"An XOth Birthday Celebration for Tesco Jane, Ian Pop. 1280 and André Mollica"
with special guests:
CUT HANDS [William Bennett/Whitehouse]
Xeno & Oaklander
Pop. 1280
Veiled
David E. Williams
DJs VRPieter [Wierd Records], Pharmakon [Red Light District], ning nong [Heaven Street]
9pm/21+/$10 advance - $12 at the door
**ADVANCE TICKETS ARE NOW SOLD OUT!! INFO ON DOS TIX ASAP**
http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=4267445
Tune in to a pre-NYC show interview with William Bennett on a special broadcast of EVR's "Just Music" program Friday 2/24 from 2pm-4pm. You can tune in from anywhere in the world!
http://www.eastvillageradio.com/content/content.php?id=3201
CUT HANDS U.S. Tour Page:
www.facebook.com/events/290787294292956/
*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
CUT HANDS [Susan Lawly - UK]
Excerpt from the The Wire Magazine review of AFRO NOISE I from June 2011 by Nina Power
From power electronics to Afro Noise, from “Bloodfucking” and “A Cunt Like You” to polyrhythms and the complete absence of a single offensive lyric, the Whitehouse–Cut Hands trajectory stops off at a voice speaking in an African language on “Munkisi Munkondi” (which is also on Whitehouse’s Bird Seed from 2003). I’m assuming it isn’t shouting insults, but I could be wrong.
William Bennett, with or without Whitehouse, is a complicated man. Cut Hands, his latest project, might initially seem like a departure from the harassing Noise-critique of Whitehouse, but there are continuities. Bennett said in a recent online interview that Cut Hands consists “of obscure African percussion elements in freeform workouts with almost any other type of (genuine) sound experimenting”, claiming this style could be traced back as far as Whitehouse tracks like “Wriggle Like A Fucking Eel” from 2001 (and let’s not forget Susan Lawly’s 1997 compilation Extreme Music From Africa). The links are sometimes subtle, sometimes blinding: the propulsive force of the Afro Noise sound, via complex rhythms and absorbing sonic patterns, is certainly in keeping with earlier Whitehouse material, even if percussion barely featured in it before 2000. Either way, Afro Noise I has been a long time in the making – some tracks were begun as far back as 2003 – and Bennett has arrived at something unique through mixing djembes, doundouns and ksings (drums and their metal accoutrements) with motioncontrolled synths and electronics...
www.susanlawly.freeuk.com
www.facebook.com/afronoise
http://djcuthands.blogspot.com
XENO & OAKLANDER [Wierd Records - NYC]
~X&O's Sets & Lights included in Rolling Stone's Top 25 of 2011!~
Xeno and Oaklander are based in Brooklyn, NY. They began writing music in 2004. Miss Liz Wendelbo is French / Norwegian and Sean McBride is from Maryland. They record their songs live in their studio and play analogue synthesizers and instruments exclusively. They have toured Europe and the West Coast extensively, and they have played on the East Coast in music venues, lofts and festivals, and have also performed at SF Moma, PS1 Warm Up, Miami Art Basel, the Zürich Kunsthalle and the New Museum in New York.
www.xenoandoaklander.com
www.wierdrecords.com
POP. 1280 [Sacred Bones - NYC]
~Featured as a Stereogum “Band To Watch” by Brandon Stosuy~
New York Jim Thompson fans Pop. 1280′s shredding, scowling The Grid 12″ surfaces after the self-released “Bedbugs” 7″ and a split single with Hot Guts. The sharply noisy post-punk/no wave quartet conjure a scrubby, dangerous Downtown New York junkyard that no longer exists. Not a specific sound. More a sensibility, subject, and clamor that crosses decades — Pussy Galore, Swans, Suicide, Live Skull, Cop Shoot Cop, Contortions, Royal Trux, early Sonic Youth, fellow travelers Sightings, Twin Stumps, York Factory Complaint, etc. (Listening to vocalist Chris Beetle sermonize can also take you out of NYC to Nick Cave and his Birthday Party.) Some folks call it downer punk, but the urgency, sweat, and slicing, snarling attitude’s uplifting. See, for instance, opening salvo “Step Into The Grid”:
www.stereogum.com/537331/band-to-watch-pop-1280/
www.facebook.com/pages/Pop-1280/128064077225181
VEILED [Silvox - Philadelphia]
S&M soundtrack music. Leather noise, mid-paced rhythms, minimal synth, simple melodies. For dancing if you're dancing in a dungeon or a cage...or if you are the one watching someone do so. Featuring Rob Francisco of M Ax Noi Mach and Arnau Sala.
www.silvoxrecordings.com
www.soundcloud.com/silvox-recordings/sets/veiled-spring-2012-promo
DAVID E. WILLIAMS [Tesco USA, Old Europa Cafe, Disques de Lapin - Philadelphia]
Though he's dabbled in neo-Weimar cabaret, abrasive electronics and even film scores, David E. Williams is best known for symphonic pop and a lyrical humor so dark that it's not really funny. Some might call it gallows humor, but "gas chamber humor" is a bit more accurate for his love songs rife with murder, abuse and obscure references to eating.
Williams has been described as "Barry Manilow's evil twin" (Jim Knipfel, NY Press), “Liberace with a brain tumor" (Michael Moynihan, Blood Axis) and "Andrew Lloyd Webber in the final stages of cerebral cancer" (Headpress, U.K.).
In 2007, Italy's Old Europa Cafe Records released THE APPEAL OF DISCARDED ORTHODOXY, a double CD of 38 international artists covering Williams' songs. His fifth and most recent full-length release, EVERY MISSING DUCK IS A DUCK MISSED, represented a thematic departure with its overwrought depiction of grief and futility following the illness and death of a girlfriend. Most recently, he was the keyboard player for the Blood Axis 2011 European Tour.
www.davidewilliams.com
www.myspace.com/davidewilliams
http://store.tesco-distro.com/cgi-bin/shopper.cgi?preadd=action&key=VNYDNATO003
