Saturday October 7th
8 at night
suggested $5 – $15 donation
John Saint Pelvyn
Arrington de Dionyso & Noel Meek
• Paul Metzger
A virtuoso on a 23 string banjo he built himself, Metzger’s Idiosyncratic & deeply original long form improvisations at times bring to mind American primitive guitar, the sarod of Hindustani music, or the Chinese Erhu. But refracted through his singular musical mind he creates a sonic universe all his own. Metzger’s “home made” aesthetic puts him alongside DIY mavericks like Eugene Chadbourne and his electric rake, and Charlie Nothing and his dingulators, but Metzger also posses a penchant to extract every possible sound out of an instrument that is reminiscent of the exhaustive instrumental explorations of Derek Baily. His many releases over the years have garnered high praise and helped establish him as a central voice in the world of Avant Garde & Experimental Folk. Metzger creates a unique music evocative of some magical forgotten age, but simultaneously one deeply rooted in the eternal present when fingers touch strings.
“…Metzger’s banjo and guitar contain multitudes. Suspended between past and future, honouring the tradition while hijacking it, listening for its voice while revelling in its inarticulacies; this is how the thing sings. And the song, in the obsessive extensions of Metzger’s instruments, truly has no ending.” – The Wire
• John Saint Pelvyn
Guitarist, therminist, singer, and player of some species of dismantled electrified folk, John Saint Pelvyn is on tour this fall with his new solo release A Clerical Error in Shasta County Shouldn’t have to Ruin a Saturday Night from Seeland/Electro Motive Records. An affinity for the likes of John Fahey, Loren Mazzacane-Connors, and Sandy Bull can be heard here, but the comparisons quickly fall away as one takes in this ambidextrous musical sensibility. He will sing otherworldly vocal duets with his theremin while simultaneously accompanying himself fingerpicking, or will throw modulated feedback tones across otherwise inviting harmonic landscapes based on blues & folk motifs, overshadowing them with clouds of squelch that loom like an approaching post-noise squall, but that ultimately swell and punctuate more like the tone clusters of Henry Cowell or the lyrical saxophone of Frank Lowe.
“When wandering the stage singing into the F-holes of his electric arch top bringing forth arpeggios of feedback, or waving the neck of his guitar in the vicinity of a howling theremin, indeed, he seems to be playing the very air itself.” – Electro Motive
• Arrington de Dionyso
Throat singer, saxophone player, & front man of the notorious noise-jazz-rock band Old Time Relijun, he’s the artist who ran afoul of the Alt-right in the Pizza Gate scandal only to come back and birth a brilliant ecstatic liberatory music project This Saxophone Kills Fascists, which he presented in an epic national tour this spring. This evening he will be playing duets with New Zealand based analog sound artist Noel Meek.
“Arrington de Dionyso taps into the fountain of Spiritual Free Jazz in search of a contemporary protest music to inoculate against the ravages of life under dictatorship.”
• Noel Meek
A gifted shepherd of the analog signal, Meek possesses an uncanny ability to summon structured chaos that is rarely matched in the great hootenanny that is the international noise scene. Head of End of the Alphabet Records, contributor to The Wire, & exponent of a genre of music he calls “Extremophilic Folk” Meek will perform duets with Arrington de Dionyso.
“Some sheer joy was unexpectedly bottled in the analogue gizmo rituals of New Zealand artist and Wire contributor, Noel Meek… a total resignation to the gods of entropy.” – The Wire