WHEN: Sunday, October 3rd, Doors at 8… jams at 8:30 (SHARP)
WHO: WOLVSERPENT
Wolvserpent Blog
AND
LOCRIAN
LOCATION: Enemy, 1550 N. Milwaukee Ave., Chicago, IL
Facebook Show Link
Tuesday, September 28, 2010
Sunday, October 3rd: Locrian/Wolvserpent (Pussygutt) @ Enemy Chicago
WHEN: Sunday, October 3rd, Doors at 8… jams at 8:30 (SHARP)
WHO: WOLVSERPENT
Wolvserpent Blog
AND
LOCRIAN
LOCATION: Enemy, 1550 N. Milwaukee Ave., Chicago, IL
Facebook Show Link
Locrian News at Crustcake.com
You can read a Crustcake post about "The Crystal World" here.
There is also a video of the Locrian show at the Milwaukee Noise fest, that is the show until the power went out.
There is also a video of the Locrian show at the Milwaukee Noise fest, that is the show until the power went out.
Locrian at Milwaukee Noise Fest 2010 (Day 2: 9/24/10) from Bullart. on Vimeo.
Monday, September 27, 2010
Neil Jendon Reviewed by The Quietus
Thanks to Toby at the Quietus for reviewing Neil's tape. We still have a few copies of this one left. Info here.
----------------
Neil Jendon Male Fantasies (Land Of Decay)
Bleak, endless, musical inertia; the sort of thing Earth would've recorded had Dylan Carlson spent the early nineties smoking dope, rather than wading through mountains of skag. Half long, droning synth passages, half gaping yawns of mutated noise and tape loops that coat your brains ependymal lining and induces a sort of waking coma that will seem to last far longer than the 40 odd minutes of the album. A cleansing, almost purging... Ah fuck it, look, it's drone, OK? Good drone. Unless you're 'clinically fed-up', in which case you might want to avoid this and get a Billy Joel album or something instead. Oh, and for some reason it's only been released on cassette tape; which, as kvlt as it is, is slightly annoying, because tapes are shit.
Link here.
Tuesday, September 21, 2010
LOCRIAN member Terence Hannum's exhibition NEW RITES opens
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NEW RITES
September 22 – December 10, 2010
ARTISTS' LECTURE & OPENING RECEPTION: September 22nd, 2010 4-6pm
LOCRIAN PERFORMANCE: November 4th, more info TBA
Terence Hannum's paintings, drawings and video installations employ the imagery and rituals of underground music subcultures as a means of exploring the transcendence and impermanence of sound and performance, and the group catharsis experienced by those who surrender to them.
As a part of the exhibition Terence's new zine for the month of September Acts of Contrition will be made available at the opening. LAND OF DECAY will be carrying it shortly.
The Richard E. Peeler Art Center / DePauw University
10 West Hanna Street / Greencastle, IN 46135
For more information, please call: 765.658.4336
Wednesday, September 15, 2010
Monday, September 13, 2010
Wednesday, September 8, 2010
Tomorrow: Ocean/Locrian/Cloudland Canyon/Burning Star Core at Hopscotch Music Fest
Date: Thursday, September 9th, 2010
Time: Show at 9:30pm; LOCRIAN at 10:30pm
Lineup: Ocean, Locrian, Cloudland Canyon, Burning Star Core
Location: King's, Raleigh, NC
Getting ready to embark on a crazy drive to Raleigh, NC for the Hopscotch music festival. We'll be debuting some new material from our upcoming album "The Crystal World". For the first time in a live setting we'll be performing a track titled "Elevations and Depths." You'll be able to preview this track soon since it will be included in the Wire Tapper number 24, which will come with the October issue of Wire magazine.
After our daunting drive, we'll be hitting the studio with our friend Jenks Miller (Horseback) on Friday to work on a collaborative Horseback/Locrian release.
Thursday, September 2, 2010
"Territories" Review from Ox Fanzine (Germay)
Link here.
This is verbatim from the Goodge translator. Notice how it changed the author's name from André Bohnensack to André bean bag. Awesome:)
---------------
Terence Hannum, and Andre Foisy grew up in the province and with hardcore and metal, but eventually landed in Chicago and in experimental and mostly electronic music.
Locrian than the two already several CDs, tapes and vinyl with drones, soundscapes and noise have filled up and published, for "Territories," they have their musical socialization reminded again and sometimes almost repositioned as a real band.
As guests were loaded Velnias the drummer Andrew Scherer, the NACHTMYSTIUM guitarist Blake Judd and Bruce Lamont of Yakuza and Mark Solotroff of BLOODYMINDED as a singer and saxophonist, respectively Snythie operator and singer.
Dominates will Territories "of course, typical of Locrian extremely dark and brutal Ambient, the contributions from the guests, however, provide a previously existing access to the music.
Easy to consume Locrian, although still not, but at least tangible. With this fascination for the atmosphere, which may arise out of the elements of Black Metal, including at the last, just as fantastic album "Rain of Ashes" was felt.
Terence Hannum, and Andre Foisy grew up in the province and with hardcore and metal, but eventually landed in Chicago and in experimental and mostly electronic music. Als LOCRIAN haben die beiden schon diverse CDs, Tapes und Vinyl mit Drones, Soundscapes und Noise gefüllt und veröffentlicht, für „Territories“ haben sie sich ihrer musikalischen Sozialisation zum Teil wieder erinnert und sich beinahe als richtige Band neu aufgestellt. Locrian than the two already several CDs, tapes and vinyl with drones, soundscapes and noise have filled up and published, for "Territories," they have their musical socialization reminded again and sometimes almost repositioned as a real band.
Als Gäste geladen wurden der VELNIAS-Schlagzeuger Andrew Scherer, der NACHTMYSTIUM-Gitarrist Blake Judd sowie Bruce Lamont von YAKUZA und Mark Solotroff von BLOODYMINDED als Sänger und Saxophonist, respektive Snythie-Bediener und Sänger.
Dominiert wird „Territories“ natürlich vom für LOCRIAN typischen extrem düsteren und brutalen Ambient, die Beiträge der Gäste aber sorgen für eine bisher nicht vorhandene Zugänglichkeit zur Musik.
Leicht zu konsumieren sind LOCRIAN zwar immer noch nicht, aber zumindest greifbarer. Wobei diese Faszination für die Atmosphäre, die aus den Elementen des Black Metals entstehen kann, auch schon auf dem letzten, ebenso fantastischen, Album „Rain Of Ashes“ spürbar war.
Als Gäste geladen wurden der VELNIAS-Schlagzeuger Andrew Scherer, der NACHTMYSTIUM-Gitarrist Blake Judd sowie Bruce Lamont von YAKUZA und Mark Solotroff von BLOODYMINDED als Sänger und Saxophonist, respektive Snythie-Bediener und Sänger.
Dominiert wird „Territories“ natürlich vom für LOCRIAN typischen extrem düsteren und brutalen Ambient, die Beiträge der Gäste aber sorgen für eine bisher nicht vorhandene Zugänglichkeit zur Musik.
Leicht zu konsumieren sind LOCRIAN zwar immer noch nicht, aber zumindest greifbarer. Wobei diese Faszination für die Atmosphäre, die aus den Elementen des Black Metals entstehen kann, auch schon auf dem letzten, ebenso fantastischen, Album „Rain Of Ashes“ spürbar war.
André Bohnensack
------------
This is verbatim from the Goodge translator. Notice how it changed the author's name from André Bohnensack to André bean bag. Awesome:)
---------------
Locrian
Territories Territories
Format: CD Format: CD
Label: Basses Frequences Label: Bass Frequence
Spielzeit: 47:52 Running time: 47:52
Genre: Metal Genre: Metal
Wertung: Rating:
Terence Hannum, and Andre Foisy grew up in the province and with hardcore and metal, but eventually landed in Chicago and in experimental and mostly electronic music.
Locrian than the two already several CDs, tapes and vinyl with drones, soundscapes and noise have filled up and published, for "Territories," they have their musical socialization reminded again and sometimes almost repositioned as a real band.
As guests were loaded Velnias the drummer Andrew Scherer, the NACHTMYSTIUM guitarist Blake Judd and Bruce Lamont of Yakuza and Mark Solotroff of BLOODYMINDED as a singer and saxophonist, respectively Snythie operator and singer.
Dominates will Territories "of course, typical of Locrian extremely dark and brutal Ambient, the contributions from the guests, however, provide a previously existing access to the music.
Easy to consume Locrian, although still not, but at least tangible. With this fascination for the atmosphere, which may arise out of the elements of Black Metal, including at the last, just as fantastic album "Rain of Ashes" was felt.
André bean bag
NewRaleigh.com Q & A with Grayson Currin Re: Hopscotch
Q&A: Which Bands Are You Most Excited About For Hopscotch?
Grayson Currin // Curator, Hopscotch Music Festival
Writing about the bands I’m looking forward to hearing at the inaugural Hopscotch Music Festival feels a tad uncomfortable for two reasons. First, along with help from festival director Greg Lowenhagen, festival booking agent Paul Siler and a few bands I trust and love, I picked all of these bands. I had the great luxury, then, of drafting bands I only like a lot. This festival has, then, at times felt a little like a map of the way my brain thinks about music, and it’s hard to appreciate one portion of that phrenology without considering its neighbors.
Second, I probably won’t see most of the bands playing Hopscotch. Like Greg and Paul and the handful of other folks that’ve worked since last June to assemble these three days of music, I’ll be running around, making sure bands, fans, sound guys, club owners, stage hands and volunteers are happy. I’ll hear a lot of songs by being in a random place at a random time, but I doubt I’ll be able to stand still and watch many sets in their entirety. That said, there are four sets that I’ll try and do whatever it takes to see, for one reason or another.
A: THE WAR ON DRUGS: I ignored the first LP, 2008’s Wagonwheel Blues, from the Philadelphia band The War on Drugs for the better part of two years. At first, it sounded like psychedelic rock simply sundried on some Dylan-loving kid’s ’90s alternative rock youth. And then I noticed the way the band warped the simplest elements of rock ’n’ roll, fucking with drum beats and guitar solos and layered arrangements in imaginative, somehow profound ways. And then I noticed that frontman Adam Granduciel didn’t just sound like his lyrical heroes, but that he was actually writing stuff that compared, dropping existential, hopeful nuggets in the last brilliant verse of “Buenos Aires Beach,” the veteran of his own crises eyeing the future. No fooling, but The War on Drugs is sort of my favorite good ol’ American rock band in the world right now, and they will completely poke holes into your definition of what it means to be a good ol’ American rock band in the world right now.
B: PUBLIC ENEMY: I suppose, if griping is sort of your thing, which by trade it is mine, you might wonder why a band that put out its most legendary works two decades ago is headlining a festival that, musically, was programmed so heavily with a focus on the future. If you watch Public Enemy’s set Saturday night and you aren’t stunned by the most energetic, aggressive and charismatic hip-hop show you’ve seen maybe since the last time you’ve seen Public Enemy, I’ll possibly entertain that question. Until then… Seriously: I saw these dudes play for 20,000 kids at some über-hip festival presented by another website for which I write, and it was completely shocking. I wasn’t expecting it, and maybe now you aren’t, either, but these aged dudes still have a lot to teach modern hip-hop, especially about how to rock a show.
C: FIRST RATE PEOPLE: I’m not sure where I first heard the indulgent co-ed pop of Toronto’s First Rate People, but I do know I was immediately charmed. The band’s little seven-song introduction, It’s Never Not Happening, mixed splashy dance tracks and weepy ballads with chiming jingles and dreamy odes. I got a little obsessed with it around the time we were booking the festival, so I wrote the band and asked if they might be interested in driving south. Little did I know that Hopscotch would become their first American show, a prelude to the band’s run through the north with Born Ruffians.
D: LOCRIAN: I spend the bulk of my time listening to, for lack of a better descriptor, weird music—harsh noise and power electronics and doom metal and electronic drone and too much Current 93. Maybe that’s not the most logical starting point for booking a music festival that you hope is accessible to a lot of people, but I hope it worked well here. Indeed, one of my favorite things about the first year of Hopscotch is that, though it certainly brings loads of pop and indie rock and hip-hop and hard-nosed rock and heavy metal to Raleigh’s stages, there’s some genuinely out-there music, too. From the drone of Burning Star Core to the odd horn work of Ned Rothenberg, I hope this festival pushes some people’s expectations of sound. Few bands are doing that more for me right now than Locrian, a Chicago duo that blurs the boundaries between radiant drone, roaring noise and black metal. Harsh blends with halcyon, as the band’s love of power meets an obsession with finesse. Glad to have these guys in town.
Grayson Currin // Curator, Hopscotch Music Festival
Writing about the bands I’m looking forward to hearing at the inaugural Hopscotch Music Festival feels a tad uncomfortable for two reasons. First, along with help from festival director Greg Lowenhagen, festival booking agent Paul Siler and a few bands I trust and love, I picked all of these bands. I had the great luxury, then, of drafting bands I only like a lot. This festival has, then, at times felt a little like a map of the way my brain thinks about music, and it’s hard to appreciate one portion of that phrenology without considering its neighbors.
Second, I probably won’t see most of the bands playing Hopscotch. Like Greg and Paul and the handful of other folks that’ve worked since last June to assemble these three days of music, I’ll be running around, making sure bands, fans, sound guys, club owners, stage hands and volunteers are happy. I’ll hear a lot of songs by being in a random place at a random time, but I doubt I’ll be able to stand still and watch many sets in their entirety. That said, there are four sets that I’ll try and do whatever it takes to see, for one reason or another.
A: THE WAR ON DRUGS: I ignored the first LP, 2008’s Wagonwheel Blues, from the Philadelphia band The War on Drugs for the better part of two years. At first, it sounded like psychedelic rock simply sundried on some Dylan-loving kid’s ’90s alternative rock youth. And then I noticed the way the band warped the simplest elements of rock ’n’ roll, fucking with drum beats and guitar solos and layered arrangements in imaginative, somehow profound ways. And then I noticed that frontman Adam Granduciel didn’t just sound like his lyrical heroes, but that he was actually writing stuff that compared, dropping existential, hopeful nuggets in the last brilliant verse of “Buenos Aires Beach,” the veteran of his own crises eyeing the future. No fooling, but The War on Drugs is sort of my favorite good ol’ American rock band in the world right now, and they will completely poke holes into your definition of what it means to be a good ol’ American rock band in the world right now.
B: PUBLIC ENEMY: I suppose, if griping is sort of your thing, which by trade it is mine, you might wonder why a band that put out its most legendary works two decades ago is headlining a festival that, musically, was programmed so heavily with a focus on the future. If you watch Public Enemy’s set Saturday night and you aren’t stunned by the most energetic, aggressive and charismatic hip-hop show you’ve seen maybe since the last time you’ve seen Public Enemy, I’ll possibly entertain that question. Until then… Seriously: I saw these dudes play for 20,000 kids at some über-hip festival presented by another website for which I write, and it was completely shocking. I wasn’t expecting it, and maybe now you aren’t, either, but these aged dudes still have a lot to teach modern hip-hop, especially about how to rock a show.
C: FIRST RATE PEOPLE: I’m not sure where I first heard the indulgent co-ed pop of Toronto’s First Rate People, but I do know I was immediately charmed. The band’s little seven-song introduction, It’s Never Not Happening, mixed splashy dance tracks and weepy ballads with chiming jingles and dreamy odes. I got a little obsessed with it around the time we were booking the festival, so I wrote the band and asked if they might be interested in driving south. Little did I know that Hopscotch would become their first American show, a prelude to the band’s run through the north with Born Ruffians.
D: LOCRIAN: I spend the bulk of my time listening to, for lack of a better descriptor, weird music—harsh noise and power electronics and doom metal and electronic drone and too much Current 93. Maybe that’s not the most logical starting point for booking a music festival that you hope is accessible to a lot of people, but I hope it worked well here. Indeed, one of my favorite things about the first year of Hopscotch is that, though it certainly brings loads of pop and indie rock and hip-hop and hard-nosed rock and heavy metal to Raleigh’s stages, there’s some genuinely out-there music, too. From the drone of Burning Star Core to the odd horn work of Ned Rothenberg, I hope this festival pushes some people’s expectations of sound. Few bands are doing that more for me right now than Locrian, a Chicago duo that blurs the boundaries between radiant drone, roaring noise and black metal. Harsh blends with halcyon, as the band’s love of power meets an obsession with finesse. Glad to have these guys in town.
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