Friday 14 February 2020, 7.30pm
'This is not noise made to merely disturb aesthetic sensibilities; this is noise designed to exorcise generations of ancestral trauma.' – WIRE
Very special three-day residency from Moor Mother, aka Philadelphia based interdisciplinary artist, Camae Ayewa!
Ayewa (Moor Mother) is a musician, poet, visual artist, and workshop facilitator, and has performed at numerous festivals, colleges, galleries, and museums around the world, sharing the stage with King Britt, Roscoe Mitchell, Claudia Rankine, Bell Hooks, and more. Camae is a vocalist in four collaborative performance groups: Irreversible Entanglements, Moor Jewelry, 700bliss and ZONAL.
In late 2016, she released her debut album Fetish Bones on Don Giovanni records to critical acclaim. Fetish Bones was named 3rd best album of the year by The Wire Magazine, number 1 by Jazz Right Now and appeared on numerous end of the year list from Pitchfork, Noisy, Rolling Stone, and Spin Magazine. She has since released 'The Motionless Present' commissioned by CTM X VINYL FACTORY 2017, as well as fronted the groups Irreversible Entanglements and Moor Jewelry and 700bliss. Thanks to her unstoppable energy, she has recently peformed at a host of vital festivals including Borealis, CTM, Le Guess Who?, Unsound, Flow, Rewire and Donau.
Analog Fluids of Sonic Black Holes was released on Don Giovanni in November 2019 to mass critical acclaim.
'Moor Mother makes music that feels halfway between necromancy and warning. These songs are a rejoinder to that erasure, and a proposed antidote to an anti-Black capitalism that insists cultural debts be forgotten.' – PITCHFORK
Technically ONO began in 1980 - it’s the year the band officially assigns - but anyone can see the band’s miasmic origins roiling and writhing much before. P Michael Grego and travis had met before 1980, sharing a love for written and spoken word, the transcendent, and the genuine. Through continual poking and prodding, P Michael convinced travis to join him in ONO, the name coming from shortening “onomatopoeia,” and underscoring a desire to create “noise not music.” P Michael would handle the audio. travis the words. Since January 5, 1980, they have fiercely defended a singular construct: “The ONO STATEMENT OF PURPOSE: Experimental Performance, NOISE, and Industrial Poetry Performance Band; Exploring Gospel's Darkest Conflicts, Tragedies and Premises.”
In a deeper consideration of ONO’s genesis, the band is rooted in events hundreds of years earlier. ONO tackles military history, religious history, racial history, geopolitical history, artistic history, and that’s only for starters. travis mentions real, often harrowing events, attaching years and dates, as if history were ever present.