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All music events for the month of April:

Bill Orcutt, Gage Gilmore, Dubb Normal, L Smith April 3, 2015
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

Jeff Zagers, Tann Jones, Plaza Files, Goth Dad April 4, 2015
9:00PM - - -
Jeff Zagers

Performing at sundown, the magic kid smoothly navigates his full-length mazes with introverted determination, leading us by sensitive lantern through endless sectionals and segues; through the gateway points and ports of call founded on sensible (poly)rhythms, soundtrack soundscapes, freeform, and hybrids. Sequenced surfaces are complicated by polished ravels of melody, harmony, noise, syncopation, plot-driven chord progressions, tone expression and color, electronic nerve, crime jazz scenery, mainstream minimalism, and a humble, vulnerable lyricism influenced by folk tradition and the Romantics. His contrasts are strong, sometimes startling and sharp, yet symphonic and organic (like fused organs housed inside his single orchestra), neither eclectic nor divided, sinuous but never digressive. Sunset spectrum of sympathetic themes, ancient meditative innocence, mortal and supernatural, alienation, compassion, health and restlessness, crisp beauty and confinement.
-Rick Weaver

Tann Jones

acid house /hardstyle/ hardware techno

Goth Dad

Seanny Georgie/ no eyes juke noise project

Plaza Files
Savannah techno vaporwave Japanese house DJ

The Blues, Rin Larping, NOON April 10, 2015
9:00PM - - -
Price:  7
The Blues

skronky free music, just guitar and sax from Oakland, CA

Rin Larping

Rin Larping is the solo project of Lindsay Smith. She focuses on guitar and bass clarinet. Her past collaborators include Lance Higdon, Andrew Weathers and David Kirby.


"NOON has existed in various forms since 2008. A combination of weighty drone and spastic noise produced by an array of analog and digital inputs, the sound emanating from this mutant beast traverses both aural and tactile registers - the body being its terrain of choice.

Drawing unholy energy from the likes of Throbbing Gristle and DNA, NOON was formed by Erik in collaboration with Kray Korvela as a somewhat more structured extension of previous improvisational work by the two. This duo has collaborated to varying extents with Matt Shuff (DBH), Clarke Joyner (Kama Kama), Michael Anderson (Drekka), Chris Barth (Impossible Shapes, Normanoak, & Glitter Brains), and various members of Bloomington's Improvised Music Project (IMP).

Temporarily transplanted from Bloomington, IN to Atlanta, NOON is currently a solo project involving discordant jungle beats, ham-fisted guitar, industrial samples, tape adapter manipulation, a soft-bundled contact mic, scattered cymbals, and buried vocals."

Invent Room Pop 48 April 17, 2015
10:00PM - - -
Price:  free
At Eyedrum!

This is the 48th installment of Invent Room Pop. Six musicians are invited to play in duos and trios determined at random, with names drawn out of a hat. Inspect the archives at inventroompop.bandcamp.com.

Shitty Bedford - franksax
Ryan Taylor - guitar
Rob Jones - guitar
Mariah Johnson - guitar
Catherine Quesenberry - synth
Andrew Short - guitar

Richard Bishop, R. Millis, Clay Rendering, Magicic April 19, 2015
8:00PM - - -
Price:  10
*doors at 8, show at 9*

Sir Richard Bishop

Richard Bishop released his first solo record (Salvador Kali) in 1998 on John Fahey's esteemed Revenant label under the moniker Sir Richard Bishop. Since then he has released albums on a variety of labels: Improvika, Elektronika Demonika, and While My Guitar Violently Bleeds (Locust Music), Fingering the Devil (Southern Records, UK), Polytheistic Fragments and The Freak of Araby (Drag City), and many more. His most recent LP , Hypostasis: A Work in Three Parts is now available through the VDSQ label out of New York as part of their Solo Acoustic Series.

"Sir Richard Bishop forces one to alter that hoary cliche to 'jack of all trades, master of...damn near all.' Renowned for his mercurial guitar-playing for 26 years with Seattle ethno-delic legends Sun City Girls, Bishop has wrought a distinguished solo canon as well. He combines soulfulness and advanced technique with a panache that's nearly unrivaled among today's guitarists. Bishop strums spiritual with incantatory ragas, free-folk excursions, crystalline flamenco flourishes, ruddy Appalachian folk, Middle Eastern-tinged fantasias and gypsy arabesques. This is eclecticism done with respect and third-eye-dilating filigree; his compositions attain a sepia-toned wistfulness and a psychedelic complexity." - Dave Segal (OC Weekly)

Robert Millis

I am a founding member of Climax Golden Twins and AFCGT, a solo artist and a frequent contributor to the Sublime Frequencies label. I have scored long and short films, created sound installations, produced and designed audio projects, and released many LPs and CDs. My work veers haphazardly between sound art, music concrete, instrumental, improv, field recording, song and collage. I have a deep interest in folk and traditional music, so imagine Pete Seeger trying to cover Revolution 9 by the Beatles. During 2012 and 2013 I was a Senior Fulbright Research Scholar in India studying Indian music, sound art and the early recording industry.

Clay Rendering

Clay Rendering conduct two sludgy, gothic metal invocations for Hospital Productions. Operating at a remote distance from Wolf Eyes, they forge blackened metal riffs and toiling drum machine steeped in towering synths on 'Natures Cinfusion', building a fortress of warding evil around Tara's witchy rasp. B-side, 'Vengeance Candle' edges Tara's vocals slightly forward against slow waves of crashing, reversed cymbals and snares and sticky electro-goth signatures, while banking clouds of claw-handed guitar rise up like a slow-motion dust-storm behind her to a climax of wheezing, rustic accordion that comes from nowhere. Awesome stuff, and sounds quite excellent on vinyl thanks to a Russell Haswell mastering job.


Trying to define Magicicada and explain what’s going on in Wrack With Ruin is quite difficult. At times the album is glitchy, at others it’s melodic, and at others it’s just plain confusing. There are harrowing vocal samples and sounds that couldn’t possibly have been orchestrated; here, mastermind Chris White proves himself to be a master of the printer sound. One thing is certain: Wrack With Ruin is heavy and dark in a way that makes it difficult to listen to fully. It’s really good, but just like Death Grip’s LP No Love Deep Web, it’s so hard-hitting that it might be tough to go from start to finish. However, the farther in you get, the easier it is to take in.
The 15 tracks on the record are all so different, it’s impossible to just sum the album up with a few of them. “Glancing Off The Edges” seems to take inspiration from sci-fi alarm sound clips. “Pardon You” features an almost laugh-inducing accordion. The strings on “Homeopathic Processor” and “Livewater” give me the mental image of a giant many-legged organism playing a bunch of poorly tuned violins. “Blossoming Snares Of The Earth” is a spaceship banging on drums. If that doesn’t convey what’s going on, literally nothing can.

Sonic Constellation April 27, 2015
8:30PM - 12:30AM
Price:  $7
Sonic Constellation: An Evening of Aural Exploration and Collective Improvisation

Come join us as we coax some new sounds out of the ethers and far reaches of deep space!!!!
Whispers of Night:
Majid Araim and Benjamin Shirley (many timbres),
Improvisational modern Chamber Music
Channeled sentiments of the Shadows

Scott Bragg Helton
Kevin Scott is one of the many heart beats of Atlanta. For this project he will be on bass and accompanied by some other local heavy hitters , Colin Bragg- guitar and Blake Helton- Drum set..... These guys will take you across the river styx and into the underworld , they will smash Hades and return to their interpretation of existence. (do not miss)


Ocean On The Moon:
An Improvisation collective led by Travis Murphy (bass), and accompanied by some of Atlanta's best musicians including: Quinn Masonry (sax) Sean McMorris (guitar), Ayo Cooley and Rhett Huffman (keys/synthesizers) Kenneth Kenito Murray and Mario Fogg (drums) Julian Scott Machonegro Bryan (percussion) and Dashill SunnovahKind Smith (trumpet).

Come out, bring your vibe, and help source some crazy jamz.

Jon Mueller, Ben Agustin April 30, 2015
8:00PM - - -
Price:  10
*doors at 8, show at 9*

Jon Mueller

Mueller has been a drummer and percussionist since 1985. Covering a variety of genres and techniques over the years, his aim has been to use drums, percussion and sound as a way to express something felt but not easily defined. Audiences throughout the United States, Canada, Europe, Japan, and the United Kingdom have described his performances as ‘cathartic’, ‘intense,’ and ‘meditative’. Notable solo performances have taken place at the Guggenheim Museum, New Museum, SXSW, Alverno Presents, Hopscotch Fest, and Musée des Beaux-Arts de Montréal.

From 2013-15, Mueller created and directed the multi-disciplinary project Death Blues. From music recordings and performances, to writing, video, dance, and more, the aim of the project was to encourage focus on each moment and build understanding for what is important in one’s life. The project issued four critically acclaimed recordings. Non-fiction was cited as one of the ’20 Best Avant Albums of 2014′ by Rolling Stone. Ensemble, created with multi-instrumentalist William Ryan Fritch, was featured on NPR’s ‘First Listen’.

In the late 1990s/early 2000s, Mueller was the drummer in the bands Pele and Collections of Colonies of Bees, both of which released numerous records and toured internationally. He later joined with bandmates from these groups and vocalist Justin Vernon of Bon Iver to form Volcano Choir. Volcano Choir’s 2013 record Repave debuted at number 40 on the Billboard charts. The group performed on the NBC show Late Night With Jimmy Fallon, experienced multiple sold out tours in the US, Canada, and Europe, and performed at international festivals such as Primavera and Osheaga.

He has peformed and recorded with Olivia Block, Duane Pitre, Jozef Van Wissem, Rhys Chatham, Jason Kahn and James Plotkin.

Ben Agustin

Improv powerhouse of San Agustin's Bryan Fielden and Andrew Burnes joined by Ben Davis of Perjinke Shift and Noot d'Noot.

 April 2015
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2001 Eyedrum, Inc. www.eyedrum.org


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