Tonight will be an inspired night for music in Baltimore. Of course, that statement is a little biased since I’m putting it on.

Here’s some decidedly non-biased material suggesting you attend:

“Banging on Cans: And anything and everything else in So Percussion’s strange, not-just-percussion universe” (Baltimore City Paper)

“Roll Over, Beethoven: By Reimagining Format, Alt-Classical Musicians Are Going Mainstream” (Washington Post)

“Do You Hear That?” (Maryland Morning on WYPR 88.1FM)

Splice Today

and here’s what others are saying about So Percussion and their recent premiere of Imaginary City in Brooklyn:

“Drummers Map an Imaginary City” (New York Times)

“Yes In My Backyard: An Exclusive First Listen To So Percussion’s BAM Next Wave Piece Imaginary City” (Village Voice Music Blog)

“Top Live Show: So Percussion @ BAM Harvey Theater” (Time Out New York)

“So Percussion – playing ‘Imaginary City’ @ BAM” (BrooklynVegan)

Here’s some video we shot with Polygon Tree Productions of So performing Steve Reich’s Drumming Part 1:

It also bears mentioning that the line-up has expanded since our initial announcement to include two more sets. One features the premiere of a piece by local composers Adam Holofcener and Jeff Zeiders. The other is a True Vine power trio of sorts featuring Jason Willett (Leprechaun Catering, Pleasant Livers, Half Japanese), Martin Schmidt (Matmos), and Owen Gardner (Black Vatican, Janitor, ex-Teeth Mountain). Some more, press-release-y details on them after the jump.

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For Immediate Release: All artists are open to press inquiries, interviews and more.  For more information regarding any of the artists or this show, please contact Greg Szeto at auralstates@gmail.com.

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01. MP3: So Percussion – Drumming, Pt. 4 (Steve Reich)
02. MP3: So Percussion – June
03. MP3: Microkingdom’s Pro Hour – Double Abacus from Wrenches:My Heart/Double Abacus (2008)
04. MP3: Gestures – Doritos from Nice EP (2009)

Aural States presents So Percussion, Microkingdom, Gestures, more TBA at the Metro Gallery on Wed Oct 28th

(BALTIMORE, MD — Sept 14 2009) — Defining the boundaries of what we know as music and classifying its endless offspring are both ever-evolving, vital enterprises.  In celebration of this constant growth, Aural States has brought together musicians who we feel excel at making music a malleable and dynamic entity through bold experimentation.  We are proud to present So Percussion, Microkingdom, and Gestures at the Metro Gallery on October 28^th 2009 in the Station North Arts District of Baltimore.

Brooklyn-based quartet So Percussion take up the cause of showing the world that percussion is much more than a primitive means to an end, expanding far beyond drums laying down beats.  Lauded as “revelatory” (David Lang), “brilliant” and “consistently impressive” (The New York Times), and “astonishing and entrancing” (Billboard Magazine), their genre-bending work has lead to collaborations with innovative musicians like Dan Deacon and Matmos, with whom years of work will bear fruit in a late Spring 2010 release on Cantaloupe Records.  They’ve prepared bracing performances of pieces from visionary composers such as David Lang, Steve Reich, John Cage and Iannis Xenakis, as well as crafting their own compositions.  Their music has taken them around the globe to stages and audiences of all shapes and sizes, from the Lincoln Center Festival to Carnege Hall, the Kennedy Center, and even Whartscape 2009 at the Baltimore Museum of Art where they performed excerpts from Steve Reich’s Drumming.  This summer, So created an annual summer institute at Princeton University consisting of an intensive two-week chamber music seminar for college percussionists.

In their only Baltimore/DC area performance, in an unusually intimate venue, So will perform works from Steve Reich, their 2006 album Amid the Noise, and their latest original work entitled Imaginary City, which has its world premiere just a few weeks before as a commission for the 2009 BAM Next Wave Festival.

http://www.sopercussion.com/ || http://www.myspace.com/sopercussion || http://www.bam.org/view.aspx?pid=1259

The trio known as Microkingdom’s Pro Hour is one of Baltimore’s avant-garde powerhouses.  Its members hold pedigree second to none: guitarist Marc Miller of math rock pranksters Oxes, percussion whiz and composer Will Redman, and the musically polyamorous John Dierker’s fierce reeds.  Playing “sinuous, powerfully dynamic improvisations” (The Wire) or self-described “No Jazz,” Microkingdom have been called “dynamic, challenging, confident” (Pitchfork).  Over the past couple of years Microkingdom has played shows with: Wzt Heart, Ecstatic Sunshine, Thank You, Singer, Food For Animals, Daniel Higgs, These Are Powers, Jack Wright, White Mice, Talibam!, Peter Brotzmann, Pontiak, Extra Life, The Homosexuals, and many others. They’ve also self released color vinyl Wrenches: My Heart/Double Abacus as well as putting out the CD-R EP Spectacular Edges on Human Conduct.  This fall will see them playing Brooklyn-based Death By Audio’s You Are Here: The Maze installation and performance festival in late September.

http://www.microkingdom.com/ || http://myspace.com/microkingdom || http://www.willredman.com/

Gestures’ “shambolic drums-n-brass band” was named D.C.’s “Second-Best Use of Air Pressure” by Washington City Paper’s Best of D.C. 2009.  A horn and drum collective consisting of tuba, trombone, saxophone, clarinet, and two drum kits, think manic marching band meets frantic free-jazz structures and you’ve got a pretty close approximation of their sound.  Fascinating and brazen blasts of dissonance test and probe the limits of your endurance while simultaneously forming vivid mental images and narratives like some crazed sonic bard, drunkenly dragging off-kilter harmonies out of entropy.  Gestures’ debut EP Nice will be out soon.

http://www.initiatedeyerecordings.com/gestures || http://www.myspace.com/gesturesdc

Venue Information

The Metro Gallery, 1700 N Charles St, Baltimore MD 21201

http://themetrogallery.net/ || http://www.myspace.com/metrogallery

Tickets $10 in advance.  $12 day of show.  21 and over only.

This Saturday, psych afficionados of all creeds should converge onto the Metro Gallery for a fantastic double album release party featuring 2 acid-drenched locals: Sri Aurobindo and the Violet Hour.

Sri Aurobindo – Return Into Earth (Unsigned)

From the earliest creators of psychedelic music, the manipulation of consciousness has been the foremost inspiration in their songcraft.  The 13th Floor Elevators, on their landmark debut Psychedelic Sounds, describe their motivations simply yet profoundly: “It is this quest for pure sanity that forms the basis of the songs…”

With this epic-length instrumental release, Sri Aurobindo give their most convincing vehicle for fulfilling this journey, and come up with successes on a number of fronts.  Now, clocking in at over 32 minutes long, its length alone may have some people running the other direction.  And while I readily admit this is not something that I’m going to put into the CD player on a regular basis, I think this release has a special and unique place in any collection.

For any single track of this length, its primary concern is taking the listener on an engaging journey (presumably the “quest for pure sanity”).  As such, it’s clear that the Sris took meticulous care to carve out a picturesque sonic sojourn, from the wisps of ethereal, airy jazz flute to deep, warm earthy drones.  The primal shamanistic beats and melodies sweep you away in that classic, consciousness-expanding tradition of psychedelia.  Each of three large, crescendoing sections feels like a distinct, raw trip tapping into some immense wellspring of inspiration from the natural world.  Sections successively bring more visceral sounds and instrumentation (ie: heavier guitars, less haze), building upon the foundations of the last.  When the big, burned out electric guitars finally emerge 2/3 of the way through the track, you are more than ready for their stream-of-consciousness revelations, hopping from motif to motif and getting closer to the horizontalization of the hierarchy of thought espoused by the Elevators.

There are some really great moments on this release.  Sri Aurobindo have embraced more varied instrumentation, and display great maturity in songwriting by channeling all manner of spiritual and elemental forces in pursuit of that holy grail of psychedelia: “pure sanity.”  Since they cannot walk the journey, only show you the way, how close they get to achieving this is largely determined by you.

The Violet Hour – The Violet Hour (Creative Capitalism)

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MP3: The Violet Hour – XXXVI

The Violet Hour’s (Andriana Pateris and Beth Varden) long-delayed debut CD is a strong musical manifesto: silky smooth vocal harmonies (weighty with mid-range) mixing with reverb-heavy, meditative guitar and measured drums into a hypnotizing brew.  ”Peripheral Vision” is as smokily moody as its lyrics sung on “two hearts on fire.”  ”Southern Cross” is remarkable for the twinkling luster of its arpeggiated opening (a likely homage to its astronomical namesake) and a stark contrast amidst a sea of more worn and foggy sounds.  The track’s lyrics intwertwine themes both spiritual and celestial.

The strongest track to my mind is the closer (“XXXVI”) which picks up the pace along with a few earlier tracks, but ultimately their net effect is a sort of bas relief to the rest of the album, rather than a lasting, lifting one.  As a result, I think the record suffers under the unyielding weight of downcast moods, mostly downtempo pacing and similar keys, while simultaneously gaining a beautiful sense of consistency and cohesion.  The soaring vocal harmonies and the distinct mood created are the most compelling aspects of this album, and point to very bright things in the future.  I can’t think of a better pairing of sounds for Saturday’s show.

Celebration
Metro Gallery Lot
Baltimore, MD
August 7, 2009

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Transfer: NJB3>PC>SF-7>Wav>FLAC
Taper: Jeff Mewbourn (jm292@yahoo.com)

Full set downloads: MP3 or FLAC formats

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1. MP3: Comets
2. MP3: Pressure
3. MP3: —
4. MP3: —
5. MP3: —
6. MP3: What’s This Magical
7. MP3: —
8. MP3: I Will Not Fall
9. MP3: —
10. MP3: Heartbreak
11. MP3: —
12. MP3: —
13. MP3: audience/dialogue
14. MP3: E: Billie Jean*

Notes:
Lineup:Beach House>Celebration
Outdoor show.
*Michael Jackson cover/with Beach House
Thanks to Adam for the windscreens
Sound: Natasha Tylea Cooke & Adam Cooke
SUPPORT LOCAL MUSIC

Beach House
Metro Gallery Lot
Baltimore, MD
August 7, 2009

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Transfer: NJB3>PC>SF-7>Wav>FLAC
Taper: Jeff Mewbourn (jm292@yahoo.com)

Set has been taken down for the time being. Maybe later gator, as Beach House gets closer to their album release!

Notes:
Lineup:Beach House>Celebration
Outdoor show.
Thanks to Adam for the windscreens
Sound: Natasha Tylea Cooke & Adam Cooke
SUPPORT LOCAL MUSIC

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MP3: Beach House – Saltwater from Beach House (2006)

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MP3: Celebration – Open Your Heart from Electric Tarot (2009)

Contest is over!  Tough choice, but the winner is Meryl, because we at Aural States wish every venue could be all ages.

Guess what? Thanks to Sarah (owner of the Metro Gallery), we’ve got a pair of tickets to her awesome outdoors double-header of Beach House and Celebration at said venue on Aug 7th.

Comment here with a compelling reason or story for why you need this gorgeous outdoor show in your waning summer weeks. It really is that simple. Winner will be picked Aug 5th and notified by email (or phone if you give that).

All photos: Greg Szeto

Baby Aspirin played a standout set on Saturday (which you can hear here thanks to Jeff), impressing me much more than my previous experience with them at the Talking Head).  They recalled the tude and sound of the best and brightest of the riot grrl movement.  At times, they made me really miss Sleater-Kinney, then proceeded to step in and fill that void as fast as it opened.

Ecstatic Sunshine played in yet another iteration.  They really hit a groove after early set meanderings, exploring some interesting, spare and tropical vibes, perfect for the summer and outdoors.  Check out Jeff’s audio here.

Thrushes played a slew of new material (some of which they have been playing live for quite a bit) from their forthcoming sophomore effort, reunited with founding drummer Matt Davis.  They showed real progression and new life, playing more taut and uptempo than ever before, a welcome extension of their crushing mastery of midtempo and dirgelike compositions.

Chairlift ployed their spaced-out pop vision quite well, but I found myself increasingly inattentive in spite of the trio’s great vocals.

Wye Oak struggled through some unfortunate technical delays courtesy of some bad/breaking wiring on Andy’s Nord Electro.  The outdoor setting also sapped some of the affecting energy the duo normally exude in spades.  Not a bad set by any means, but not their best either.

Major kudos and congrats to Sarah for running a phenomenally tight ship for both Rufustival (set times were spot on) and the Metro Gallery as a whole.  Here’s hoping for many more years, and even bigger fests.

Baby Aspirin

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Baby Aspirin
Rufustival; Metro Gallery
Baltimore, MD
June 6, 2009

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Taper: Jeff Mewbourn (jm292@yahoo.com)

Download set archive in MP3 or FLAC format.

Streaming MP3s and video after the jump.

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MP3: Wye Oak – For Prayer from Live Set @ Aural States Fest 2009

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MP3: Pomegranates – Corriander from Everybody, Come Outside! (2009)

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MP3: Pomegranates – Beachcomber from Everybody, Come Outside! (2009)

Cakes of Light have a sound that lies somewhere along the desolate backroads of noise folk.  Their music unfurls with a weight and gravitas that feels mostly mesmerizing and entrancing, but at times overbearing and overwrought.  Never quite reaching the level of histrionics, but inching ever dangerously closer and closer to that edge.  Interesting, spacious music, but not a fan of the vocals…so I was a fan of the concept, but not the entire execution.

Pomegranates were positively explosive, their energy building and building until it boils over, the increasingly frantic music wriggling through and possessing each member’s body, emerging as anthemic shouts or abrupt outbursts of physicality (at one point, someone mounted the half-wall stage-right and catapulted themselves from it).  Their growth and elated release is not unlike that of Arcade Fire, down to the urgent vocal stylings that bear no small similarity to Win Butler’s.  The difference here is that you never once wonder if Pomegranates feel and believe every word and note, unlike the Arcade Fire, who are often found on the other side of the too-thespian boundary line (partially due to their big draw now putting them on the big theater stages, but I digress).

The sharp, staccato guitar and bass lines pluck their way finely through each song, as if a brightly-colored thread woven by a fine sewing needle, popping out from the compositions while somehow still stitching everything together.  They facilely switch modes from ambient, dreamweavers creating in broad and expansive textures not out of place in the gaziest of shoegaze, to propulsive and visceral passages that err on the side of angular and technical.  The energy level reached its peak as they closed the set (and their tour with Wye Oak) with the rollicking barnburner “Southern Ocean,” fitted with an immediate hook and a playful, warmly welcoming hoot-and-holler vocal breakdown that opens into the shout-along chorus anchored by the emphatic words “We’re not scared anymore.”  Backed by Jenn Wasner on backup vocals/tambourine, the Poms closed a great set in fantastic fashion.

Wye Oak just keep getting better and better.  Every time I see them, they raise the bar and blow the roof off the venue.  This time was no different.  After touring and recording The Knot, Jenn and Andy are remarkably comfortable in their skin and stage performance.  Gone are the jitters and anxious giddiness of performances past; in their place, they exude a strong self-assurance and a relaxed glee and joy.  They were clearly excited to be home.

Their forthcoming LP The Knot is a powerhouse of emotion and music, building on their debut If Children in all the right ways and places.  Their compositions for the new album show Jenn getting bolder with her guitar work and more dynamic with her vocals, and Andy getting more finessed and diverse with his texturing of all manner of sounds, from percussion to keyboards to drones to harmonium (and violin and pedal steel make notable, rich contributions as well).

The result is truly epic grandeur.

This treatment  gives new life and depth to their live set, yielding refreshing accents of old standards like “Family Glue,” while really soaring on newer tracks like “For Prayer” and “Take It In” that incorporated these elements from their genesis.  Combined with their building stage confidence and much tighter symbiosis, they take you on a truly affecting musical journey, replete with lofty peaks, chasmic valleys and all intermediate variations.

An absolutely crushing, down-tempo rendition of “Warning” closed their set.  Andy took a break from his multi-instrumental orgy to let Jenn start off the track and set the tempo: slow and spare, with only vocals and guitar.  Andy hopped up after a few verses and phased in a soul-shaking variant of the noisy squall found on the recorded version.  The more intense and textured drone was brought to the fore in this rendition, starting as a deep, soft baritone that grew to an immersive mass.  The re-imagined track was their second encore of the night, and it left everyone aching for more.

Wye Oak

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MP3: The Clash – I Fought the Law

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MP3: Operation Ivy – Here We Go Again

Baltimore City looks to be pursuing further action on the Live Entertainment License legislation.

The main perk is that officially recognized venues will no longer be required to stay in designated entertainment zones; on paper this should stimulate and encourage this sector.

But there are a number of corollaries to that main thrust which may actually threaten many of our beloved and established DIY spaces.  These stipulaions range from the douchebaggery of new annual fees, ambiguous investigations on the “moral character” of involved parties, and all sorts of logistical bureaucracy (plans for cleaning, parking, safety etc) to the bizarre, such as designations of non-participatory dancing.

This is all rather shocking and dumbfounding until you realize that the amount of communication between the legislators and the venue owners and operators who run affected businesses has been slim to none.

But it’s officially crunch time, and two organizational meetings for any community members interested in voicing their concerns on the bill have been scheduled in Station North this coming Monday, Mar 16.

Meeting #1 is at the Metro Gallery, 4PM.

Meeting #2 is at the Hexagon, 7PM.