with Horse Lords & Vorhees
Mon February 11th, 2013
Minimum Age: All Ages
Doors Open: 7:00PM
Show Time: 8:00PM
Event Ticket: $13
Day of Show: $15
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
Matmos is M.C. Schmidt and Drew Daniel, aided and abetted by many others.
Currently based in Baltimore, the duo formed in San Francisco in the mid 1990s, and self-released their debut album in 1997. Marrying the conceptual tactics and noisy textures of object-based musique concrete to a rhythmic matrix rooted in electronic pop music, the two quickly became known for their highly unusual sound sources: amplified crayfish nerve tissue, the pages of bibles turning, water hitting copper plates, liposuction surgery, cameras and VCRs, chin implant surgery, contact microphones on human hair, rat cages, tanks of helium, a cow uterus, human skulls, snails, cigarettes, cards shuffling, laser eye surgery, whoopee cushions, balloons, latex fetish clothing, rhinestones, Polish trains, insects, life support systems, inflatable blankets, rock salt, solid gold coins, the sound of a frozen stream thawing in the sun, a five gallon bucket of oatmeal. These raw materials are manipulated into surprisingly accessible forms, and often supplemented by traditional musical instruments played by the group’s large circle of friends and collaborators. The result is a model of electronic composition as a relational network that connects sources and outcomes together; information about the process of creation activates the listening experience, providing the listener with entry points into sometimes densely allusive, baroque recordings.
Since their debut, Matmos have released over eight albums, including: Quasi Objects (1998) , The West (1998), A Chance To Cut Is A Chance To Cure (2001), The Civil War (2003), Rose Has Teeth in the Mouth of a Beast (2006) and Supreme Balloon (2008). In 2001 they were asked to collaborate with the Icelandic singer Bjork on her “Vespertine” album, and subsequently embarked on two world tours as part of her band. In addition to musical collaborations with Antony, So Percussion, David Tibet, the Rachel’s, Lesser, Wobbly, Zeena Parkins, and the Princeton Laptop Orchestra, Matmos have also collaborated with a wide range of artists across disciplines, from the visual artist Daria Martin (on the soundtrack to her film “Minotaur”) to the playwright Young Jean Lee (for her play “The Appeal”) to Berlin-based choreographer Ayman Harper. Most recently, they have been part of the ensemble for the Robert Wilson production “The Life and Death of Marina Abramovic”, featuring Marina Abramovic, Antony and Willem Dafoe.
Their next album, The Marriage of True Minds, will be released in 2013 by Thrill Jockey Records.
Vorhees is the nom de guerre of New York City-based audio engineer and composer Dana Wachs. Vorhees embraces ambient form and pop structure in equal measure within her compositions. Live, her guitar tones are processed and extracted through a haze of vintage gear, conjuring dulcet riffs to aggressive, sneering fuzz over muted electronic beats. Her lyrics explore intimate observations with vocals alternating from alien to heartbreakingly human. Her methods have always relied on improvisation, whether in studio or on stage, forsaking formal education for a natural and visceral response to what inspires her.
Dana studied cello and electric bass from an early age. At nineteen, she joined the DC hardcore group Holy Rollers (Dischord Records) and dove deep into a world of touring and live sound. Audio engineering would define the following twenty years of her life while working at Greene Street Recording NYC and touring the world with St. Vincent, Grizzly Bear, Deerhunter and many others. In 2009, she debuted her solo compositions and has since continued to work on her own music, releasing her debut 7″ The Orchard (Peoples Club, 2012), composing for modern dance (including a 5 hour score for Guggenheim prize winning choreographer Morgan Thorson), film (“Sugar” by Kimi Howl Lee), and commissioned performances and recordings for fashion designer Rachel Comey. Live performances during this time included support for Cat Power, Matmos, and Dum Dum Girls, with invitations to perform at Basilica Soundscape 2013 and Iceland Airwaves 2014.
Vorhees debut EP, Black Horse Pike, was released in 2017 via Styles Upon Styles. Black Horse Pike represents an unintentionally chronological contemplation. Across a five-track suite, Vorhees explores memories of teenage meanderings in New Jersey’s suburban doldrums, the scars and artifacts of relationships with intimates and religion, and the impossible waking (un)reality of her insomniac tendencies throughout the world in ever changing hotel rooms and tour bus bunks.
Black Horse Pike was written, recorded and produced by Dana Wachs in her Brooklyn home between touring with Belle & Sebastian and Deerhunter. During this time, Dana participated in parts II and III of a performance art piece titled Rural Violence, directed by Brandon Stousy, with part II presented by Matthew Barney. In conjunction, she collaborated with George Clarke of Deafheaven, forming the new duo Wachs & Clarke, for the 20 minute accompanying music piece RVIII: Invocation. The artwork for Black Horse Pike features an illustration by Dana’s mother, Nancy Alter, and design by Tran Huynh.
During 2017 Vorhees supported Beth Orton on her Australian tour and made her UK live debut with an intimate London headline show and a performance at Cardiff’s Off Kilter event as part of SWN Festival, supporting Richard Dawson.
Photo Credits: Jelle Wagenaar / Mai Le