About This Event
Minimum Age:All Ages
Doors Open:7:00 PM
Show Time:8:00 PM
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 sound designer Dana Wachs. Focusing on a an ambient approach to music, from shorter pop structured songs to longer soundscapes, Vorhees is a one woman show. Live, guitar tones are processed and extracted through a haze of vintage analogue gear resulting in dulcet ringing to aggressive, sneering fuzz over muted electronic beats. Floating on top drenched in peculiar reverbs, her vocals exist in an ethereal climate, lyrically exploring intimate observations around her.
Taking a break from traveling the world as an audio engineer (previously for the likes of Cat Power, MGMT, M.I.A., Lykke Li, and St. Vincent to name a few) Vorhees continues to delve into composition (lauded a “fine collaborator.” by the New York Times for her work with choreographer Heather Kravas) and recording for a future full length.
Vorhees on Bandcamp
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