Universal Eyes (Wolf Eyes with Gretchen Gonzales & Aaron Dilloway) and Red Culebra (Guillermo Galindo & Cristóbal Martínez)
Apr 6, 2019
$15 general admission / $10 members
Doors 8pm / Show 9pm
Reserve seats: member login or guest registration
UNIVERSAL EYES is the culmination of UNIVERSAL INDIANS and WOLF EYES. UNIVERSAL INDIANS started in Lansing Michigan in the early shadows of the 90’s, with Gretchen Gonzales (now Gonzales Davidson), Bryan Ramirez, & Johnny “Inzane” Olson. After moving to the Detroit area in the late 90’s, Rammer was replaced by Aaron Dilloway, who along with Nathan Young were already in the throes of primitive electronic global domination that is WOLF EYES. Around the dawn of the 2000’s, Gretchen went full time with the moody & cold stylings of SLUMBER PARTY and after a wild Bowling Green Ohio gig, Olson joined WOLF EYES full time. After some drama that would make even Fleetwood Mac disappear into the shadows of suburbia and toss their EQ into a lonely fire, UNIVERSAL INDIANS appeared to have fate / faded into the packed history book pages of Michigan musical lore. As age and time seem to dust over wounds while magically healing them, the quartet met again in the northern suburbs of Detroit on a brisk spring Sunday in 2018. They hauled modern and ancient instruments into a home studio and just like that: the dream / nightmare had hot blood pumping thru its’ duct-taped sound body once again, as if the missing years were nothing but a minute hurdle. The kings and queen of noise were reunited.
RED CULEBRA is a Moog duet and collaboration of Bay Area electronic musicians and performance artists led by gal*in_dog aka Guillermo Galindo and Cristóbal Martínez. Accelerations across all vectors of society, warfare, and capitalism evoke a byproduct ritual of sexual and sonic violence that lays unresponsive to new age fetishes, magical realism, and the parochial moralities of American politics. Inspired by their complicated Post-Mexican backgrounds, Galindo and Martínez create and perform rituals based on cycles of repetition and uniformity. The sonic, graphic, and repetitive nature of their work requires both endurance and determination from their audiences, while denying participating publics the opportunity to fetishize ceremony. Red Culebra’s performance art includes sound invocations, moving images, and movement by performers. This ceremony is monotony sustained by pragmatism and our baser instincts, a public gathering for acknowledging human ferocity — a self-implicating metaphor for our enduring and determined appetite.