Wednesday 5 February 2020, 7.30pm
Get to know Eric Copeland if you haven't quite yet made the time. Copeland is an Brooklyn-based experimental musician and a core member of Black Dice. Eric is also one-half Terrestrial Tones duo, finding Animal Collective's Avey Tare on the other end of that project. Copeland released his first solo effort, Hermaphrodite, in 2007 on the Paw Tracks label, with his next full-length LP, Alien in a Garbage Dump, via the same imprint. For his next work, however, Mr. Copeland jumps on board the great ship DFA for a solo long player, Joke in the Hole (2013) and continues to record for both DFA and several other Cutting edge labels such as Escho, Underwater Peoples Records L.I.E.S. records to this day.
Copeland has continued on his path of deconstruction- forming tracks of of scrapped samples, damaged loops and controlled chaos. Certainly not easy listening music, somehow Copeland manages to pull through with his demented pop sensibilites crawling up from the muck and spawling out on the beach to catch a tan. Jesus Freak is as addictive as it is confusing with it's screwed vocal hooks and demented twang heard throughout. This is best demonstrated on the closing track Billy Goat, which can be summed up as mouth harping redneck psychedelia cruising down a polluted river to nowhere. Just when you think "Jesus Freak" resembles something you know seconds later it becomes foregin and unattainable, yet remains headscratchingly familiar.
Miguel Prado (Nzumbe) and Dali de Saint Paul (EP/64, Viridian Ensemble & DSC) are HARRGA (‘a burn’ in the Moroccan Darija dialect).
The project began mid-2017 as an outlet to create, without a motive or political intention. Soon though, the escalating Migration Crisis could no longer be ignored. They felt compelled to pay tribute to the ‘Harragas’ (people who cross borders illegally and must burn their papers, thus losing their identity.)
Héroïques Animaux de la Misère’s music is a meditation on the horror of that which crevasses borders. A great deal of state refugee policy is aimed at the silencing, repression or denial of the horrors of migration. The anxieties connected to and generated by refugee movement reflect the transgression of borders, including borders between the human and inhuman, as well as the failure of containment, borders and border walls as a response to crisis.
Turning white innocence in the Black Mediterranean into a survival horror show, Harrga tries to hijack the diasporic sound trajectories. The nomad war machine and all the Swarmachines from the liminal space of exchange and migratory fluxus.
Dali de Saint Paul mixes poetics and politics, singing in French, Darija and some English. She spits with fire and fury, though there is a tangible compassion in her pained lamentations. Paired with Miguel Prado’s singular, amorphous noise-design, they conjure a seething and thoroughly anomalous vision of contemporary industrial music.
Yes, Indeed is a project by Laurence Tompkins and Otto Willberg.
In 2016 they released a self titled tape on Heavy Petting to little acclaim and have since been working hard on a follow up. Listening to Goblin, Paco de Lucia and Henry Flynt might have some influence.
Described as a “ragbag cacophony piling canine cooler and guttural, frenzied exhalations atop atonal casio tone stabs, percussive scrunches and a whole heap of grubby bangs and booms” by We Need No Swords, although this was a while ago so things have changed.