Sunday Feb 9 (Evening)

Doors (9:30pm)

Exceptionally rare full-band Jackie-O Motherfucker appearance in Los Angeles!

PLUS sets by 
Tara Jane O'Neil (Rodan)
Bobb Bruno (Best Coast)
Derek Rogers (Circuit Rider)

Plus DJ Lee Noble spinning tunes between bands!

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Jackie-O Motherfucker began as a duo consisting of multi-instrumentalist Tom Greenwood and saxophonist Nester Bucket. The group has had more than forty members drawn from the U.S. experimental scene. As of 2008, the core of the group is founding member Greenwood.

Jackie-O Motherfucker's music draws from a variety of subgenres including various folk musics of the world (American folk and blues, Native American song, Traditional English folk ballads, etc.), drone, free jazz, and space-rock, and is heavily improvisational in its nature. Because they are a collective, rather than a consistent band or group, the sound of their music can change from performance to performance. The group operates its own label of CD-R live recordings, the U-Sound Archive, which features concert recordings from Jackie-O Motherfucker as well as like-minded subterranean artists such as Double Leopards, Sunroof!, Decaer Pinga, and Vibracathedral Orchestra.

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Tara Jane O'Neil is a multi-instrumentalist, composer, and visual artist. She creates melodic and experimental music under her own name and in collaboration with her brilliant friends. Her recordings and live performances range from solo songing to noise improvisations. TJO has composed and performed music and sound for films, theater and dance performances, and written large and small ensemble experimental architectures.

As a solo artist, TJO has released 7 albums internationally. She was a founding member of Rodan and several other bands, and has collaborated on recordings and stages with musical artists such as the groups Ida, Mirah, Jackie O MF, Mount Eerie, Papa M, Come, the vocalist Nikaido Kazumi, and many more. In addition to rock clubs, galleries and DIY spaces all around north America, Europe, and Japan, she has performed at All Tomorrow’s Parties, the Centre de Pompidou, the Whitney Museum of American Art, TBA festival (portland), High Desert Test Sites and many many others. She has shown her visual art in galleries all over the northern hemisphere and had four monographs of her visual art published. 

This show is an album release show for TJO's new album on Kranky. Check out a new track here: 

https://soundcloud.com/kranky/tara-jane-oneil-wordless-in
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Goliath Bird Eater member and frequent Pocahaunted, Robedoor and Upsilon Acrux collaborator, Bobb Bruno is clearly a regular man about town, albeit one adorned in some kind of easter bunny costume with over-sized head. Bruno brings his cartoonishly psychedelic visual approach to this DNT release, but be warned: it's not just cutesy fun on this cassette. Opening with the slow synth jaunt "Snail's Pace," Bruno begins with dark chordal patterns working and reworking themselves underneath fuzzed out rhythmic bits. The piece stays fairly motionless for some time, brooding in a sort of spaced out, underbelly of the mind kind of way until drum machine enters and it takes a decidedly more industrial slant as fed through break beat weirdnesses. As soon as that beat drops out it's an endless tunnel descent, Alice in Wonderland style, before this plodding drum beat comes in that gives the whole thing a form all its own. Some soundtrack to neon induced LA life-binges or something, slow-mo as all hell, a real head nodder for the mind rotter. The synth work is layed on deep here, maintaining its dark, organ(ic) riffage--it's the Phantom of the Opera remix, he all hunched over in his castle weaving some crazy arpeggiation while Bruno and company are hunkered down behind him, bunny costume adorned, partying it out. The record's called "Clown's Castle" after all... When the beat drops out its all guitar fraying and synth rides. Super reverbed out stuff here, whose muddy bass runs and clearer, less blown out high synth runs do bring to mind something not totally un-Skaters like, albeit with a more formalized structure and slightly dancier take on the whole thing--given that dancey is defined as "potentially bringing to mind movement in a club setting" rather than some sort of beat oriented toe-tapper. This would be one dark club, and surely few would be shaking it. The album titled second side starts off with some heavy metal Sunn O))) riffage, not far off from the sounds of Bruno's Goliath Bird Eater. Buzzing comes into play as the guitar slows itself down and rides it out. The beast keeps building as choral vocals sweep across and the beat drops, making the whole thing as heavy as concrete feet over San Francisco Bay. Really heavy duty stuff that just rides and glides, the beat dropping in and out as it emits itself toward eternity. It's a real soul crusher, so don't be fooled by the blue pig and the cute pines on the cover. Limited to 79 and sold out at the label, but I'm sure Tomentosa and other like-minded distributers will have it soon. Beautiful. " 

-- ear conditioned nightmare review of his superb "Clown's Castle" cassette

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The thrill of uncovering hidden sounds is what first drew Derek Rogers to drone. "Sometimes phrases or sustained tones that churned in an engrossing repetition offered a completely different experience than other music I'd heard previously," he recalls. "This specific attention offered a chance to recontextualize the phrase by hearing subtle overtones and patterns that previously had been hidden." He cites as inspiration the work of William Basinski and Gavin Bryars, but says that "at some point I just got tired of absorbing all of these amazing records and not being able to express my own ideas, so I just started obsessively recording and playing shows.

The latest fruit of that obsession is Saturations, two 15-minute tracks of gritty, tactile drone/ Rogers is especially adept at turning grinding static into precise texture, and finds emotional resonance in sonic abstraction. He has little training on his current instruments, guitar and piano-- "I can't play a scale to save my life," he admits-- but he's used those limitations to his advantage, making music that's simple on the surface but complex underneath. "I've always been drawn to a "less is more" approach," he says, "and creating the most with minimal means necessary."

Rogers had a little help making Saturations. Contributions from two Texans, trumpeter Regina Chellew and violinist Petra Kelly, add diversity to the LP's busy pieces. Their participation also helps make Saturations a personal time-capsule for Rogers, who recorded the album not long before moving from Austin to Los Angeles. "I think Saturations serves as both a snapshot of a very specific time in my life-- the feelings of anxious excitement associated with a huge cross-country move," he reflects. "And fear of what the future holds, and the innate desire to represent the present while also giving a nod to the past."

-- Pitchfork Media interview and "Saturations" review by Marc Masters