Friday 22 September 2017, 7.30pm
New York ensemble Object Collection take on Fugazi’s Live Archives, alongside poisonous pop team Yeah You.
IT'S ALL TRUE
'It's All True' is an opera-in-suspension from New York ensemble Object Collection based on the complete live archives of iconic underground band Fugazi.
Grounded upon the DC post-hardcore outfit's 1987-2002 Live Archive series, composer Travis Just and writer/director Kara Feely's work uses only the incidental music, text and sounds, none of Fugazi's actual songs. An obsessive leap into 1500 hours of gig detritus - random feedback, aimless drum noodling, pre-show activist speeches, audience hecklers, police breaking up gigs - is the foundation of an ear-body-and-mind-flossing 100 minutes for 4 voices/performers, 4 electric guitars/basses and 2 drummers. It's All True is overloaded, maddening, mundane, properly funny, and a radical incitement to action.
Half of this delectably bruising megalith is collected on a pair of Slip releases, 7” and 12”, arriving September and October 2017.
Object Collection will be performing an unstaged set for 70 minutes on both nights. This will be the first UK airing of material from the opera.
'It’s All True' was commissioned by and premiered at 2016’s Borealis Festival, Bergen and will be performed in full from Feb 2nd - 25th 2018, at LaMaMa, New York City.
"The past and present telescoped and collapsed in some freaky dialectic" - Guy Picciotto, Fugazi
“Compelling, disturbing, and shockingly beautiful” - Huffington Post
“It's shows like this that shut down the NEA” - Backstage
“Object Collection, my favourite discovery of this year” - Emily Bick, The Wire
"I hope this is the future" - Robert Ashley
Object Collection was founded in 2004 by writer/director Kara Feely and composer/musician Travis Just. Based in Brooklyn, the group operates within the intersecting practices of performance, experimental music and theater. They are concerned with simultaneity, complexity, and radicality, combining dense layers of text, notation, objects and processes. They work to give audiences unconventional viewing experiences through their merging of theatricality and pedestrian activity. Their works upset habitual notions of time, pace, progression and virtuosity. They value accumulation above cohesion.
To you YEAH YOU are to you a father daughter duo who let music invade the family context. Who let music dismantle the family car, using construct absurdity to redeem resented weekly Tesco shops and traffic jams. YEAH YOU are not who you said we are, but we are that inverted, and battery op. The content shifts depending on how many supermarket discounts we found. Known for their sneak-up picnic public invasions, perform mostly when uninvited but will always jump on chance to berate a strobe-cut stage, brawling electronic dirt pop, words and feet exert integral (instagram) distrust: you won’t hear what you see.
Why who? They only ever wanted to take back their solidarity with inertia. Creeping up behind a ‘don’t bite the hand that feeds you’ cultural climate, striving to unbuckle the gift economy. You let the lesson be yearn inappropriately. Warped into identity politics this could be an anti-formulaic deconstruction of the nuclear family and of psychic uniform, which normative roles serve to sustain. But in itself is just an improv life stream of the bottom 40: from 0 to -40. Diving in with an admittedly involuntary entropic approach, they provide something for all the family to enjoy/not enjoy.