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April 3, 2015 Friday

Bill Orcutt, Gage Gilmore, Dubb Normal, L Smith
9:00PM - - -
Price:  10
Born in Miami in the year of Cuban missile crisis and educated in Florida's finest institutions, Bill Orcutt is usually recognized as the co-founder of the band Harry Pussy. Formed in 1991 and featuring Orcutt on 4-string guitar--a practice carried over, developed, and refined from circumstantial adolescent experiments in working around absent strings--and Adris Hoyos on drums and vocals, with a second auxiliary guitarist added in in later years, the group's sound centered on its completely unhinged ferociousness. Within those furious eruptions, Harry Pussy drafted the blueprint--combining hardcore punk's brutish speed blended with the art school caterwaul of No Wave--for the next two decades of noise-rock. In five years, they toured of the US and Canada with the likes of Sonic Youth, Dead C, Charalambides and Pelt and produced over twenty different releases on record labels of varying degrees of accessibility, most regularly for the Philadelphia-based experimental music imprint, Siltbreeze.

Twenty years later, Bill Orcutt still only plays four strings, but now they are attached to a vintage acoustic Kay that has withstood enough damage and repair that it requires custom tuning to stay in one piece. Sometimes clanging and ominous, other times mournful and slight, strangely alienating, but simultaneously vulnerable and cathartic, his music is compared with equal frequency to avant-garde composers and rural bluesman.

In 2009, Bill's newly established Palilalia imprint released the "High Waisted" b/w "Big Ass Nails" single followed quickly by the first major statement of his resurgence, A New Way To Pay Old Debts. These initial transmissions provided the aesthetic foundation--unapologetically improvised, bare bones and situational--from which Orcutt's Kay's evolving sonic narrative continues to reveal itself in audible real-time.

2011 saw the release of Bill's most intense and varied full-length suite of music to date, How The Thing Sings (Edition Mego). The album maintains a clear connection to the guitarist's signature interrogation of his instrument up to this point, but also signals a new phase of cautiously employed conventional melody and song structure. With each recording and individual performance, Bill Orcutt continues to discover and invent a wholly unique sonic vernacular built around raw and tortured tone, ragged minimalism, and seemingly inexhaustible improvisational stamina.

No one is playing acoustic guitar like Bill Orcutt right now. No one.

-- Lars Gotrich writing about How The Thing Sings on npr.org

Quite awe-inspiring, and unlike anything else I can think of.

-- Byron Coley, Wire Magazine

Anyone can admire the raw soul of his playing and the way he shoots out ideas in real-time, reacting so quickly it's as if he's creating a new language as he speaks it... it's impossible to listen to A New Way to Pay Old Debts without being affected by it.

-- Marc Masters writing about A New Way To Pay Old Debts in Pitchfork

Also On This Day:

Katherine Behar E-Waste Opening
7:00PM - 11:00PM
Price:  Free

Eyedrum Art and Music Gallery presents Katherine Behar: E-Waste, an exhibition of new work by Brooklyn-based interdisciplinary artist Katherine Behar.

Behar’s installation centers on a new series of sculptures inspired by a science fiction scenario in which commonplace USB peripherals are doomed to continue working, long after the humans they were designed to serve have gone extinct. The gadgets are transformed into mutant fossils, encased in stone with lights blinking, speakers chirping, and fans spinning, eternally. The exhibition also includes a video series, Modeling Big Data – in which the artist inhabits an obese, over-grown data body, to humorous and poignant effect, and a 3D printer installation, 3D-&& – in which a fossilized printer slowly produces “scarab” covers for a network of glowing USB mouses, while its motors chirp out messages in Morse Code.

Responding to digital culture’s intense escalation of productivity, Behar’s work wavers between poetry and parody. Eliciting sympathy for the devices we exploit, she suggests that we ourselves are becoming increasingly device-like. We are ensnared in compulsory productivity, whether “working” in the traditional sense for our own gain, or generating value for distant corporations each time we click “like.” Combining machine-made, handmade, and organic forms, E-Waste offers a physical parallel to the excesses of big data, highlighting the counterpart surplus of consumer media artifacts, and drawing attention to its environmental impact.

A catalogue with contributions by Anna Watkins Fisher and curator Dima Strakovsky accompanies the exhibition. Katherine Behar: E-Waste is co-produced by the University of Kentucky College of Fine Arts and College of Arts and Sciences, and is supported in part by a PSC-CUNY Award, jointly funded by The Professional Staff Congress and The City University of New York. The exhibition was presented at the University of Kentucky’s Tuska Center for Contemporary Art in November, 2014.

On April 2 Behar will deliver a lecture at Georgia Tech as part of the GVU Brown Bag Speaker Series.

More information is available at the GVU website:

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