NO RESPONSE PRESENTS:
A NO RESPONSE FESTIVAL PRE-GAME! W/
(Michigan Psychojazz Tripmetalists)
(Sacred Bones Industrial Noise)
(Raw Minimal Techno Heavyweight)
(Ex-Nautical Almanac Weirdo)
— Wednesday, May 24th
2260 Central Pkwy.
Note: We'll have tickets for the upcoming No Response Festival available at this show. More info on that shortly.
— 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.
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.
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.
— 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.