8:00 PM Infinexhuma
8:40 PM DREKKA
9:20 PM Timber RattleInfinexhuma is forever traveling space, earth, stillness, rumble, fog, sun. Sound beams guiding the hidden ether, alchemical labor healing.
Working under the moniker Drekka since 1996, composer Michael Anderson has spent the last twenty-five years touring, traveling, and collaborating extensively; collecting memories and building a very personal archive of sound that dates back to the mid-1980's when he first became interested in the emerging industrial tape culture scene coming out of post-punk Europe and the DIY ethos it taught.
Anderson sculpts his ritualistic and cinematic ambient industrial soundscapes using self-made field recordings of everything from insects in the mountains outside Kathmandu to a washing machine in Reykjavik, from countless sketches and abandoned projects donated by friends, from hundreds of hours of multi-track live recordings of Drekka captured all around the world, from his own voice and various instruments and objects found around his house.
His work and performances touch on themes of silence, memory, and forgetfulness. But rather than obscure himself, as is so often the effect of experimental music, Drekka functions as a direct line into Anderson's mind and his tenuous cache of memories. These personal aspects and this fragility are clearly on display, rather than being obfuscated by poetic abstractions.
Drekka owes something to the soundscapes and non-linear impressionism of Cindytalk or COIL, the industrial gravity of Einstürzende Neubauten or Hafler Trio, and the cinematic collaborations of Edward Artemiev/Andrei Tarkovsky or Simon Fisher Turner/Derek Jarman. But his work is singular, unique, and very personal.
While "haunting" and "hypnogogic" are words often used to describe experimental music and art, DREKKA unequivocally occupies and deals in those dark spaces which comprise the tenuous province of memory and dreams. Those are the real ghosts of time and sound.
Drekka has released a large body of work on labels such as Auris Apothecary, Dais, Fabrica, Morc, Silber, Somnimage, and Anderson's own label, Bluesanct.
Anderson has also recorded with and toured in the bands of Jessica Bailiff, Dylan Ettinger, In Gowan Ring, Lovesliescrushing, Annelies Monseré, Rivulets, Stone Breath, Timber Rattle, and Turn Pale.
TIMBER RATTLE is a roving, revolving and ongoing music project that continues to explore the connections between primordial sound, landscape, and the musics that have derived from our relationships to space and place throughout time.
This contemplation manifests in a kind of "pyche-pastoral", a music both spatially vast and intimately inward-looking, which seeks to create a celebratory and reflective environment that shares borders with nature and silence.
While never straying too far from the mountain-hymns that are at its roots, the songwriting - which simultaneously embodies and considers its own history and geography - is yet suffused with a vocabulary of drone, collected recordings and sound-experimentation.
An intuitive exploration of palette, pattern, and scale is the softly shifting foundation for arcane texts and vocals, which inhere as sound and instrument in the sonic celebration of the meeting and interfolding of land and bodies, animals and plants, language, life and death.
"There's an amplified sense of occult power when you know you're close to acquiring secret knowledge, a feeling that's increasingly elusive as the all-seeing algorithm develops new and faster ways to disseminate information. When I first heard Timber Rattle, a cryptic band with unspecified ties to the Blue Ridge Mountains, California's Grass Valley, and Upstate New York, I wondered if I was listening to someone else's arcane cult initiation.
I was deep into the "devotional" tag on Bandcamp, and growing weary of digging in the seemingly endless digital crates of kirtan. The sound of rapturous hippies doing Sanskrit sing-a-longs, strumming away on acoustic guitars, and jingling hand drums in a suburban yoga studio is often a far cry - both literally and figuratively - from the sound of Alice Coltrane in the Sai Anantam Ashram.
Timber Rattle uses a comparable sonic palette, but the ritual comes across way heavier. The intertwined voices chanting and moaning on their 2013 "phantoms of place" album were just as indecipherable to my ears as Coltrane's devotional singing, or the phonetic recitations heard in Korean Zen temples."
- an excerpt from "Ritual de lo Habitual :: Timber Rattle And The Value of Not Knowing", as featured on Aquarium Drunkard (September 2021)
$10-20 sliding (no one turned away for lack of funds)
Masks welcome indoors.
Vaccination and booster shots highly recommended.
If you feel ill, please do not attend.