Fri, 14 January 2005
Euphonic Productions presents:
Tenth To The Moon
9pm, Fri, Jan 14
($5 at the door)
290 MLK Jr. Drive, Suite 8
www.eyedrum.org Eyedrum's programming is supported in part by the City of Atlanta Bureau of Cultural Affairs...
Tenth to the Moon
Former Pineal Ventana members and collaborators flaunt convention with a form dubbed by one listener as 'electrometallic stunilingus.' Crawling back onto stage after a lengthy studio hibernation with keyboards, drums, drum machine, and vocal processors in tow.
"This promised to be a strange night, and it started out wierd right from the get-go. The first act was Tenth to the Moon, who are apparently a Pineal Ventana side-project. They were a noise band: strange sounds and screaming. Keyboards drove the music, and there were odd drum machine bits used to add percussion. The band members wore lab coats, which made them seem like a Man or Astroman? influenced act. (I guess MOAM have ruined labcoats for everyone).
At any rate, they cranked out 30 minutes of weird, aggressive, electro music. Reference points were Skinny Puppy, early Cabaret Voltaire, and to some degree Devo. It was interesting to say the least. The weird thing is, people were really getting into it. Tenth to the Moon got lots of applause, and a free CD-R they stacked on the merch table was gone in minutes.
I suppose that they were the perfect opening band for Suicide, in that they played a similar kind of music. And of course, I am sure that some of the applause was from their friends. At any rate -- I enjoyed them. That was exactly what I came to this show to see."
Ana Balka - violin, guitar
Jeff Bradley - double bass
Scott Burland - lap steel, theremin, keyboards, electronics
Robert Cheatham - saxophones, keyboards
Bob Hulihan - electronics, guitar, etc.
Milton Jones - drums, percussion
"Boom! Boom! Wow!"
- Iva Keranova
"They sound like an orchestra tuning up."
- Martha McCall
"Here comes a charging, wild rhino. If you want to listen, fine. Either way.
This rhino stops for no one."
- R. Walter Riley
Tony Gordon is FREEBASS. Although he considers this work improvisation, the recordings and live performances exist in an abstract area that breaks free from visions of a musician. No overdubs. No effects. When it comes out just set it down, respect its’ shape. Over time it will take on a value unknowable in the beginning. Putting on weight, breaking, splintering, developing crevasses, fenestration, frustration, tension. Filling up and emptying out. Pissing off.
"Of all the solos by rock bass players I’ve witnessed — performed absolutely solo while the rest of the band was backstage exercising their snort muscles — every single one has been enjoyable and necessary for pretty much one person in the room, and that person always seems to be the bass-player. The more abject uselessness one finds the unaccompanied bass solo, the more one will savor the crystal tumors Tony Gordon’s Freebase CD (GD STEREO) causes one skin to spit out like mango pits. If one would consent to sit through seven tracks of solo base improvisations only after it had been proven that pigs have wings, it is time to search the web for gene-splitting sites. Gordon’s bass screeches, gurgles and gornks like a mythological flying sow; she has corduroy skin, self-activating zippers, retractable snoutholes, and pulsating udders that drip billiard balls. I say, “Oh, momma.”
- Seymour Glass, Bananafish