SLEEPYTIME GORILLA MUSEUM

Nils Frykdahl – guitar, flute, voice

Carla Kihlstedt – violin, percussion guitar, voice

Michael Mellender – guitar, Tangularium, trumpet, percussion, voice

Dan Rathbun – bass, Sledgehammer Dulcimer, Wiggler, voice

Matthias Bossi – drums, percussion, voice

Sleepytime Gorilla Museum (SGM) – the most gloriously unclassifiable American band in existence – is bringing back the apocalypse with a series of Grand Reopening tours, recordings, and related events. In early 2024 after a 13-year hibernation, they re-emerged from the earth like a brood of cicadas with their fourth studio album — of The Last Human Being — and swarmed across the US with a 5-week tour. They are now bringing the swarm to the EU in the summer of 2025.

On any given night, SGM’s live set careens from euphoric to eerie to ego-annihilating wall-of-sound. Gleefully dark and joyful noise emanates from a wild array of instruments, many homemade. Crowds are engulfed in circuitous melody, strange bursts of color and light, unknowable time signatures, spasmodic dance.

A Sleepytime performance is never just a string of head-bangin’ anthems. Each song is an elaborate journey of its own, framing cameos from friends and family in the form of Butoh dance, parades, puppet shows, and the occasional impassioned oration of Italian Futurist

poetry. What was an average local rock club just hours before is transformed into a volatile dreamspace where anything can, and does, happen. People speak in hushed tones about the live shows like rites of passage. Flustered reviewers, desperate to pigeonhole the ineffable, have labeled SGM everything from neo-RIO (Rock in Opposition) to avant-prog metal to grindcore funk theatre to, in the words of one particularly rapt concertgoer, “some kinda Satanic Anarchic Viking Shit”. None of those descriptors come anywhere close to conveying the band’s ethos.

Sleepytime’s arsenal of instruments ranges from the traditional violin, trumpet and flute to standard rock fare of electric guitars, basses and drums, to intriguing contraptions from various folk traditions, to junkyard percussion and Fisher Price toys, to xylophones ‘n’ bells ‘n’ rusty trash can lids, to a collection of handcrafted one-offs including the Percussion Guitar, the Wiggler, the Spring-Nail Guitar, and a brutal, seven foot long piano-stringed bass behemoth called The Sledge Hammer Dulcimer.

In the words of John Kane, “Nothing should be left undone which might contribute to its demise.” To this end they employ a most tried and proven destructive force: rock. ROCK AGAINST ROCK. In this they were preceded by Oakland bands Idiot Flesh and Charming Hostess, which brought together Museum members Dan Rathbun (bass+), Carla Kihlstedt (violin+), and Nils Frykdahl (guitar+). SGM’s initial writings and first shows were with drummer David Shamrock and Industrial percussion-tornado Moe! Drummer Frank Grau, who co-released the first album and managed the band for many years, instigated touring in 2001.Staiano brought his visceral spontaneity from the inception until late 2004. New life arrived with drummer/orator Matthias Bossi, who took the throne on New Year’s 2004, and blossomed like a menacing jungle flower. Finally, with the Of Natural History tour of fall 2004, Michael “Iago” Mellender, player of ALL THINGS, rounded out the Museum with his singular brand of hyper-kinetic instrumental dysfunction.

Together the group has penned lyrics inspired by the Unabomber, by James Joyce, by Muriel Rukeyser, by madness, by a stroke-stricken obstetrician, by love, by death, by cockroaches, by the increasingly bleak industrialized end times we’re all enduring. They croon lilting post-modern folk melodies enmeshed with face-melting blasts of pure untrammeled black metal.

Don’t miss it if you can!

As the creative force behind OGÄD, Ava fuses music, performance, and visual expression into immersive experiences, exploring the interplay between sound and image. Her EP Xygote chronicles her journey into motherhood, while her video Arkana—a collaboration with photographer Julia Hansson—won an official selection at the Ann Arbor Avant-Garde Film Festival.

She toured as a microKORG bassist with the metal band Netherlands. She also sang and played bass and keys with the electro-experimental band Genes and Machines. Ava has been a muse for several visual artists, namely the photographer Mick Cantarella, whose “Ava Farber Project”, was exhibited at Projekt 105 under the curation of Martin Schoeller.

Ava began her creative journey with classical vocal training, serving as a cantor and ringer in professional choirs. She studied acting at Circle in the Square Theater, where she went on to land several roles at the Eugene O’Neill Theater Center and the National Black Theater in Harlem.