10.23.2010, FTW
The last HIO show for the foreseeable future (we've got nothing else booked, but we're open to invitations) was, to my mind, an unqualified success. While we only performed to about three people (and I, at least, am tired of playing shows to no audience; at Landers Machine Shop, at least there's the possibility of people incidentally hearing us), we played for an hour, our longest live performance yet, and we were able to sustain our musical dialogue without my resorting to feedback meltdown mode, which is typically a sign that I've run out of ideas. Although the gig was advertised a "pre-Halloween" party, our original idea of performing in squirrel costumes proved cost-prohibitive, so we performed in our usual attire.
Terry left the CBGs at home and brought an array of percussion instruments: the snare drum, the PVC rack of pot lids, and a box of xylophones he got from Lori Thompson in addition to the usual array of beaters and toys. He was already set up by the time Hickey and I arrived, fresh from gorging ourselves on homemade pizza and Time Bandits, so we set up and I started out on snare, trying to emulate Ennio Morricone's music from The Untouchables. We played for fifteen minutes before Terry thought to turn on his video camera, so the recording misses me playing the snare, the rack of pot lids, and the plastic recorder and wooden flute (except for one note on the latter).
We'd agreed that I'd set up in the middle, since not being able to hear Terry has been an onstage irritant to me, and hearing him made it easier to intentionally (rather than subliminally) respond to what he was doing. There was more space and dynamic variation than usual in our performance, with only slight, controlled feedback and no use of the handheld massager and fan. Terry's getting into using the ukeleles more (he now has two), and even played a couple of notes on his five-string bass. Sometimes the echolalic rhythmic sequences we get into when we're hearing each other remind me of Orff's Gassenhauer and Partch's Daphne of the Dunes.
We stuck around to hear a couple of the other bands. New Science Projects sounded kinda like '60s garage rock (there was even a discernable Chuck Berry influence audible in one tune) with '90s screamo vocals. Their drummer played a snare and tom kinda like Mo Tucker. Talked to Michael and Sarah from Vexed UK before they hit. They've replaced the light boxes Terry built for them with some different lights, and had their usual array of vocal effects. We walked into the DJ room and listened to the techno music for awhile. It sounded good, but they had even fewer people than the bands did. I saw from the pictures posted on Facebook that it got busier after we left. Thanks to Austin Craver for booking us.
Terry wants to get a better recording of us with the percussion array. We also want to record with his friend Giri on hand drums, and maybe do the collaboration with Cottonmouth, Texas that we'd planned for the 10.10.2010 Doc's show. And finish the Exile on Montgomery St. movie. All in good time.
Terry left the CBGs at home and brought an array of percussion instruments: the snare drum, the PVC rack of pot lids, and a box of xylophones he got from Lori Thompson in addition to the usual array of beaters and toys. He was already set up by the time Hickey and I arrived, fresh from gorging ourselves on homemade pizza and Time Bandits, so we set up and I started out on snare, trying to emulate Ennio Morricone's music from The Untouchables. We played for fifteen minutes before Terry thought to turn on his video camera, so the recording misses me playing the snare, the rack of pot lids, and the plastic recorder and wooden flute (except for one note on the latter).
We'd agreed that I'd set up in the middle, since not being able to hear Terry has been an onstage irritant to me, and hearing him made it easier to intentionally (rather than subliminally) respond to what he was doing. There was more space and dynamic variation than usual in our performance, with only slight, controlled feedback and no use of the handheld massager and fan. Terry's getting into using the ukeleles more (he now has two), and even played a couple of notes on his five-string bass. Sometimes the echolalic rhythmic sequences we get into when we're hearing each other remind me of Orff's Gassenhauer and Partch's Daphne of the Dunes.
We stuck around to hear a couple of the other bands. New Science Projects sounded kinda like '60s garage rock (there was even a discernable Chuck Berry influence audible in one tune) with '90s screamo vocals. Their drummer played a snare and tom kinda like Mo Tucker. Talked to Michael and Sarah from Vexed UK before they hit. They've replaced the light boxes Terry built for them with some different lights, and had their usual array of vocal effects. We walked into the DJ room and listened to the techno music for awhile. It sounded good, but they had even fewer people than the bands did. I saw from the pictures posted on Facebook that it got busier after we left. Thanks to Austin Craver for booking us.
Terry wants to get a better recording of us with the percussion array. We also want to record with his friend Giri on hand drums, and maybe do the collaboration with Cottonmouth, Texas that we'd planned for the 10.10.2010 Doc's show. And finish the Exile on Montgomery St. movie. All in good time.
posted by stashdauber at 6:58 AM
2 Comments:
Wish I could have seen the entire set. I made some field recordings while there, and hope to mix it all into a halloween-ish sound collage, which might include part of the HIO set, if that's cool.
Sure, that'd be fine.
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