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All music events for the month of August:

open improv: theme-TERROR August 4, 2005
9:00PM - - -

A recent article in the New York Times lauds the discovery of the
sound producing mechanism of a bird called the Club Winged Manakin.
The Club Winged Manakin from Ecuador has been known since the 1800s
but it's sound producing has come to be noticed again,
with an attempt to solve its mechanism.

The mating call which the bird
makes is a brief electronic-sounding trill.
It has just recently been
discovered that the Manakin shakes its wings together
at around
100 times a second,
apparently scraping a special hooked feather
across a ridge of feathers.
(The hummingbird only moves its wings in flight
at around 50 times a second.)
This is astounding because
it is a convergence with the same technique
used by insects, specifically crickets,
called the spoon-across-washboard technique,
or pick and file.

The sound is at an incredible 1400 cycles per second
which means
that the wings must make 14 sounds
during each shake as at rakes its feathers.

"The ornithologists plan to test their hypothesis with new experiments. On
her next trip to Ecuador, Dr. Bostwick hopes to catch a male club-winged manakin
and clip off the raking tip on each wing (a harmless procedure)".

'I should be able to completely silence the bird,' she predicted"

1. Intense, overpowering fear. See Synonyms at fear.
2. One that instills intense fear: a rabid dog that became the terror of the neighborhood.
3. The ability to instill intense fear: the terror of jackboots pounding down the street.
4. Violence committed or threatened by a group to intimidate or coerce a population, as for military or political purposes.
5. Informal. An annoying or intolerable pest: that little terror of a child.

[Middle English terrour, from Old French terreur, from Latin terror, from terrre, to frighten.]

monthly show on WREK 91.1 FM August 7, 2005
7:00PM - 9:00PM

On the first Sunday of every month, at 7 p.m., Eyedrum does a show on WREK that features nuggets from Eyedrum's archive of live performances.

Remember that, after the show airs, you can always listen to this and any recent Sunday Special via WREK's 7-day archive if you forget to tune in (direct links to Sunday Special streams: lo-fi or hi-fi).

But wait, there's more! We now have a podcast available, for those of you who have discovered that. You can also just download the whole show (right click on "download") although be forewarned that the file is 50 MB in size.

Rotton Milk vs. Bubblegum Shitface & Safety Pin, August 9, 2005
8:00PM - - -
Price:  $5
In support of TERRY PLUMMING, a nonsense CDR Label and magazine from Chicago that has released over 21 pieces of wierdo obscuro, noise, and
experimental music within the past year.

Stickfigure Presents:

ROTTEN MILK vs Bubblegum Shitface:
Frisky Rabid Noise Opera,lashed bloody by glitchy beats and laid to rest in a heavenly alien synth ship. Rotten Milk vs Bubblegum Shitface create exterior silence and shitfaced noise and shrieks that give cops nervous little woodies and hopeful apes reports from the magical dimensions.
Changing thoughts into sounds. Talking to radios. Magnifying the soft touch. Highly composed by chance. Could the skip become our GMT? Who else is playing clock radio and cymbal with such finesse. They don‚t even taste food, it‚s more like satisfying material. More info @ www.diabolical.org/summertour05/

HTEETH, a crew of cool noisemakers from st. louis who build their own instruments.

SAFETY PIN: from the ashes of zany Chicago punk slackers, the English Softhearts, comes the group‚s leadsongwriter/frontman Marc Bubblebath. Marc is without a doubt a dynamic, eccentric performer. He sometimes employs a cheap drum machine, tape loops, or
karaoke tracks to back himself up. Stages conversations with t.v. slop. Self described as Wesley Willis meets David Yow, Safety Pin always keeps it funny and interesting. Plugged into the
absolut neglect, the symbol becomes the object.

there's music and more info at TERRY PLUMMING

BLACKBLACKS, with acclaim ranging from such outlets as a house party in Birmingham to Rome's Unscene magazine, have been creating an underground stir. Past performances at art spaces such as the The Bunker and the Hot-eL, may one day align them with the New York art world. Notorious for their history of aggressive live performances that challenge sound barriers, their music has grown to a state of spatial complexity,
creating a sea of electronic bass tones, alteredvocals,
percussion experimentation and
abstract guitar drones. BlackBlacks has released records on Sounds From The Pocket and Unlimited Supply of Cdr's records.

and This is My Condition.. from Kansas. This Is My Condition is a one man band in which Craig Comstock plays guitar, drums and sings all at the same time. In the tradition of noise rock this music is heavy, tough and intense, while at other times very free and unstructured. This Is My Condition deals in power, spontaneity and passionate lyrics. Coming from a background of experimentation,repetition and angst in Many Series and Black Calvin, Craig takes things in a new direction by going solo and performing on-the-spot improvisations of the same ilk.

doors at 8, program starts at 9:15ish

Tamburo/Lawler August 15, 2005
9:00PM - - -
Price:  $5
Euphonic Productions
Mike Tamburo
Keenan Lawler
Eli Queen

Mike Tamburo has been a member of the Pittsburgh avant garde music scene as an integral part of crystalline drumless drone rock
structures of Meisha and the more-free flowing ethnic apocalypse music of Arco Flute Foundation, as well as countless spontaneous
performances and post-gathering improv sessions.

Mike Tamburo has created a pristine document of new American ethnic guitar music channeling energies similar to the likes of Fahey, Windy
& Carl, Six Organs of Admittance, Gastr del Sol, Charlemagne Palestine, Loren Connors, and Tower Recordings. Tamburo approaches
guitar with the constant joy of discovering new sounds and techniques.

As one of the main players behind Meisha and Arco Flute Foundation, Tamburo has dedicated himself to exploring the nuances of his guitar
in a group setting. With his first solo release, Tamburo combines guitar with sounds from a wide range of sources, including organ,
keyboard, electronics, Tibetan bowl, alarm clock, accordion, piano, ebow, bowed guitar, mandolin, percussive guitar, electric piano,
effects, and other engineering, to explore and hone in on a more singular sound and vision.
- The Music Fellowship

"The acoustic guitar isn’t a new instrument to Mike Tamburo. It was his main axe, as it were, in his former outfits, Meisha and Arco Flute Foundation, though Beating of the Rewound Son, Tamburo’s solo debut, leaves his playing rather starkly unadorned by sidemen or accompaniment. Tamburo’s no purist, he has no qualms with regard to augmenting his pieces with other instruments, or making use of nontraditional techniques in his playing, but his emergence as a solo artist marks a turn into more folk-tinged territory for the guitarist. Comparisons in his playing can be made to the usual suspects, Fahey, Basho-Junghans, and their ilk, but Tamburo isn’t a straight disciple of any of the prevalent deities of acoustic guitardom.

“Adam’s Fruit Temptation” not only begins the disc, but it’s the album’s highlight. Tamburo weaves expertly some of his best melodic work with subtle atmospherics and washes of delay. It’s a study in well-executed transitions, a mini-suite that, while it contains a good deal of Tamburo’s most traditional fare, easily deters boredom or monotony. The tracks that follow sometimes diverge from this path, with Tamburo’s more experimental penchants taking hold. “Kremlin Krab” loops and layers piano in a shimmering weave of swimming layers. Minimalism plays a part in Tamburo’s work as well, though drones aren’t a prominent feature of his work, his use of looping and electronics touches, at times, on a more active repetition. Tamburo proves more than once that he’s more than capable at folk forms and melodic constructions, so the inclusion of effects, electronics, keyboard, and other interlopers into his clean unaccompanied tone are surely not there to mask his playing or muddy the waters. The album’s largely successful avoidance of excess sentimentality is owed, in part, to these more varied stretches; they’re also a handy way to inject variety into the disc. Tamburo’s clever arrangement of even his most straightforward segments provides for stimulating listening, though Beating of the Rewound Son is never so heady it dispenses with its emotional heft.

In a musical climate that seems hungry for acoustic guitarists who aren’t afraid to veer from the beaten path (see continued reverence of Fahey, the emergence of Basho-Junghans into the American consciousness, and the exaltation with which Sir Richard Bishop’s last disc was received), Mike Tamburo, in Beating of the Rewound Son, has made an intelligent and impressive debut."
- Fake Jazz


Keenan Lawler, born Glasgow, KY 1964, began his early musical life experimenting with flanging tapedecks and reverb tanks .In i981 he started an exploration of electric guitar and quickly established a distinct musicality and compositional sense. He began collaborating with a myriad of eclectic ensembles in the areas of Louisville & Lexington Kentucky playing everything from free improvisation to avant garde rock. A fascination with drone music of non western cultures brought him to Terry Riley and Tony Conrad, further solidifying the impression of sound & time .In 1990, he involved himself with composing and improvising music based on the technology of digital delay, looping and sampling. Around 1997, Lawler started to develop a vocabulary for the most unlikely of musical instruments, the resonator guitar. Drawn initially to the powerful depth and haunting ambience of the guitar while steadily incorporating sampling electronics & custom signal processors to create a unique voice. Once a quietly celebrated anomaly, Lawler has emerged as Kentucky's most prominent sound artist/experimental musician performing extensively and collaborating with such artists as Matmos, David First and Rhys Chatham. He has released his own work on the Konstant label.

"A Suspension In Dreamtime" (1998) is a composition concerned with transformative nature of sound. Non-electronic processes and techniques were employed to achieve a dense mass of overtones and metallic sustaining textures generated from an uneffected acoustic instrument. The four sections of this piece were created using only prepared and bowed metal bodied resonator guitar, microphones and piezo pickups recorded into a digital multi track recorder. Each track contained a specific isolated range of microtuned harmonics giving finer manipulation and control over the frequency spectra. These separate bands of sound were then combined into a cohesive sound picture with the cumulative effect of resonance creating a halo around the shifting polytonal center. This piece was inspired by an interest in minimalism, electronic trance music, electro-acoustic sound, audio entrainment and common often-chaotic cyclic events found in modern life.

"Keenan Lawler is the bleeding edge of the Lousiville, KY music scene these days.

That's what he told me shortly after I met the 35-year old experimental steel guitarist, just after his set at the Transmissions Festival in Chapel Hill. Lawler's performance utilized the warm acoustic tones of his instrument through digital manipualtions, sampled and multi-tracked to create a very dense environment.

The Ghost of a Plane of Air touches on many modern-day minimalist composers, while also drawing inspiration from the recent wave of abstract electronics, but is infused with Lawler's own original ideas. Describing his work as process-based composing, Lawler blurs the lines between improvisation and strict composition. Certainly chance factors into his music in some way, but much of the sound on this disc is clearly very deliberate.

Lawler's music is unique, touching on just intonation and power electronics at the same time. The final track, "A Suspension in Dream Time," stretches out a peacful atmosphere over 22 minutes. This aptly-named track is beautiful and easy to get lost in; by placing it at the end of the disc it provides a lush soundtrack to drift off to sleep with. Ghost of a Plane of Air is not all ambient bliss -- some tracks are quite harsh and electronic sounding, although all of the source material is derived from a steel guitar."
- Fake Jazz


Stubbornly refusing to limit his minimal creations Eli Queen wrestles between gloomy despondent murmurs on guitar and shiny brilliant tones. It’s the soundtrack to every movie you’ve always wanted to see but was never made or written. Indeed the “Oxygen Mysteries” portion of the title allows you to envision the birth of plant life on a planet clogged with congestion and all too fast lives as if it was some science film produced by some unknown British documentary company that is frayed and barely survives its time on the film reel. Ingenious in a subtle way, this is the music that will truly stir your soul.


Powerlunch, Ahleuchatistas, RadioP August 17, 2005
9:00PM - - -
Price:  $5
Free jazz, prog-rock - "[Powerlunch] bassist Evan Lipson's whiplash-inducing compositions call for abrupt shifts from metal crunch to quiet textures to cool swing to reggae riddims." -Shaun Brady 6/9/05


AHLEUCHATISTAS is an instrumental guitar/bass/drums trio from Asheville, NC. Their sound is as stripped down as it can come–they use no effects whatsoever—and they combine elements of jazz, punk rock, post-electronic,progressive rock, and minimalism. Their music has sometimes been compared to RUINS, CAPTAIN BEEFHEART, JOHN ZORN, DON CABALLERO, FANTOMAS, KING CRIMSON, HELLA, and MINUTEMEN.


Opening is some weirdass shit from Radioactive Prostitute.

Human Motion / Friendly Bears August 27, 2005
9:00PM - - -
Price:  $6
Human Motion is a Chicago-based jazz quintet dedicated to playing improvised music, focusing particularly on the original compositions of its members. Led by bassist Jeff Greene, the quintet features trumpeter Matt Holman, alto saxophonist Taku Akiyama, pianist Jordan Baskin, and percussionist Jon Deitemyer. Coming from five distinctly different backgrounds, each individual brings his life experiences and love of music to every performance to create a cohesive and inspired unit. Human Motion draws from tradition while looking toward the future.

Friendly Bears

Friendly Bears began playing together in Fall '00 (under the name Osos
Amistosos) as a trio. In their 4-year existence, they have been able to
emerge from their free-improvisation roots into a style of rock music
that represents strong foundations in punk, classical, metal, and jazz
music. The Bears recruited Mary Halvorson in June '02 to solidify their
lineup. With this lineup in place, they recorded a split 12" record
with Philadelphia's Infidel?/Castro! on the Ricecontrol and Epicene
labels. The compositions are an infusion of hardcore energy and melodic

In the Fall of '03 the band changed its lineup again, when Matt Filler
took the baritone guitar spot and Rich returned to guitar. Friendly
Bears are now in the process of finishing up their full-length record,
"On Oceans, Light, and Sleep" which is rooted in their older style, but
also augmented by new sounds, ideas, and instrumentation. Also in
existence is a split 7" record ("The Streamwinner 7") with Asheville,
North Carolina's Ahleuchatistas (made possible by Angura Sound and SAID

Here are our "press quotes"
Friendly Bears take jazz, fusion, punk energy, and the complexities of
prog and throw it all into a blender. What you get is intelligent
instrumental music that is extremely intricate, yet never pummels the
listener with heavy riffs and incessant noodling.
-Sea Of Tranquility webzine

Great stuff and guaranteed to make you the coolest kid on the block.
-Smother.net webzine

Dense, and invigorating. . .
-Cleveland Times

Listening to this is like breathing, it comes naturally. trumpet,
guitar, baritone guitar, and drums combine to soothe your nerves while
stealthily poisoning your drink.
-FUBARM webzine

 August 2005
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