4.28 | $12 adv | doors 9pm | 21+
Join us for the Flight of a Lifetime benefitting the Animal Care & Control Team of Philadelphia (ACCT Philly).
Come taste and cast your vote as four of Philadelphia’s slickest bartenders do battle with their best Woodford Reserve Bourbon cocktail! Help us raise $7500 to support ACCT Philly’s Pet Food Pantry. This free service assists Philadelphians who need help feeding their dogs and cats, enabling them to keep their beloved pets at home.
Brian Kane of Abe Fisher
Christine Castro of Heritage
Tim Mackay of Stateside
Scott Schultheis of The Trestle Inn
Complimentary Lite Bites
Silent Auction & 50/50 Raffle
Go Go by Trestle Special Connie Love
$25 Donation to ACCT Philly’s Pet Food Pantry
$35 ADVANCE / $40 AT THE DOOR / LIMITED SPACE
Can’t make it to the Bourbon Battle? Please consider making a $25 donation to ACCT Philly’s Pet Food Pantry.
Sponsored by Woodford Reserve and Philadelphia Animal Rescue Collaborative – PARC
Clean Bandit / Zara Larsson / Starley at Union Transfer
What does deep house, the work of Stockhausen, a self-programmed snake and a frozen Lily Cole have in common? No, it’s not the contents of a lost episode of Skins. Nor is it the XX’s Christmas list. It is, rather, just a few of the details that make up Clean Bandit, a new four-piece that in their playfulness and willingness to trample over musical boundaries offer a refreshing new direction for dance music in 2013.
Forget your rock revivalists or your retrofitted soul crooners, Clean Bandit could not have emerged at any time other than now.… Comprised of brothers Jack and Luke Patterson alongside the classically-trained pair of Grace Chatto and Neil Amin-Smith, the group formed in 2008. One night , in the dingy confines of a Cambridge nightclub, classic music met bass music, and it never looked back.
“It was at the band’s own club night called National Rail Disco. We set it up because we thought there was a real lack of new interesting music at the time. The first ever one was basically set up so we could perform. But as it carried on it became more of a straightforward club night we DJ’d or played live most weeks alongside other DJs and electronic acts we loved.”
The students, not normally thought to be a particularly clubby kind of crowd, were into it. “They loved it, it was really successful and always completely packed”, says Jack. “People didn’t expect the students to be into it, but they were. They all had a real appetite for the music. One of the coolest things was the night we had James Blake down. Three quarters of the way through his set he just played a Destiny’s Child acapella on its own. Even though there was no beat,. people just went completely off. That was amazing.”
National Rail Disco provided Clean Bandit with a blueprint for everything that was to follow. First, there was a willingness to take risks. Second a desire to blend beats and strings. Third, it was done in a DIY fashion, using whatever resources were to hand.
But first they decided to move to Moscow. Grace to learn the language and play cello. Jack followed her, and ended up enrolling in Russia’s famous film school, The Gerasimov Institute of Cinematography. “I didn’t have much to do in Moscow and someone mentioned a film course that was open to international students so I thought I’d give it a try. It was a five year course,” Jack recalls. “I didn’t do the whole thing, but the whole of the first year you only do black and white still images. In the second year you do moving images but still only in black and white. It was all in Russian too, and to begin with none of the students spoke a word of it.”
It was at the Gerasimov that Jack’s ideas of blending music recordings with filmmaking began to take shape. “I was making music on a laptop a lot while I was there”, he says. “It was still a hobby though. I had long days at film school and then would come home and have a go messing around making music. I wrote Mozart’s House while I was out there. I was listening to a lot of house music there, there was a little boutique outside our flat that would blast out house for 24 hours. Maybe that seeped in.”
Now, in 2013, Clean Bandit are still mixing things up. Currently residing in London, this electroquartet are applying their principles to a whole new range of possibilities. Listen to single ‘A&E’ and you’ll hear classical, bucolic strings intertwining with UK funky bass and a melody of modern electronic pop. It’s a new sophisticated sound, but one that’s distinctive of our capital. The soulful vocals, meanwhile, are sung by guests Kandaka Moore and Nikki Marshall, found by chance in the group’s new home of Kilburn. “They were part of local community singing and dancing group next door to our studio”, says Jack. “We thought they would be perfect for this track.” And so they are, sharing the enthusiasm of the track and, also, the versatility of the group. Moore also volunteered as a dancer for the video, which necessitated her being part of a stop-motion animation. “She was completely unfazed by being painted gold over the course of two hours”, notes Jack.
That was far from being the most complicated part of the production, by the way. The video for A&E also required the creation of a golden snake. A serpent that, as in a real life game of Snake, slithered across central London. It was a challenge, one that Jack — typically — took it upon himself to rise to. So how do you make a snake? “We made it on the computer”, he says. “I taught myself to use Cinema 4D. I studied architecture at uni, so I had kind of got into 3d graphics, modeling and animation. Luke learned how to do the fluid dynamics, because the snake had to go through water at the beginning.”
Clean Bandit have also been getting a taste of a different experience closer to home whilst on tour this spring with teenage chart conquerors Disclosure. “The tour was really fun”, says Jack. “It was great to see how that world worked and to be in these really cool clubs up and down the country was brilliant. There were screaming fans. We had people who knew the words to our songs, which was quite amazing to see. It was unexpected.”
The stakes were raised even higher for new single ‘Dust Clears’. This concept video, also directed by Jack, was half-filmed on the frozen lakes of northern Sweden in winter. “In this video all the band work in a factory, but the lead singer is an older guy who’s got this fantasy of being an ice skater”, says Jack, with a smile. “We filmed the skating in Sweden and that was great, we used some special techniques. Two of us were towed along on a sled with two different lenses, two cameras filming our dear friend Nick as he skated past. Nick is our friend’s dad and while we were thinking about making the video we heard that when he was 17 he was a Scottish figure skating champion. When you see the video, you’ll see why we found this quite amazing.”
Quite clearly kids of the internet generation, Clean Bandit aren’t precious about where they find inspiration or how they deploy it (the aforementioned Lily Cole volunteered to stand in a freezing cold swimming pool for the video to UK Shanty, in return for Jack giving her a tutorial on her new video camera). Neither are they devoted to one type of creativity. They make music, they make video, they perform live.
“We try to think of each piece as being a music video rather than a song”, says Jack. “Videos for songs is the output. That’s how we’d like it to be digested. Now we’re doing more and more music, we’re having to make stuff without the videos, but hopefully we’ll be able to catch up.”
A talented Swedish vocalist and songwriter with a penchant for crafting soulful electro-pop that falls somewhere between Rihanna, Lorde, and Robyn, Zara Maria Larsson first caught the public’s eyes and ears in 2008 as the winner of the popular Swedish talent show Talang Sverige (the regional version of Got Talent). Born on December 16, 1997 in Stockholm, Larsson inked a deal with Ten Music Group after winning Talang, and issued her debut EP, Introducing, which featured the hit single “Uncover,” in 2013. The song was certified triple-platinum in her home country, and after another EP, Allow Me to Reintroduce Myself, Larsson began work on her official debut long-player. The resulting 1 arrived in 2014 via Record Company Ten and Universal Music. Three additional singles reached the Swedish Top Ten: “She’s Not Me,” “Carry You Home,” and “Rooftop.” A pair of new singles for 2015 proved to be her international breakthrough. First, “Lush Life” reached the Top Ten across Europe, then “Never Forget You” (featuring MNEK) hit the Top Ten in Great Britain and went gold in the United States.
Starley is a dance-pop artist signed to Tinted Records in Australia. Influenced by the music she listened to growing up, combined with her multi-racial background, Starley’s musical style has developed into a unique fusion of genres, all routed in pop music. Originally hailing from Sydney, Starley moved to London to pursue a career in music and landed a publishing deal with Sony/ATV UK. That opportunity provided her with the ability to learn the craft and art of songwriting, while collaborating with a wide range of producers and writers throughout London, Sweden and the US. Last year Starley returned to Australia to focus on her own artist project where she was discovered by Tinted Records and quickly joined their roster. She is currently working on her debut album.
1026 Spring Garden St.
Philadelphia, PA, 19123
Friday, April 21 at 6 PM – 10 PMAsian Arts Initiative Spring Benefit 2017
Friday, April 21st
Benefit Ticket (Dinner and Dance Party): $100
Dance Party Ticket: $35
You’re invited to an evening of friends, food, live performances and fun to celebrate and support Asian Arts Initiative’s diverse array of community-based programs and community.
It’s our biggest fundraiser of the year, helping to ensure that exhibitions like our current Loving Blackness and programs like our Youth Arts Workshop continue to move the needle forward on racial and social justice.
A full ticket gets you in all night, with two hour open bar and seated dinner. Or if funds are tight, consider coming later for the second half of the festivities by joining our Dance Party…, hosted by DJ Kevin Kong – complete with dessert bar!
The Abstract Company
Arts & Crafts Holdings
Cecil Baker + Partners
Edward Garcia & Jeannie Wong
Health Partners Plans
Sarah McEneaney (Callowhill Neighborhood Association)
Philadelphia Asian American Film & Filmmakers
David T. Rammler & Suzanne J. Young
Julia and Bob Shaw
For more information: http://
asianartsinitiative.org/ support/annual-benefit or tickets: http:// www.brownpapertickets.com/ event/2860623
Tuesday April 18th 2017
Vox Populi 319 N. 11th st
8 pm $7-10 sliding scale
No one turned away for lack of fundsVox Populi Gallery and Gentle Sheers presentsMISSDICK VIBROCIS: Lorene Bouboushian and Jill Flanagan (Forced into Feminity)
Jill Flanagan/ Forced Into Femininity (Chicago) – “the experimental solo project of former Coughs saxophonist Jill Flanagan. She says that on her new EP, I’m Making Progress, that she’s shifted away from “allegory and extended metaphor, instead addressing political concerns from the opposite perspective of punk—especially our own real positions as gatekeepers maintaining racism, classism, and sexism.” – Chicago Reader
My work is an exploration into creating portals and tears between experience and expression that are usually relegated to separate spheres. It exists at the intersection of dance and performance art, and unabashedly wrangles with problems of representation and embodiment in both fields. Movement and voice improvisation, a range of performed actions, and audience interaction, my work pushes my physical extremes in an attempt to place the everyday in contact with the divine, absurd, and ecstatic. In this way, I contend with the warped, uneven, and often appropriated sense of individualism the world affords me. Improvisation and humor are absolutely necessary to me as means of engaging directly with the assumed cultural context at a given performance, then purposefully agitating the comfort zones at play. They are the catalysts for my work to become relational: a living, breathing result of my relationships with collaborators and audience, rather than a set of aesthetic markers.
Currently, my work tends toward constructed situations that investigate social pathologies, myths, and zones at work at “the show.” I aim to poke at and shift the audience’s belief in why they are even present. To this end, I disorient and activate my audiences and myself through disturbance and explosion, despair and boredom. This has resulted in performers driving away from the venue, creating messes for no reason, or staring at the audience in bleak confusion for extended periods. In my recent collaborative work, You Are the Bus, we created elaborate organizations of errands for chosen audience members to complete (delivering pizza to the venue, picking up laundry) or gifts they received at establishments outside the venue (drinks at bars, food at restaurants, new friends at bodegas, hangouts at apartments). Between collaborative performers and director, there is mutual trust in a certain set of implied boundaries, but the cracks are where the light shines through. I want to get to the core of the kind of rebellion that can reveal a fuller spectrum of being human: inexplicable, inimitable, highly sensory acts. Preach in a grocery cart while brushing your teeth with a lollipop. Because you have to.
“What is and what hasn’t been will always be fore I have seen the sky slide into the fiery locust of bee spit. I have sunken the clouds. I have revoked the hills and the trees to stroke the Cock-Child, Dust. Cock-Child Dust breathes asbestos in heaves and crinkles satin into overturned bone. My Sun snakes through ape tongue and rewards the body with cum. Cum here into the something of nothing that has always been and always bee. Chew on the nectar tar, drained from the pit. Linger in the arms of The God. Here I have sewn the ripe web ofof of. Sacked blossoms reap the flourishing off the tides death. Golden coins melt tongues with vicious seament in the guise of cotton as blood finds light. This is the Hour be Blacked. This is thhe hour when the crusted mud reaches the bell. The hour when bod-lusts have their day. This is the Hour be Blacked. The hour when the crusted mud reaches the bell. The hour when The Blud has its day. Watakk they call this. ”
“New breed of Americanoise by way of Philadelphia. Rachel Slurr (of Heaven’s Gate) gives us that low end crunch destruction and machine gun chug, that distort rumble devotees know and love so well. Full of constantly changing blown out textures that slither over a fucked out bed of distortion. Nasty tones for nasty people. – rodger stella”
New release on NO RENT RECORDS:
“No Rent Records – NRR43 – 2017 – USA
“Yureka Cash’s debut release is a glib and pedantic fagathon that falls short of the pretentious 1980’s ‘bedroom’ genre it so longs to be. For fans of German Shepherds and Club Moral.”
Gentle Sheers is a wandering series curated by visual/sound artist and Vox Populi Member, Jim Strong. It aims to promote a culture of curiosity and pleasure across the arts and non-arts – weaving “incongruous” media and aesthetics. Past events have included Poetry Readings, Magic Shows, Feasts, Screenings, Performance Art, Dance, Early Music, Noise, Improvisation, Pop music and Plays.
4.17| $15 adv | doors 7pm | 21+
BLACK BOX SHOWSupport from Joe Michelini (of River City Extension)!!!!!!!!!!!!!!!!!!!!!!!!!!
Matt Pryor of The Get Up Kids
Pryor began playing music with the punk/ska band Secret Decoder Ring in 1994, and through playing shows in the Kansas City area, met the members of his future band, indie rock group The Get Up Kids, which was formed in 1995. After getting the attention of major labels with their first album, they found widespread success and acclaim with the release of Something to Write Home About in 1999. It was around t…his time that he began releasing solo acoustic material under the moniker The New Amsterdams. While touring to support the band’s fourth album Guilt Show, Pryor had a breakdown in Australia brought on from the stresses from being away from his newborn first child. After quitting the band temporarily, the group decided to disband after one final tour the following year. It was during this time that he wrote Story Like a Scar, inspired by the band’s troubles.
After the breakup of The Get Up Kids, Pryor’s musical focus shifted to The New Amsterdams, which had now become a full three-piece band. Pryor had two more children, and began writing children’s music. His first children’s album, If You Ever See an Owl…—recorded with The New Amsterdams under the moniker The Terrible Twos—was released in 2006.
In 2008, Pryor announced that The New Amsterdams (which had by that time grown into a full band) would be going on hiatus, allowing him to pursue a solo career. The first album released under Pryor’s name was Confidence Man, released later that year on Vagrant Records. After a brief tour with Kevin Devine in support of the album, it was announced that The Get Up Kids would be reuniting after a surprise show in their native Kansas City.
In 2009, between tours supporting the ten-year anniversary of Something to Write Home About, The Get Up Kids entered the studio with longtime producer Ed Rose to record new material, resulting in the Simple Science EP and the band’s fifth album There Are Rules. In 2011, Pryor ran a Kickstarter campaign to fund a second solo album, entitled May Day. The project was funded, and the album was released in January 2012, along with the companion album Still, There’s a Light. That same year, he formed the supergroup Lasorda with members of fun., White Whale and Kevin Devine’s Goddamn Band, writing and recording their new album remotely in different studios across the country.
In 2013, Pryor released Outroduction, a collection of B-Sides meant to serve as the final release by The New Amsterdams. He is also writing a third Terrible Twos album, as well as recording songs with Get Up Kids Bandmate James Dewees for an as-yet unnamed side-project.
In 2012, Pryor launched “Nothing to Write Home About,” an interview podcast featuring one-on-one interviews with Pryor’s musician friends. James Dewees was a regular guest on this podcast and they later announced plans to release a collaborative EP on vinyl/digital formats together. This self-titled EP was released on October 1, 2013. Matt has plans to follow this up with a new album called “Wrist Slitter” on November 12, 2013 via Rory Records in the US and Alcopop! Records in the U.K.
Dan Andriano of Alkaline Trio
Daniel Michael Andriano is the bassist and co-vocalist of the punk rock band Alkaline Trio.In 1993 he and several friends from the Elgin area formed the punk-ska fusion band Slapstick, with Andriano playing bass and contributing backing vocals. He would remain a member through the release of two full-length albums (Lookit! and a self-titled compilation) until the group’s breakup in 1996. After the breakup he and two other ex-members of Slapstick formed the band Tuesday, which released an EP titled Early Summer and one full length entitled “Freewheelin'” in 1997.In late 1997 Andriano was asked by Matt Skiba to join the Alkaline Trio, replacing original bassist Rob Doran. His first release with the band was the 1998 EP For Your Lungs Only. The band has since released eight studio albums.
==Side and solo projects== In 2004 he joined The Falcon, a supergroup also including members of The Lawrence Arms. The group has released an EP, God Don’t Make No Trash or Up Your Ass with Broken Glass (2004), and an album, Unicornography (2006). Andriano played bass guitar on Ben Weasel’s 2007 album These Ones Are Bitter.
Andriano also performs as a solo act under the name “Dan Andriano in the Emergency Room”. His first solo album, Hurricane Season, was released on August 9th, 2011 through Asian Man Records.
94WIP’s Joe and Jon Got Talent at Underground Arts
Sunday, April 2 at 8:30 PM – 11 PM at Vox Populi: Matt Wellins / Sarah Halpern / Ian M. Fraser / Slow Tongued Beauty
Matt Wellins builds and performs with homemade electronic instruments, inspired by the materially contumacious practices of David Tudor and Michael Johnsen. This work aims to emphasize the particularities of electronic components, the snafus of live performance, and general ambivalence toward commercial equipment. It is designed to be perceived live, completely divorced from recording technology, and as such, relies on the acoustic qualities of the space, the frequency sensitivities of the house PA system, and the electrical wiring of the building.
Concurrently, Wellins fosters interests in the experimental loft theater of 1970s New York, early American shape-note singing, and magnetic recording for reasons not altogether unrelated from the above. Wellins has presented his work–most notably in collaboration with 16mm filmmaker Sarah Halpern–at venues such as Anthology Film Archives and EMPAC. Along with Johnsen, he maintains the Electronic Music Resource at Ubu.com.
SARAH HALPERN works with film, performance, sound, text and paper, addressing the difficulties in understanding oneself and other people. Her work questions conventional human relationships to vision, hearing, reading and communicating and has been presented at TheKitchen, Experimental Intermedia, The Museum of Moving Image, Anthology Film Archives, ((audience)) Sound Off, and Microscope Gallery, among others. She is a founding member of Optipus Film Group(with Lary 7, Bradley Eros and others) and has collaborated extensively with electronic musician Matt Wellins. Halpern lives and works in Queens, NY.
Ian M. Fraser is a New York based computer musician, primarily focused on algorithmic composition, generative structures, and stochastic processes. With Reed Evan Rosenberg, he works with the development of Keroaän, a musical artificial intelligence designed to perform without any human intervention what-so-ever. In live performance, they combine live generative works with real-time visualizations, utilizing high-intensity strobe lights and lasers.
Slow Tongued Beauty
Slow Tongued Beauty is Ryan Scott Kerr; a producer of agonizing, minimalist noise which evokes a darkness comparable to that of the winter nights in Philadelphia.
#1 hit-maker, club night maestro and global party-starter Borgeous returns to Philly for what is sure to be a banger-and-a-half at District N9NE. Renting a room in the reckless HOUSE OF BORGEOUS are Special Guests Breathe Carolina, who have been churning out bangers themselves as of late.