Earth is an American musical group based in Seattle, Washington, formed in 1990 and led by guitarist Dylan Carlson. Earth’s music is mostly instrumental, and can be divided into two distinct stages. Their early work grew out of the Seattle-area grunge scene and is recognized as pioneering the genre of drone doom — an experimental offshoot of doom metal, characterized by droning, minimalist, lengthy, and repetitive structures. Earth’s early albums were usually recorded as a duo (Carlson and a bass guitarist), and could be seen as a variation of the experimental doom-influenced metal of The Melvins. Earth currently features a markedly different sound, slow-paced and lengthy, but now with a drummer and featuring strong elements of country music and jazz. Dylan Carlson founded the band in 1990 along with Slim Moon and Greg Babior. Carlson has remained the core of the band’s line-up throughout its changes. Current players have included: Adrienne Davies on drums, Lori Goldston on Cello, Karl Blau on bass, Steve Moore on keys and Don McGreevey on bass.
 
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Marc Ribot, who the New York Times describes as “a deceptively articulate artist who uses inarticulateness as an expressive device,” has released over 20 albums under his own name over a 30-year career, exploring everything from the pioneering jazz of Albert Ayler to the Cuban son of Arsenio Rodríguez. His latest solo release, Silent Movies (Pi Recording 2010) has been described as a “down-in-mouth-near master piece” by the Village Voice and has landed on several Best of 2010 lists including the LA Times and critical praise across the board. 2013 saw the release of “Your Turn” (Northern Spy), the sophomore effort from Ribot’s post-rock/noise trio Ceramic Dog, and 2014 saw the monumental release: “Marc Ribot Trio Live at the Village Vanguard” (Pi Recordings), documenting Marc’s first headline and the return of Henry Grimes at the historical venue in 2012 already included on Best of 2014 lists including Downbeat Magazine and NPR’s 50 Favorites.
 
Rolling Stone points out that “Guitarist Marc Ribot helped Tom Waits refine a new, weird Americana on 1985’s Rain Dogs, and since then he’s become the go-to guitar guy for all kinds of roots-music adventurers: Robert Plant and Alison Krauss, Elvis Costello, John Mellencamp.” Additional recording credits include Neko Case, Diana Krall, Elton John/Leon Russell’s The Union, Solomon Burke, John Lurie’s Lounge Lizards, Marianne Faithful, Joe Henry, Allen Toussaint, Medeski Martin & Wood, Caetono Veloso, Susana Baca, Allen Ginsburg, Madeline Peyroux, Nora Jones, Jolie Holland, Akiko Yano, The Black Keys, and many others. Marc works regularly with Grammy® award winning producer T Bone Burnett and NY composer John Zorn. He has also composed and performed on numerous film scores such as “Walk The Line” (Mangold), “The Kids Are All Right,” and “The Departed” (Scorcese).
 
“…he can sit down with just his guitar and simultaneously confound you with technique, beauty, and surprise.” – John Garratt and Will Layman, PopMatters Picks: The Best Music of 2010 for the album “Silent Movies”

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SHADOWS CHOOSE THEIR HORRORS
2005, 16mm to Digital Beta, 31 minutes
Directed and Edited by Jennifer Reeves
Live score by Marc Ribot
Written by Jennifer Reeves with Winsome Brown
Starring Winsome Brown, Tanya Selvaratnam and Ariane Anthony
 
Shadows Choose Their Horrors is the dark and melodic diary of a necromancer living on the edge between the mortal world and the realm of lost souls. Sinister forces surround Madame G (Winsome Brown) as she tries to bond with her favorite undead. Using magic and ritual to give them new life and pleasures, Madame G is shocked by the devastating outcome. This camp and experimental reworking of early silent horror was inspired by both the un-staged Aaron Copland ballet Grohg, and the film that stirred the young Copland to write his ballet, Nosferatu.
 
Shadows Choose Their Horrors was originally created for a live performance of Grohg by the American Symphony Orchestra at Bard Music Festival, with Leon Botstein conducting.
 
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Jennifer Reeves (b. 1971, Sri Lanka) is a New York-based filmmaker working primarily on 16mm film. Reeves was named one of the “Best 50 Filmmakers Under 50” in the film journal Cinema Scope in the spring of 2012. Her films have shown extensively, from the Berlin, New York, Vancouver, London, Sundance, and Hong Kong Film Festivals to many Microcinemas in the US and Canada, the Robert Flaherty Seminar, and the Museum of Modern Art. Full multiple-screening retrospectives of her work have been held in recent years at Era New Horizons Film Festival in Wroclaw, Poland, Kino Arsenal in Berlin, Anthology Film Archives in New York, and San Francisco Cinematheque. Her most recent film COLOR NEUTRAL premiered at the New York Film Festival in October 2014.
 
Reeves has made experimental films since 1990. She does her own writing, cinematography, editing, and sound design. Her subjective and personal films push the boundaries of film through optical-printing and direct-on-film techniques. Reeves has consistently explored themes of memory, mental health and recovery, feminism and sexuality, landscape, wildlife, and politics from many different angles.
 
Since 2003 Reeves has collaborated with some of the finest composer/ musicians today, including Anthony Burr, Skúli Sverrisson, Elliott Sharp, Zeena Parkins, Marc Ribot, Erik Hoversten, Pitt Reeves, Hilmar Jensson, and Dave Cerf. As the daughter of a trumpeter, gravitating toward film and music collaborations was quite natural for Reeves. Her most ambitious film and music performance, the feature-length double-projection WHEN IT WAS BLUE (2008), premiered at Toronto International Film Festival with live music by composer/collaborator Skúli Sverrisson.
 
Reeves has also made a number of experimental narratives, most notably her highly acclaimed feature THE TIME WE KILLED. The Village Voice Film Critic’s poll (2005) honored THE TIME WE KILLED with votes from six film critics for categories including: Best Film, Best Cinematography, and Best Performance.
 
Reeves also teaches animation part-time at The Cooper Union.
 
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Emil Amos, world renowned as drummer of the illustrious experimental rock groups Om and Grails, has an increasingly prolific, though relatively unknown, solo career under the moniker Holy Sons. Home recording over 1000 songs since the project’s inception in 1992, Amos has spent the better part of the last two decades honing his song writing and production skills over a wide swath of genres in a mission to capture his internal world sonically.
 
Only a handful of shows have ever been played under the name (including opening stints for Quasi, Devendra Banhart, Will Oldham, J Mascis, Daniel Johnston, and a show at a community center in Dharmasala, India) and none of the records have been traditionally promoted, developing a dedicated underground fan-base through word of mouth alone.
 
Survivalist Tales! is Holy Sons’ 9th record, and represents the apex of Emil Amos’ obsession to push stylistic genres to their breaking point while wrenching psyche-anthems out of the darkest frontiers of self-confrontation. The songs are a seemingly impossible blend of nightmarish Blade Runner-esque moog music with the darkest side of 70’s easy-listening psyche and feature some of the most unabashedly soaring choruses Amos has ever put to tape.
 
Combining avant-sound collage with lyrics culled from the hard-won truths of self-exploration, Survivalist Tales! builds a beautiful imagining of future music. For the first time ever Amos is poised to present the project publicly; this upcoming tour can legitimately be described as Holy Sons’ first tour.