Many of the times I've said the title of this blog post, it is in reference to a house/basement/DIY show, something a little more ragged around the edges but overflowing with heart, soul, and all that goodness. Last night was very different, but a complete success on pretty much every part (which is good because a lot of people put a LOT of work into it, which I witnessed over the course of the past week.)
I'm of course referring to the Big Room/Uncertainty Music collaboration that occurred last night, showcasing dance/movement by Rachel Bernsen, music by Carl Testa, Taylor Ho Bynum, Matthew Welch and Broadcloth, my trio with Anne Rhodes and Nathan Bontrager. Broadcloth performed Elastic, Carl Testa's interactive electronic environment for improvising musicians, which was basically like improvising on a really, really tricked out sonic playground, and was loads of fun to perform. As an improviser doing my own work and working with others, I've found it difficult in the past to interact with electronics in a meaningful way; thankfully, Carl has the background as both an improviser and an electronic composer to make such a thing work (and we triggered/recorded our sounds with Wii-motes, which Nintendo should be paying Carl tons of money for.) Broadcloth also performed a short improvisation which took us in a different direction than we had gone in the past, partially due to the fact that we had a bigger room and different spacing than our normal semi-circle setup for the small rooms and stages we've played before. I'll be curious to see if that direction persists the next time we get together.
I also had the chance to perform Taylor Ho Bynum's "Three Fables from Borgel," based on a text by Daniel Pinkwater. These were some really bizarre, tremendously entertaining (to perform, and judging from what I could see of the audience's reactions, to listen to) songs that really captured the spirit of the absurdist/surrealist children's book they came from, which I'm now determined to check out. Working on these over this past week with Anne and Taylor was really a treat, and I hope opportunities to play compositions like this aren't so few and far between in the future.
Matthew Welch accompanied one dance piece by Rachel, and performed a solo improvisation on his own. Suffice to say he's a monster, the bagpipes have never ever seemed cooler and I'm further building my case to eliminate electric guitars after hearing the extended techniques bagpipes are capable of, and the good old-fashioned shredding when necessary too.
Rachel presented four pieces, one accompanied by Welch, one with electronic sound and light by Carl, one accompanied by a really impressive cornet score by Taylor and the last featuring live bass guitar by Carl, voice by Anne, and a choreography that incorporated them both. I've started to develop an appreciation for dance after spending the last two years accompanying for modern dance classes (albeit for much younger dancers, at Neighborhood Music School), but I'm far from being a connoisseur; I did really appreciate Rachel's choreography in each of those contexts, recognizing some aspects of improvisation in them that I can immediately relate to as a musician. The fact that so many of these pieces were interdisciplinary at heart was part of what made them so engaging to me and to some of the folks I spoke to during the intermission and afterward. There was a nice turnout, especially for an event of this nature, and it seems as though there were a lot of people who were in my shoes as of two + years ago, surprised to see such a strong avant-garde art scene in New Haven surviving and, dare I say, flourishing.
And on top of all that, I met Anthony Braxton. Like I said, biiiiig comedown...
5.21.2010
Broadcloth at Take Your Time
Next week, May 28th, at the Big Room in Fair Haven, CT, Broadcloth will be performing as part of a killer lineup in the premiere installment of a new series called Take Your Time. Below, I'll post the official writeup, but Broadcloth will be performing a structured improvisation alongside live electronics by Carl Testa as accompaniment to one of Rachel Bernsen's dance pieces which are the focal point of the evening. I will also be performing with Anne Rhodes and Taylor Ho Bynum on Bynum's "Borgel Songs," a short song-cycle.
It looks to be an incredibly diverse evening of new music and art, and a fully multi-media experience. Hope to see you there!
The Uncertainty Music Series and The Big Room introduce Take Your Time, an interdisciplinary performance series, featuring new works by Rachel Bernsen, Carl Testa, and special guests.
Friday May 28, 2010 at 8pm
The Big Room - Erector Square 315 Peck St. New Haven, CT, Building 6W, Studio D
Tickets are $12. Seating is limited. Reservations are recommended. For reservations email: thebigroomnewhaven@gmail.com
On Friday May 28th, a consortium of New Haven-based artists will launch a new semi-regular performance series called Take Your Time. In a co-presentation of The Uncertainty Music Series and The Big Room, choreographer Rachel Bernsen and composer Carl Testa will offer the New England premieres of new and recent work in their first shared evening. Rachel will perform three pieces, each a unique collaboration with musician/composers including Taylor Ho Bynum, Anne Rhodes, Carl Testa, and Matthew Welch. Carl will perform a new composition for light, sound, and movement, and present a new piece for trio and live electronics featuring the collective improvisation trio Broadcloth. Bynum, Welch, and Broadcloth will also be performing short improvisations and original compositions.
Rachel Bernsen “has the ability to make even the most simple things completely fascinating. She is an amazing performer and a compelling artist” (Michael Helland, Curator, Dixon Place). Her most recent projects create dialogues between sound and movement; where the musician’s physical presence and role is equally important to that of the dancer, integrally connected to the flow of time and the organization of space. Her work has been presented at such New York City venues as Dance Theater Workshop, Danspace Project, Roulette, Dixon Place, and Issue Project Room. At Take Your Time, Rachel will perform three works: User in collaboration with Anne Rhodes and Carl Testa, Glimmer Glint Glisten (with a live score by composer/cornetist Taylor Ho Bynum), and Singular Present, a collaboration with New York based composer and bagpipes player Matthew Welch.
Carl Testa is a composer and multi-instrumentalist, most notably as the bassist in composer Anthony Braxton’s septet and 12+1tet with whom he’s performed throughout the US and internationally. Testa’s own compositions have been described as “engaging and unique” (Bruce Lee Gallanter, Downtown Music Gallery) and “human music, with varied emotions and sublime moments” (Richard Kamins, The Hartford Courant). For his performance at The Big Room, Testa will use interactive electronics and computer-controlled lighting equipment to create dynamic environments for both movement and sound. www.carltesta.net
The evening will feature additional performances by Taylor Ho Bynum, called “one of his generation’s top avant-garde figures” by The New York Times; the trio Broadcloth, a unique instrumentation of voice (Anne Rhodes), cello (Nathan Bontrager) and accordion/recorders (Adam Matlock) that plays from notated, graphic, embroidered, and textual scores in addition to completely spontaneous pieces; and Matthew Welch, a virtuoso bagpipe player and composer "possessed of both rich imagination and the skill to bring his fancies to life" (Time Out New York).
The Uncertainty Music Series www.uncertaintymusic.com is a New Haven, CT based creative music series that has been presenting concert events since September 2007. The goal of the series is to provide a venue for local and regional artists that may not have the opportunity to present their work elsewhere. The Big Room is a new studio and performance space providing the New Haven area with a much needed, low-tech platform for interdisciplinary collaboration, experimentation and research in dance and performance.
It looks to be an incredibly diverse evening of new music and art, and a fully multi-media experience. Hope to see you there!
The Uncertainty Music Series and The Big Room introduce Take Your Time, an interdisciplinary performance series, featuring new works by Rachel Bernsen, Carl Testa, and special guests.
Friday May 28, 2010 at 8pm
The Big Room - Erector Square 315 Peck St. New Haven, CT, Building 6W, Studio D
Tickets are $12. Seating is limited. Reservations are recommended. For reservations email: thebigroomnewhaven@gmail.com
On Friday May 28th, a consortium of New Haven-based artists will launch a new semi-regular performance series called Take Your Time. In a co-presentation of The Uncertainty Music Series and The Big Room, choreographer Rachel Bernsen and composer Carl Testa will offer the New England premieres of new and recent work in their first shared evening. Rachel will perform three pieces, each a unique collaboration with musician/composers including Taylor Ho Bynum, Anne Rhodes, Carl Testa, and Matthew Welch. Carl will perform a new composition for light, sound, and movement, and present a new piece for trio and live electronics featuring the collective improvisation trio Broadcloth. Bynum, Welch, and Broadcloth will also be performing short improvisations and original compositions.
Rachel Bernsen “has the ability to make even the most simple things completely fascinating. She is an amazing performer and a compelling artist” (Michael Helland, Curator, Dixon Place). Her most recent projects create dialogues between sound and movement; where the musician’s physical presence and role is equally important to that of the dancer, integrally connected to the flow of time and the organization of space. Her work has been presented at such New York City venues as Dance Theater Workshop, Danspace Project, Roulette, Dixon Place, and Issue Project Room. At Take Your Time, Rachel will perform three works: User in collaboration with Anne Rhodes and Carl Testa, Glimmer Glint Glisten (with a live score by composer/cornetist Taylor Ho Bynum), and Singular Present, a collaboration with New York based composer and bagpipes player Matthew Welch.
Carl Testa is a composer and multi-instrumentalist, most notably as the bassist in composer Anthony Braxton’s septet and 12+1tet with whom he’s performed throughout the US and internationally. Testa’s own compositions have been described as “engaging and unique” (Bruce Lee Gallanter, Downtown Music Gallery) and “human music, with varied emotions and sublime moments” (Richard Kamins, The Hartford Courant). For his performance at The Big Room, Testa will use interactive electronics and computer-controlled lighting equipment to create dynamic environments for both movement and sound. www.carltesta.net
The evening will feature additional performances by Taylor Ho Bynum, called “one of his generation’s top avant-garde figures” by The New York Times; the trio Broadcloth, a unique instrumentation of voice (Anne Rhodes), cello (Nathan Bontrager) and accordion/recorders (Adam Matlock) that plays from notated, graphic, embroidered, and textual scores in addition to completely spontaneous pieces; and Matthew Welch, a virtuoso bagpipe player and composer "possessed of both rich imagination and the skill to bring his fancies to life" (Time Out New York).
The Uncertainty Music Series www.uncertaintymusic.com is a New Haven, CT based creative music series that has been presenting concert events since September 2007. The goal of the series is to provide a venue for local and regional artists that may not have the opportunity to present their work elsewhere. The Big Room is a new studio and performance space providing the New Haven area with a much needed, low-tech platform for interdisciplinary collaboration, experimentation and research in dance and performance.
5.14.2010
Coming VERY soon...Ephemeral Stampede!
I've mentioned this on and off over the past few months. Ephemeral Stampede is an album that has been mostly written and arranged for almost two year now. I had intended to record it all nice-like with a real studio and some session musicians/friends filling out the sound, but after something resembling a complete financial breakdown, I had to bite the bullet and self-record the whole thing. I'm actually quite satisfied with the turnout, and the re-done arrangements reflect what I've been hearing in my head after performing many of these songs live and solo in the last 9 months, which is quite different from the Kurt Weill-influenced cabaret sound I was originally going for. If some sugar-parent wants to give me a great deal of money to re-record these closer to my original vision, I would not say no. But I'm ready to move forward as well, having completed another full-length of An Historic material that I would like to record soon-ish, too (which budget concerns will probably force me to, again, self record and release, as much as I'd like to save my computer the strain of burning endless copies.) So that's that...hoping to self-produce a limited run before tour begins, so that I've got something more current that reflects a little more of the direction that An Historic has gone, since producing CDs is awfully expensive if you don't have the money for an upfront investment. And of course, it will be cheap on Bandcamp too...
Ephemeral Stampede by An Historic is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License.
Based on a work at gzarapanecko.bandcamp.com.
Permissions beyond the scope of this license may be available at http://www.myspace.com/adammatlock.
Ephemeral Stampede by An Historic is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License.
Based on a work at gzarapanecko.bandcamp.com.
Permissions beyond the scope of this license may be available at http://www.myspace.com/adammatlock.
An Historic Mini Tour with Mallory (help!)
This might just be the cutest thing ever.
In June I'll be hitting the road for about a week to go on a small northeast tour with Mallory, ending up in Halifax for the Harbour Water festival put together by lots of sweet punks up there like Ryley of Fairy Boy and the Official Suckers. This is my first tour and I'm a little nervous but mostly just excited. I'm lucky to be traveling with Mallory who are not only nice musicians but sweet people as well, so I have high, high hopes.
As you can see, we could use some help in Brattleboro, in New Hampshire, and in Portland, as well as the first date in Moncton, New Brunswick. I've never been to any of these places as a growed-up person, so any help anybody had with venues, contacts, etc would be really sweet. You can contact me through this here myspace thing, or via email at weillwedance at gmail dot com.
thanks!
In June I'll be hitting the road for about a week to go on a small northeast tour with Mallory, ending up in Halifax for the Harbour Water festival put together by lots of sweet punks up there like Ryley of Fairy Boy and the Official Suckers. This is my first tour and I'm a little nervous but mostly just excited. I'm lucky to be traveling with Mallory who are not only nice musicians but sweet people as well, so I have high, high hopes.
As you can see, we could use some help in Brattleboro, in New Hampshire, and in Portland, as well as the first date in Moncton, New Brunswick. I've never been to any of these places as a growed-up person, so any help anybody had with venues, contacts, etc would be really sweet. You can contact me through this here myspace thing, or via email at weillwedance at gmail dot com.
thanks!
3.31.2010
A Long Time Coming
The limited free-run of G. Zarapanecko’s Glitterdammerung was reasonably successful. It was free for 12 days, and got maybe 30 downloads total, plus random links on French and Finnish music blogs (though I haven’t a clue if there was anything resembling feedback about the album.) I’m hoping to do a physical tape release soon, with details forthcoming. I’ve also begun early recordings of a new, noisier G. Zarapanecko release, getting back into exploration of synth programming as well as electroacoustic processing. We’ll see where this ends up, many, many months from now, I’m sure. Now the trouble will be finding some poor, interested suckers who’ll actually pay for the digital release now…just another example of me shooting myself in the foot with promotional ideas...
I nervously sent out copies of the first An Historic demo, “My Czerny,” to zines like Razorcake and Give Me Back a while ago, hoping not to get one of those bullshit reviews where the reviewer doesn’t even spin the disc, or stops it after the first song, etc. To my surprise, not only did I not get one of those reviews, but I also received something resembling praise at points – I won’t bother trying to summarize, so here:
AN HISTORIC:
My Czerny: CD-R
This thing had “Beware! Most likely contains ambient and indiscernible home recordings!” written all over it, mostly due to the ambiguousness of the packaging and the lack of much information besides song titles. Instead what we get are some “actually pretty pleasant and tuneful home recordings,” mostly of the, uh, squeezebox/accordion variety, I believe. About half of the handful of tunes here are single-instrument pieces, while the rest feature additional instruments and overall excellent vocal work. Got no idea what it is they’re actually singing about it, but they’ve convinced me, whatever it is. Most likely not gonna make any Razorcake reader’s top ten lists, but was an atmospheric enough run on a night when the rain’s coming down and the wind’s howling around the house. –Keith Rosson (An Historic)
I’ve been busy for awhile recording new An Historic material. My plans to get something finished by an upcoming show fell through, or so it seems, but the project is around the 75% mark, which is relatively exciting. The material here is from Ephemeral Stampede, all home-recorded demos of an album I had written almost two years ago and planned to record in a real studio before everything fell apart financially. This might be the last we hear of this material, or I might some day, much later, re-record these tunes in such a way that more closely resembles my original arrangements. But for now I’m relatively satisfied with everything so far, and just two tunes and a handful of random tracks to finish up. Meanwhile I’ve just about finished writing the material for another An Historic release that will be recorded hopefully in May if all goes well – I’ve been practicing and performing most of these songs solo and I’m going to keep them closer to the solo-arrangements on the recordings, which is a different approach then I’ve taken with An Historic material in the past, mostly because the fidelity of my equipment makes solo recordings sound pretty awful.
An Historic performs April 3rd at the Unitarian Universalist society sometime between 6:30 and 8:00 for a benefit dinner for the Connecticut F.A.D.G.E Fest . (Feminism, Autonomy and Diversity of Gender Expression). April 9th is a performance at the Fucking Discovery Zone with Story, Cud East, Squinch Owl, Tyler Bussey and New Year’s Revolution – 7:00 PM and donations for touring bands. Finally, April 10th is the first Juggler’s Meadow Festival of 2010, with tons of bands and lots of other various stuff going on too – zine stores, free market, workshops, food, etc. Details on that last one TBA.
After some finagling and jumping through hoops, Passing a Penny, the song cycle based on Rob Talbot’s poetry, is definitely still on. More details to come as we approach the May 8th performance.
Finally, after a brief hibernation after our concert at the Stone, Broadcloth will be bouncing back soon. Again, details still forthcoming.
I nervously sent out copies of the first An Historic demo, “My Czerny,” to zines like Razorcake and Give Me Back a while ago, hoping not to get one of those bullshit reviews where the reviewer doesn’t even spin the disc, or stops it after the first song, etc. To my surprise, not only did I not get one of those reviews, but I also received something resembling praise at points – I won’t bother trying to summarize, so here:
AN HISTORIC:
My Czerny: CD-R
This thing had “Beware! Most likely contains ambient and indiscernible home recordings!” written all over it, mostly due to the ambiguousness of the packaging and the lack of much information besides song titles. Instead what we get are some “actually pretty pleasant and tuneful home recordings,” mostly of the, uh, squeezebox/accordion variety, I believe. About half of the handful of tunes here are single-instrument pieces, while the rest feature additional instruments and overall excellent vocal work. Got no idea what it is they’re actually singing about it, but they’ve convinced me, whatever it is. Most likely not gonna make any Razorcake reader’s top ten lists, but was an atmospheric enough run on a night when the rain’s coming down and the wind’s howling around the house. –Keith Rosson (An Historic)
I’ve been busy for awhile recording new An Historic material. My plans to get something finished by an upcoming show fell through, or so it seems, but the project is around the 75% mark, which is relatively exciting. The material here is from Ephemeral Stampede, all home-recorded demos of an album I had written almost two years ago and planned to record in a real studio before everything fell apart financially. This might be the last we hear of this material, or I might some day, much later, re-record these tunes in such a way that more closely resembles my original arrangements. But for now I’m relatively satisfied with everything so far, and just two tunes and a handful of random tracks to finish up. Meanwhile I’ve just about finished writing the material for another An Historic release that will be recorded hopefully in May if all goes well – I’ve been practicing and performing most of these songs solo and I’m going to keep them closer to the solo-arrangements on the recordings, which is a different approach then I’ve taken with An Historic material in the past, mostly because the fidelity of my equipment makes solo recordings sound pretty awful.
An Historic performs April 3rd at the Unitarian Universalist society sometime between 6:30 and 8:00 for a benefit dinner for the Connecticut F.A.D.G.E Fest . (Feminism, Autonomy and Diversity of Gender Expression). April 9th is a performance at the Fucking Discovery Zone with Story, Cud East, Squinch Owl, Tyler Bussey and New Year’s Revolution – 7:00 PM and donations for touring bands. Finally, April 10th is the first Juggler’s Meadow Festival of 2010, with tons of bands and lots of other various stuff going on too – zine stores, free market, workshops, food, etc. Details on that last one TBA.
After some finagling and jumping through hoops, Passing a Penny, the song cycle based on Rob Talbot’s poetry, is definitely still on. More details to come as we approach the May 8th performance.
Finally, after a brief hibernation after our concert at the Stone, Broadcloth will be bouncing back soon. Again, details still forthcoming.
3.20.2010
Glitterdämmerung - Available Now and Free for the next 7 days
Upon the transition of time today, the sky is alight with the first trickles of the metacontext, which will ramp up steadily over the course of the next 22 months.
Glitterdämmerung, the new EP of electro-acoustic ambient music by G. Zarapanecko, is among the earliest missives of this new aeon perceptible by human hearing. All sounds wrestled digitally from the aethyr and manipulated into something resembling "composition," "improvisation," and "melody." Shape suggests narrative suggests structure, but suggestions can be ignored.
Glitterdämmerung is now available at this web portal and will be a free download for the next 12 days. Your exposure is recommended prior to the full flood of glitter at twilight on the eve of 21 December 2012.
Creative Commons License
Glitterdammerung by G. Zarapanecko is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License.
Based on a work at gzarapanecko.bandcamp.com.
Permissions beyond the scope of this license may be available at http://www.myspace.com/adammatlock.
Glitterdämmerung, the new EP of electro-acoustic ambient music by G. Zarapanecko, is among the earliest missives of this new aeon perceptible by human hearing. All sounds wrestled digitally from the aethyr and manipulated into something resembling "composition," "improvisation," and "melody." Shape suggests narrative suggests structure, but suggestions can be ignored.
Glitterdämmerung is now available at this web portal and will be a free download for the next 12 days. Your exposure is recommended prior to the full flood of glitter at twilight on the eve of 21 December 2012.
Creative Commons License
Glitterdammerung by G. Zarapanecko is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License.
Based on a work at gzarapanecko.bandcamp.com.
Permissions beyond the scope of this license may be available at http://www.myspace.com/adammatlock.
3.04.2010
!!!
It's a bizarre feeling to have my hands in so many projects, each engaging me in a completely different way. Playing in other people's bands is fun figuring out how to engage with other material, usually in a very different style than material I write myself.
Playing with Broadcloth Sunday at the Stone was really a treat for us as players. We had a small space with decent acoustics, and an occasional radiator hiss to punctuate some of our more composed moments. It's still kind of a blur to me but I felt exceptionally present at the time. Thanks again to everyone who we blackmailed into coming - Kinan, a student of Nathan's, was kind enough to record video of the concert (he also recorded our set at Audubon Strings on January 30th, on Youtube and many of my pages), and that will be up shortly. Expect something like a coherent release from Broadcloth in the very near future, too.
Then Monday and Tuesday saw me playing solo sets. Monday was at Cafe 9 as part of the Beatnik 2000 series. What I saw of the bill was interesting and eclectic, with spoken word and some other music. I had to leave early because I had work in the morning and a big day lined up on Tuesday; the first show I ever booked with Fairy Boy and the Official Suckers and Mogli who were touring from Halifax, NS. This was a show that I had been having weird prophetic dreams about in the two weeks. I won't attempt to explain them but they were different from my normal anxiety dreams about upcoming concerts, which usually involve me struggling continuously to get to a concert on time through nightmarish turns of events (kind of like the plot of Umjammer Lammy, the absurdist psychedelic music game on the Playstation.) Feral Flowers and The Book Slave and I rounded out the show, and it was a solid, nearly two-hour marathon of great music. I was pretty captivated by everything, and there was a great turnout, and on top of that all of the potluck food was delicious. On top of that, Fairy Boy, Mogli and the other Suckers Rosie and Thom were all sweethearts, and I had a blast hanging out with them. In a fashion quite true to myself, Jeff/Feral Flowers and I are going up tomorrow to see them play again in Leverett, MA at the Juggler's Meadow. I've got first hand info that it will be an awesome show, also featuring Providence, RI and Amherst, MA-based Mallory.
After that, I'll have an appearance as a performing guest on "The Jef Sessions," Jef Wilson's radio show on WYBC 1340 AM in New Haven, or online at The Yale Radio website, between 1-2PM on Saturday. Carl Testa will be appearing for the first hour.
It's been a busy week for me, and after Saturday I don't have anything lined up for awhile The next thing on my plate is another acoustic show I've booked at the Fucking Discovery Zone, with touring acts Story. and Cud E. who are fellow Nova Scotians playing acoustic solo folk punk. I will play along with other CT acts New Year's Revolution, Tyler/Old Hannah, and Wood Spider. A large and varied acoustic show, with flyers forthcoming. This will also be the second show I've ever played where I've not been the only accordion player - Mogli was the first, and Story. will be the second, and both make fabulous use of their instruments, just in case you should happen to be an accordion nerd like me.
Playing with Broadcloth Sunday at the Stone was really a treat for us as players. We had a small space with decent acoustics, and an occasional radiator hiss to punctuate some of our more composed moments. It's still kind of a blur to me but I felt exceptionally present at the time. Thanks again to everyone who we blackmailed into coming - Kinan, a student of Nathan's, was kind enough to record video of the concert (he also recorded our set at Audubon Strings on January 30th, on Youtube and many of my pages), and that will be up shortly. Expect something like a coherent release from Broadcloth in the very near future, too.
Then Monday and Tuesday saw me playing solo sets. Monday was at Cafe 9 as part of the Beatnik 2000 series. What I saw of the bill was interesting and eclectic, with spoken word and some other music. I had to leave early because I had work in the morning and a big day lined up on Tuesday; the first show I ever booked with Fairy Boy and the Official Suckers and Mogli who were touring from Halifax, NS. This was a show that I had been having weird prophetic dreams about in the two weeks. I won't attempt to explain them but they were different from my normal anxiety dreams about upcoming concerts, which usually involve me struggling continuously to get to a concert on time through nightmarish turns of events (kind of like the plot of Umjammer Lammy, the absurdist psychedelic music game on the Playstation.) Feral Flowers and The Book Slave and I rounded out the show, and it was a solid, nearly two-hour marathon of great music. I was pretty captivated by everything, and there was a great turnout, and on top of that all of the potluck food was delicious. On top of that, Fairy Boy, Mogli and the other Suckers Rosie and Thom were all sweethearts, and I had a blast hanging out with them. In a fashion quite true to myself, Jeff/Feral Flowers and I are going up tomorrow to see them play again in Leverett, MA at the Juggler's Meadow. I've got first hand info that it will be an awesome show, also featuring Providence, RI and Amherst, MA-based Mallory.
After that, I'll have an appearance as a performing guest on "The Jef Sessions," Jef Wilson's radio show on WYBC 1340 AM in New Haven, or online at The Yale Radio website, between 1-2PM on Saturday. Carl Testa will be appearing for the first hour.
It's been a busy week for me, and after Saturday I don't have anything lined up for awhile The next thing on my plate is another acoustic show I've booked at the Fucking Discovery Zone, with touring acts Story. and Cud E. who are fellow Nova Scotians playing acoustic solo folk punk. I will play along with other CT acts New Year's Revolution, Tyler/Old Hannah, and Wood Spider. A large and varied acoustic show, with flyers forthcoming. This will also be the second show I've ever played where I've not been the only accordion player - Mogli was the first, and Story. will be the second, and both make fabulous use of their instruments, just in case you should happen to be an accordion nerd like me.
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