NO RESPONSE PRESENTS:
A NO RESPONSE FESTIVAL PRE-GAME! W/
WOLF EYES
(Michigan Psychojazz Tripmetalists)
http://wolfeyes.net/
PHARMAKON
(Sacred Bones Industrial Noise)
https://pharmakon.bandcamp.com/
CONTAINER
(Raw Minimal Techno Heavyweight)
https://soundcloud.com/gentledefect
TWIG HARPER
(Ex-Nautical Almanac Weirdo)
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Wednesday, May 24th
Doors: 8pm
Music: 9pm
18+
$10
The Mockbee
2260 Central Pkwy.
Note: We’ll have tickets for the upcoming No Response Festival available at this show. More info on that shortly.
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WOLF EYES
Born in the dead, dread-filled haunted hills of Michigan, Wolf Eyes are
the rabid beasts of Trip Metal & have been plowing thru new tunnels
of the underworld since 1997. Pure audio stunn, homemade post-nuclear
terror & claustrophobic atmospheres – the most shattered and
confusing horrorvision since Bo Diddley dropped the duct taped warhead
on all humans in 2024.
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PHARMAKON
Margaret Chardiet was born and raised in New York City. She has been
making power electronics / death industrial music under the name
Pharmakon for five years. As a founding member of the Red Light District
collective in Far Rockaway, NY she has been a figurehead in the
underground experimental scene since the age of seventeen. Several
projects emerged from the Red Light home/ venue during the four years
Chardiet lived there including Yellow Tears, and Halflings amongst
others. She points out that the environment there amongst so many other
experimental artists inspired her to keep pushing herself and making
increasingly challenging work. She describes her drive to make noise
music as something akin to an exorcism where she is able to express, her
“deep-seated need/drive/urge/possession
to reach other people and make them FEEL something [specifically] in
uncomfortable/ confrontational ways.” The project is also an opportunity
to exorcise her own demons and examine her own wild thoughts by pushing
them outside of her head. Engineered by Sean Ragon of Cult of Youth at
his self-built recording studio Heaven Street, Abandon is Pharmakon’s
1st proper studio album and also her first widely distributed release.
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CONTAINER
Container is the stripped-down, beat-oriented electronic project of
Providence, RI’s Ren Schofield, who somehow sculpts viscous punk sonics
into raw jackhammer rhythms that groove in the most relentless,
hypnotic, unstoppable and psychedelic ways currently working the grid.
This lo-fi mesh of maxed-out drum patterns, spiralling loops and
mesmerising arrangements makes for live music of serious weight and
function, suitable for both high-end dancefloors and filthy warehouse
parties alike.Started in 2009 in response to his discovery of nineties
minimal techno, Container combined elements from his background in noise
and cassette collage music with a new found interest in repetitive
beats to create this raw and damaged rhythmic sound.
After a string
of various cassette releases, the debut full-length LP was released by
Editions Mego sub-label Spectrum Spools in 2011, and has since been
followed up by a second Spools LP, the Treatment 12" on the Morphine
label, and a new 12" on Mute’s Liberation Technologies imprint which
will be dropping this Fall.
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TWIG HARPER
The oceanic movement, convergence, and collision of underground
networks is something Americans have become honor bound to celebrate
—it’s cool, and it’s been cool. The coolness factor rises the more said
network affects the larger, uncool, mass culture, so Twig Harper’s
multi-decade sweep of the underground gradually modifying it, inventing
it, sculpting it, and often just giving gentle suggestions, probably
isn’t going to be served up documentary flambéed anytime soon —no coffee
table books of circuit bent electronics, homemade lathe cuts, or
consciousness awakening book covers coming anytime soon. There’s
something disingenuous about the connection between lack of mass
cultural awareness of Twig Harper’s work and his impact on collective
consciousness shift. The story goes Twig spent some time growing up in
Pennsylvania, moved to Jupiter (you can find it on an American map,
HINT: it’s at the bottom), then moved to Michigan where he attended high
school with the Wolf Eyes crew, got served up Caroliner records from
one Jim Magas, met Partner In Everything and future Nautical Almanac
Co-Captain Carly Ptak, and showed high school classmate Andrew W.K he
could be come a pop star if he just tried. Things got really hot and
ended poorly in Michigan once the cops caught wind of what was really
going down, but before splitting to Chicago, Twig formed Nautical
Almanac with purveyor and architect of the modern American Noise
Underground, Nate Young, figured out how to make homemade circuit built
instruments, helped in the cultivation of the limited release cassette
label, the midwest house show circuit and generally got across that this
whole culture could be fun, connective, ridiculous and a bit pushy (if
you ask me), as much as it could be about anything. An escape to
Chicago, a junk store, more music, more weird releases on more weird
media (lathes, CD-Rs, weirdly sized records, cassettes of all sorts),
and then eventually Twig ended up with massive warehouse, used as a
performance space and artistic & spiritual cultivation center in
West Baltimore called Tarantula Hill. During the 15 some odd years as an
occupant of T-Hill, Twig, with Ptak, made records and toured with
everyone from the Fort Thunder gang to the Wham City gang to Daniel
Higgs, unearthed and moved the outsider street musician Little Howlin’
Wolf to Baltimore, and hosted every important underground band of the
21st century. Perhaps most centrally, the Tarantula Hill mission helped
grow the artistic pursuits of countless artist’s and allowed Twig to
generally put together work that mixes text and electronic unconstrained
convulsions in the full on experimentation and creation of backlashing
gems of confusion. A lot of people got touched, a lot of people made
records, and some of the people who ran through Twig’s life got famous,
some very much so, but also a crop of people across the country got
warehouses, booked shows, released tapes, made music out of trash, got
interested in psychedelia and consciousness expansion (oh, yeah, Twig
gets into that too, he put a sensory deprivation tank and conducted
salvia divinorium research after the performance space had run its’
course), most of all a lot of people made music in their own voice,
their own bizarre floppy convulsing smashing silly voice, a voice built
upon Twig’s shrill yelps.