wax sentimental on a D.C. institution you probably didn’t know existed.

Tickets go on sale today for the University of Maryland’s Second Annual Fall Semester Sound-Off, featuring hip-hop heroes of the DMV, Clipse and Wale. The show is scheduled for September 25th at the Grand Ballroom of the Adele H. Stamp Student Union, with openers Consequence and Southeast Slim kicking things off at 7:30pm. I’m not a student at UMD, and have no fall semester to sound off, but you can bet your keg that I’m excited.

Clipse consists of Virginia Beach brothers Malice and Pusha-T, two of the sharpest lyricists in gangsta rap’s increasingly ludicrous, hyper-capitalist legions. The two have a fresh self-titled album with partners-in-coke Sandman and Ab-Liva as the Re-Up Gang, coming off their promising mixtape earlier in the year, We Got It 4 Cheap Vol. III: The Spirit of Competition. Clipse Presents: Re-Up Gang dropped in early August to some disappointed reviews, many of which pointed to the record’s slinky production tactics as the culprit. It’s true, the release is far from the icy genius of the Neptunes-backed Hell Hath No Fury; though the beats aim at mirroring Miami Vice flashiness with the cutthroat minimalism of their first two full-lengths, it comes off awkward and excessive among their clever, calculated deliveries. But a close listen to the brothers Thornton’s lines will reveal proof that they’ve still got jaw-dropping lyrical stride, regardless of the backing track. Expect them to blow it up live as well.

Joining Clipse on the bill is Wale, born and raised in D.C. and Maryland. He’s fresh off the release of his newest Mixtape About Nothing (his fourth mixtape overall), an eclectic outing filled liberally with Seinfeld samples and go go-sponsored kicks. According to an interview with Giant magazine, Wale has an upcoming, “guest-heavy” mixtape produced by North Cackalacky’s own 9th Wonder, with his official debut album set to drop sometime next year, maybe? Regardless, the dude is definitely on the up and up, and it’s exciting to see what will come of his vision and energy in the next couple years.

Southeast Slim is a fellow DC emcee who barks alongside cohorts C aka Mo Murda, Zo Wit No E, Big Dice, and Mean Eights. Slim has done production work for Wale in the past, and is a self-confessed Soulja Boy fan. Queens-based rapper Consequence rounds out the lineup, best know for his work with A Tribe Called Quest, of which his cousin Q-Tip was the leader.

Check the Student Entertainment Events’ Web site for the details, which mainly involve going to the Hoff Ticket Office on UMD campus to purchase your pass.