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Saturday, September 3rd, 2016 8PM
Fire Museum Presents
Horse Lords, Spires That In the Sunset Rise, Tom Carter/Carter Thornton, Erik Ruin's Ominous Cloud Ensemble


Horse Lords
Spires That In the Sunset Rise
Tom Carter/Carter Thornton
Erik Ruin’s Ominous Cloud Ensemble

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Horse Lords (Baltimore):
An instrumental odyssey from Baltimore quartet Horse Lords: drums,
bass, sax, guitar, and percussion fuse together to carve out deep,
hypnotic grooves of bold new American rock and roll. Using a just
intonation tuning system, the band constructs layers of punching,
syncopated phrases that call upon elements of krautrock, African
poly-rhythms, and classical minimalism. – bio

“This music feels very live, shivering with energy. Owen Gardner, the
guitarist, has altered the frets on his guitar (and on Max Eilbacher’s
bass) to accommodate the ancient just-intonation tuning system; the
result is some warp and dissonance in his hammered, fast-picking
patterns. Andrew Bernstein, the saxophonist, uses circular breathing
to create continuous tones and patterns; in “Encounter II /
Intervention II” recorded in a deep-echo space with the microphone far
away from the horn, he works harmonics, key-clicking and weird timbres
into a sustained improvisation” – Ben Ratliff/New York Times

Spires That In The Sunset Rise (Madison/NYC):
Spires That in the Sunset Rise have been unsettling and thrilling
audiences for over a decade now with their brand of sonic alchemy.
Combining traditional acoustic instruments like cello, spike fiddle,
banjo, and lately more on flute and saxophone with electric elements
and mesmerizing chants, one can call them goth, folk, psychedelic,
experimental, electronic – and it all applies. They have four full
length releases on labels like Secret Eye and Galactic Zoo Disk and
two more on Hairy Spider Legs. The band is paired down to two women
these days, each busy performing and releasing solo material as well.
Many audiences have seen them expand into pure improvisation lately,
but there is still song writing taking place, and often STITSR play
the line between the two. Always original, always pushing themselves
into new territory, STITSR still very much enjoy playing, as they are
coming upon their 15h year.

“Their breath is a physical force behind the instruments and singing
here, giving the listener a chance to directly connect to the
proceedings. Within these swirling parts, the listener can firmly
grasp Peterson’s and Baird’s imagination with their ear, as the sharp,
clear recordings present an easily perceived image within the sounds.
This album will likely to appeal to longform experimental listeners
beyond genre, as the jazz elements are highly orchestral and fanciful,
while the energy is both bright and assertive throughout” – Nicholas

Tom Carter/Carter Thornton (NYC):

Tom Carter’s electric guitar work weaves strands of melody, drone,
fuzz, and charged silence into intricately detailed instant
compositions. He lives in New York City.

Best known for his work with iconoclastic acid-folk improvisers
Charalambides (which he co-founded with Christina Carter in 1991), Tom
Carter has focused on solo performances and recordings since 2012. Tom
Carter frequently collaborates with other musicians. His regular
projects include a duo with No Neck Blues Band co-founder Pat Murano,
free-rock improvisers Eleven Twenty-Nine (Carter, Marc Orleans, and
Michael Evans), Spiderwebs (with Houston guitarist Sandy Ewen), Sarin
Smoke (with Peter Swanson), Badgerlore (with Rob Fisk, Ben Chasny, and
others), and various ensembles with Bay Area sound artist and composer
Robert Horton. Other fellow travelers have included Gate, Loren
Connors, Jandek, Bardo Pond, Tom Surgal, Thurston Moore, Steve Gunn,
Dredd Foole, Pip Proud, Tim Barnes, Aaron Rosenblum, Dora Bleu, Sam
Shalabi, Marcia Bassett, Christian Kiefer, Paul Flaherty, Tetuzi
Akiyama, Shawn David McMillen, Inca Ore, Starving Weirdos, Ensemble
Economique, Helena Espvall, Robert Millis, and Matt Valentine, among
many others. – bio

“(Carter) Thornton points his pick somewhere towards the same kind of
personal event horizon as rigorously avant garde players like Hans
Reichel, Donald Miller and Guitar Roberts, with what sounds like
variously augmented strings singing and stopping in the kind of steel
codes that would combine post-Joseph Spence re-thinks of Hawaiian
cracker turf with phased ragtime phrasing and a feel for the more
barbarous qualities of auraless guitar holler that is pure Jandek.
Recommended.” – Volcanic Tongue

Erik Ruin’s Ominous Cloud Ensemble (Philadelphia):

Erik Ruin’s Ominous Cloud Ensemble is an ever-evolving,
collectively-improvising large ensemble for projections and music, led
by visual artist Erik Ruin, recently lauded by the New York Times for
his “spell-binding cut-paper animations.” Erik manipulates intricate
paper-cuts and painted films on overhead projectors to create abstract
landscapes and fragmentary scenes that are nonetheless charged with
meaning, merging with music that ranges from dark atmospherics to
ecstatic peaks of dissonance. Members of the ensemble include a
rotating cast of Philly’s finest musicians, who have collaborated with
everyone from Anthony Braxton to the Sun Ra Arkestra to Chris Forsyth
to Spires That In the Sunset Rise. For this performance Ominous Cloud
Ensemble will be Scott Verrastro, Rosie Langabeer, Reid Books, Quinn
Collins, Nick Millevoi & D Hotep

All The Time in the World Festival
September 3, 2016 @ 8:00 pm
September 3, 2016 @ 11:00 pm
$7 – $10
Fire Museum
Vox Populi
319 N 11th Street, Third Floor
Philadelphia, PA 19107 United States