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Orcutt and Corsano at Roulette 08-30-2012

October 26, 2012 By: M*P* Lockwood Category: photos, shows

Bill Orcutt and Chris Corsano at Roulette, 08-30-2012

Exclusive(?) recording below!

This show was the first in a long time that I actually bought tickets to in advance. I don’t know how likely a sell-out actually was, but this was definitely one of a few real can’t-miss shows so I didn’t take chances! (the next show I have tickets for is “Royal Trux” performing Twin Infinitives in Dec.!!!) This was not only a unique collab show between these two peerless avant genii, but a release show for TWO Harry Pussy double albums, the band which Bill Orcutt was guitarist for. Does it go without saying that they are one of my all-time favorites? Does it go without saying that Bill Orcutt is one of my all-time favorite guitarists? Probably one of very few people whom I could watch play guitar unaccompanied indefinitely without becoming bored.

The show was at a place called Roulette, in a big, fancy room which seemed like it more often hosted plays or something like that. Everyone sat in folding chairs in rows. The show was in the popular solo/solo/duo format, with Chris Corsano doing a solo drum performance first. He basically improvs way, way off the grid and outside the box. What are usually percussion instruments become almost textural, sometimes being played in an irregular flurry, or scraped, or piled with curious objects. Corsano found some ways to “play” the drums which I haven’t seen anyone else do, like blowing through what looked like a plastic plunger flush against the drum head, turning it into a weird kind of reed/horn instrument.

Bill Orcutt at Roulette, 08-30-2012

Then it was time for the Bill Orcutt solo segment. Orcutt has come up with his own unique guitar stringing (two low and two high), and his own tuning, and his own technique, and hell, his own genre! He has named several of his songs with the word “blues” which makes a kind of sense. The guitar was a Spanish instrument, it wasn’t built to be played the way the original bluesmen did. But they came up with a whole new approach, invented without training. And that’s what Orcutt has done too. His playing is often spontaneous and free, often dissonant and clamorous, but never just one thing. There’s a lot of weird, original technique at play too and it’s not just noodling, it’s often riffing on parts that seem practiced, even if they’re barely holding together. There are spontaneous vocal exclamations too, and the whole thing feels like a musical speaking in tongues, channeling something from beyond our realm of logic.

Bill Orcutt and Chris Corsano at Roulette, 08-30-2012

And then came the duo! Bill Orcutt was also playing electric guitar, which he has not been doing since reappearing with his solo act. The very first thing that struck me was how much it sounded exactly like Harry Pussy. So it was LOUD and HARSH. It became really weird to hear this sound coming out of these two people who were sitting on a clean stage in front of a room full of adults in folding chairs. The guitar amp blew a fuse about a minute and a half in, and a replacement had to be found. Then they blasted through a batch more “songs” each about two minutes or less in length. I believe they were all improvised and could have been stretched out to any length, but they just all kept ending after a minute or two. And they didn’t play too many of these. There was probably about 20 minutes of music total. Short, fast, and intense, I’m incredibly glad I caught it. I also got a copy of the Harry Pussy “One Plus One” record, which rules. Some of the material appears on other releases, but there’s a lot of quality unheard stuff and the whole thing makes for a very coherent album.

I also recorded it! And so I present to you an exclusive, as far as I know, a recording of about half of the concert:


BILL ORCUTT AND CHRIS CORSANO AT ROULETTE 083012

*Out of respect to the artists and the venue, I’m not including the whole show. As can be seen in the photos, Roulette was wired to record this show in much higher fidelity, so maybe someone plans on releasing a real recording of this show? In that case please consider this a preview. If anyone wants me to take this down, I will. Conversely, if those involved want to tell me that it’s fine to share the entire recording, let me know!

Microwaves “Psionic Impedance”

June 30, 2012 By: M*P* Lockwood Category: albums

Microwaves “Psionic Impedance”

You would pretty much know from Microwaves’ cover choices that they would be a favorite of mine. On a recent 7″ they did Big Black’s “Power of Independent Trucking” and on this album DEVO’s “Penetration in the Centerfold.” Right in the No-Core sweet spot. And I’d pick this as Microwaves’ best album, a totally substantial helping of sci-fi math-skronk. No filler.

Microwaves have been around for a while, following the quality over quantity philosophy, not exactly the best strategy for finding fame and fortune these days. The Microwaves formula was always hard, un-obvious drum patterns, metallic guitar (not metal as in heavy metal, but the kind of Big Black guitar that actually sounds like metal on metal), and bass run through synth pedals. On this album the trio has become a duo and counter-intuitively everything has become denser and more complex. In place of the synth bass, there are triggered and looped low-end synth sounds and more screwy guitar effects.

If you’re into this stuff, GET THIS. There aren’t going to be that many albums of ambitious, complex noise-rock this year, though I’ll try to review the other – like – two? that have come out so far. This is 100% quality here. Check out the track “Flu Factory” below and buy a copy from ugExplode.

fdsfdsf

Doomsday Student, Ed Schrader’s Music Beat, Dan Friel, Bananas on Strings, Pardalince Bird at 285 Kent, 04-05-2012

April 08, 2012 By: M*P* Lockwood Category: shows

Doomsday Student at 285 Kent, 04-05-2012 .9

Doomsday Student at 285 Kent

I caught this awesome, slightly mixed-bill show last Thursday. Doomsday Student, the sorta-resurrected Arab on Radar was the main draw for me and I’ll jump straight to the main takeaway: They’re amazing. But everyone else was great too, so let me start from the beginning.

Bananas on Strings at 285 Kent, 04-05-2012

Bananas on Strings at 285 Kent

The first act was billed as Ramble Tamble, which is Turner of Guardian Alien’s project with a drummer, but apparently it expanded to include a whole list of guest stars and became a new band called Bananas on Strings. They went straight for a deep and heavy psychedelic rock, like Acid Mothers Temple minus the rock riffs and any of the quiet parts. The lynchpin here was drummer Adam Autry (of Olneyville Sound System fame) who was able to punch through the thick sound and keep things driving ahead with rolling, off-kilter beats.

Dan Friel at 285 Kent, 04-05-2012

Dan Friel at 285 Kent

Then Dan Friel did his thing, which is maximally loud and distorted, but also very melodic and tuneful keyboard music. The rhythms are generally huge, crunching sounds but the lead keyboard lines are usually the type of tunes you could easily whistle while you work. There’s headbanging. 285 Kent’s sound system is booming, but not always really clear, which worked perfectly for Dan Friel.

Doomsday Student at 285 Kent, 04-05-2012 .3

Doomsday Student at 285 Kent

And then Doomsday Student was up. This band is most of Arab on Radar and a member of the post-Arab on Radar band Chinese Stars. Now, I don’t know the whole back story, nor is it fair to dwell on it, but Arab on Radar reunited, broke up again, and then this band was formed minus one original member. There’s a new name and all-new material, but it’s impossible to ignore that this is essentially the new Arab on Radar. So for those of us who fondly remember that band and their cathartic live performances, the main question is how does Doomsday Student measure up? I am happy to report that they are every bit as great. None of the energy is missing. Here’s some video I took of them. The sound is terrible but the video is good.

The anti-melodic guitars, the looping dance-unfriendly beats, the nasally shrieked vocals (all imitated by almost every No Wavey band since AoR). I want to compliment them on the unified look, something I like in a band. Doomsday Student all wore black t-shirts and pants and matching orange sneakers. A band in uniform says that they’re here to do a job, or perhaps go into battle. I also appreciate the stark light show, all the house lights down and 2 very bright industrial lights on the floor. It makes for great photos. (to see more of the photos I took, go to the Flickr account, starting here.)

Doomsday Student at 285 Kent, 04-05-2012 .4

Doomsday Student at 285 Kent

Doomsday Student at 285 Kent, 04-05-2012 .7

Doomsday Student at 285 Kent

After Doomsday Student was Ed Schrader’s Music Beat. I’d heard this band mentioned, but hadn’t seen them play before this.

Ed Schrader's Music Beat at 285 Kent, 04-05-2012 .2

Ed Schrader's Music Beat at 285 Kent

I was really impressed by these guys. They had very minimal instrumentation, just a single floor tom and a bass, but they managed to be totally captivating just by having really great, simple songs and a strong performance. Maybe this is what the Violent Femmes would sound like if they formed in Baltimore in the year 2012? Well, these guys seem way more punk, but I’m trying to get you in the ballpark.

Pardalince Bird at 285 Kent, 04-05-2012

Pardalince Bird at 285 Kent

Dan Deacon’s Pardalince Bird project went on last, despite originally being scheduled to go first. There were some lengthy technical difficulties getting all the 4 channels of sound working too. Then as Dan explained, this would have made a lot more sense if it had happened first since it’s really background stuff, steady synth drones with occasional moany vocals. Lots of digital notes floating up and down scales. So scheduling and circumstances conspired to make this a sort of anticlimactic finish, but I’m not going to complain when this many good acts can be put together on one bill.

International Noise Conference Now + pre-shows

February 10, 2012 By: M*P* Lockwood Category: news, photos, shows

Ironing in Gainesville

Just a quick note that I’m down in Miami at the International Noise Conference and I’m trying to catch some photo and video to share. You can follow No-Core on Twitter and I’ll probably be posting up some comments during the show. My own project Radio Shock plays on Saturday around midnight, surrounded by countless other amazing bands.

Mine Canary at pre-INC show in St.Petersburg FL 2012

Mine Canary at pre-INC show in St.Petersburg

I was at a couple of the pre-INC shows in St. Petersburg and in Gainesville, and both were awesome fun with amazing acts. Mine Canary, pictured above were a highlight in St. Pete, doing hyper beats with bent electronic toys. Another highlight in St. Pete was Tree (see video) who played drums and some kind of rack mount oscillator thingamajig at the same time.

There is a set of photos at No-Core on Flickr – a few of my favorites below:

at pre-INC show in Gainesville 2012

Not sure who this was at pre-INC show in Gainesville

Names Divine at pre-INC show in Gainesville 2012

Names Divine at pre-INC show in Gainesville

Drums Like Machine Guns at pre-INC show in Gainesville 2012

Drums Like Machine Guns at pre-INC show in Gainesville

pre-order Leslie Keffer’s new LP

February 09, 2012 By: M*P* Lockwood Category: albums, news

Leslie Keffer, accomplished noise-maker and scene reporter (at her Noisebloid blog) is putting out her next LP via pre-orders on Kickstarter. I’ll admit to initially having mixed feelings about Kickstarter, but if you use it like this, then it’s a pretty cool thing. You’re basically just pre-ordering some awesome music, with lots of packages at different price scales, and with reassurance that your money won’t just disappear. You can get the mp3 version of the new album for just $5!

Leslie has put out records on several cool noise labels, but she’s aiming to do this one fully DIY. Her latest noise has become a kind of electronic bliss-drone with danceable beats mixed in. Jam this track below and see what I mean. Then hit up the Kickstarter page and support! Valentine’s Day at midnight is when the offer ends.

Tom Smith and Sightings, Fat Worm of Error, Child Abuse, Don Fleming at Death by Audio 01-04-2012

January 10, 2012 By: M*P* Lockwood Category: shows

Sightings w Tom Smith at Death by Audio 01-04-2012 .9

Sightings w Tom Smith at Death by Audio

I showed up to this show and the place was, surprisingly to me, already full. Sometimes shows that are can’t-miss line-ups of legends in my mind have single-digit attendance so I’m not really able to predict these things. But I was happy to see that these bands are apparently not just legends to me.

I completely missed the first act, which was Tom Smith and Don Fleming playing together. Don Fleming is a longtime NYC avant-rocker and Tom Smith is best known as the central figure from the post-music band To Live And Shave In L.A. Tom currently resides in Germany and was briefly in the states around the holidays, playing a few select shows. So I’m sad to have missed their performance.

The second band, Child Abuse, was going on. No photos, I was in the back of the room and they wouldn’t have been good anyway. Child Abuse are a bass drums keyboard trio who play metally brutal prog. Very technical, very tight, but with very messy and grungy sounds. It’s funny actually, most of the time the keyboard sounds like a distorted bass and the bass (run through some synth pedals I’m guessing) sounds like a keyboard. They were as great as ever.

Then the anti-rock, max-confusion band Fat Worm of Error was up!

Fat Worm of Error at Death by Audio 01-04-2012 .1

Fat Worm of Error at Death by Audio

Notice how it’s not even clear what’s going on in this photo? That’s how they sound, but much moreso. Of course 5 people just noodling and doing separate things would be pretty boring. Okay, maybe I’d think that was pretty cool too, but what makes Fat Worm really mind-bending is the way they have a plan and they’ve really honed their own style of playing – in a way that sounds like chaos at almost every moment. Until both guitarists suddenly play the same sequence of notes exactly together and your brain twists 360 degrees in your head in an attempt to figure out what just happened. More Fat Worm photos:

Fat Worm of Error at Death by Audio 01-04-2012 .4

Fat Worm of Error after one of a few costume changes

Fat Worm of Error at Death by Audio 01-04-2012 .3

Fat Worm of Error, feeling it at Death by Audio

I spent a little time chatting in the back room and realized this was almost like a reunion (to me) of people from a show waaay back – at the Polish National Home, now known as the Club Warsaw. Maybe I’ll write all my recollections from that show someday, but it’s where I first met lots of the people playing or in the audience. Anyway, with all these long-time friends and acquaintances in attendance, there was definitely a very friendly and supportive vibe going on. You could tell from all the chatting and joking and cheers, but also from the huge smile on Tom’s face between songs.

Sightings w Tom Smith at Death by Audio 01-04-2012 .4

Tom Smith with Sightings at Death by Audio

Sightings w Tom Smith at Death by Audio 01-04-2012 .2

Mark Morgan's guitar moves

Sightings were doing their thing, sounding as focused (yet blurred) as ever. I was told there was exactly one practice for this show but it would have been hard to guess they hadn’t been playing this set for a month on tour. Everyone seemed 100% in command, holding back or cutting loose exactly when needed with no nervous or puzzled glances. It’s a pretty perfect pairing too, Sightings and Tom Smith, as they both work in a similar mode: composed but loose, planned but spontaneous. Sightings works with sound shards and Tom works with words, both of them stretching their material to the breaking point.

Sightings w Tom Smith at Death by Audio 01-04-2012 .3

Sightings w Tom Smith at Death by Audio

Sightings w Tom Smith at Death by Audio 01-04-2012 .7

Mark Morgan of Sightings, bending spacetime

Sightings w Tom Smith at Death by Audio 01-04-2012 .10

Sightings w Tom Smith (and Pat Murano!)

Oh yeah, this fellow named Pat Murano also played with these guys. You can see him lurking behind that synth in the photo above. I can’t say too much about his playing, which is probably a good thing because it means it blended right into the Sightings vibe.

The set was short but satisfying. Definitely worth catching, but if you missed it some people seemed to be videotaping and recording so hopefully that will turn up online soon. Great show all around!

Even more photos over at the NO-CORE Flickr.

 

Best Albums of 2011

December 31, 2011 By: M*P* Lockwood Category: albums, news

Hey. I have a blog. That means I get to do one of those goofy “best of 2011” lists! Okay, so this is pretty much a list of every album I got in 2011, but all of these rule. More caveats: They are in no particular order. I’m sure there’s other good stuff I didn’t hear, but I’m pretty confident if I listened to anyone else’s best-of list, these would still come out on top. **UPDATE: now with links, several are free downloads**

Meager Sunlight/Skeleton Warrior split 12″

I’ve definitely listened to this record repeatedly the most times this year, just flipping and flipping it. One side dark synth jams that could have literally been major radio hits in 1988. Other side mutant synth jams part DEVO, part Oingo Boingo, part bizarro.
Get it from Hot Releases or More Records.

Unicorn Hard-On/Container split 12″

Unicorn Hard-On’s track “Persian Cats” is just about song of the year and makes this split worth it alone. the other UHO track is great too and Container does “minimal techno” or maybe “fake techno” AKA the genre that noise became in 2011.
Also from More Records and Hot Releases.

AIDS Wolf “Ma vie banale avant-garde”

Epic abstract harsh guitar tracks. Still torch-carriers of the no wave bad vibes.
Get it from Lovepump (free download by mailing SASE).

Mincemeat or Tenspeed “Games of Chance”

Best Mincemeat or Tenspeed album? More headbanging noise but freakier sounds and tighter changes. Davey (dude behind this project) calls this “fake techno” too but uh… this would definitely still be half on the noise side of the fence.
Get it from Harshnice.

White Suns “Waking in the Reservoir”

Ah, a refreshing blast of negative noise-grind-dirge to wash yourself clean from all that reverbey indie-hippie nonsense.
Get it from ugExplode.

Dead Rider “The Raw Dents”

Slick and skilled and unsettling and really kinda OFF in a weird way – all at the same time.
Get it from Tizona.

Gay Beast “To Smithereens”

As good as their last one “second wave” but this seems to have been overlooked by most people, maybe because the band split up before it came out and weren’t able to support & promote it. Compositionally ambitious prog/no wave.
Get it from Skin Graft.

Black Pus “Primordial Pus”

Rocking drum-n-noise numbers. Kind of unhinged and spontaneous compared to the Black Pus 4 album, but with more blood sweat and tears.
Get it from Load Records.

Dick Neff “Dunce Slap”

Okay, apologies to Black Pus, but I think Dick Neff one-upped him at the one-drummer-noise-band thing. Lance (dude behind this project) calls this “fake metal” and it is heavy. Triggered synth tones fight each other as he drums like a maniac and everybody wins! The heaviest metal band that’s neither metal nor band.
Get it from Lance himself, I guess whenever you see him somewhere.

Mutwawa “Mayan Mutations”

Totally ruling merger of beats, noise, samples with a sci-fi/conspiracy theme. Sinister and tense and mind-blowing awesome.
Download it free from Free Music Archive.

Skoal Kodiak “Kryptonym Bodliak”

This is like what I was hoping !!! would sound like, but didn’t. Post-apocalyptic funk played by mutants and malfunctioning robots.
Get it from Load Records.

Dog Leather “Greezy Man and Stinky Man”

So this album did seem kind of short and half the tracks felt a little like filler, but the meat of it was still great even if it’s really sort of an EP. It’s probably too much to hope that this heralds a return of the goofball pseudo-music noise bands – last heard from around the time when we had Danse Asshole, Meerk Puffy, Wolf Eyes’ first album on Bulb… But I can dream!
Get it from Ehse Records (free download available).

Satanized “Technical Virginity”

Pretty much no one else touching this caliber of complex, skilled, aggressive music today  (outside of metal).
Get it from Skin Graft.

Doomsday Student “A Jumper’s Handbook”

Most of the Arab on Radar crew reunite and make what’s basically more Arab on Radar music. Nary a disco beat in sight, just atonality, dissonance, shrill shrieky guitars and voices. Yeah, it’s been done, but it was done by most of these same guys and I kind of wish there were more people making this music so welcome back boys.
Get it from Anchor Brain.

Men’s Room tape

Like HEALTH in an AmRep world or something. Way, way blown out and effected-into-oblivion guitars with rock drums and unintelligible vocals. Sounds kind of like garage rock pushed into the red until it becomes industrial noise.
Download it free from Bandcamp.

last second entry: Bloodhuff tape

Just grabbed this tape literally yesterday! Some Providence noise girls doing something sort of like punk rock. Every once in a while something like this convinces me that maybe punk rock is still a good idea. The sound is pretty subterranean and the vocals are almost strangely prominent but the weirdness of the sound only helps. Urgent and weird and spooky. Hard to say if something I only listened to once yesterday has earned its place on a “best of” list, but I’ve got a hunch this is better than that Iceage album everyone raves about but I still haven’t heard.
Get it from Price Tapes (free download available).

 

Indie Rock Roundup (or My Pain Is Your Entertainment) PART 3

October 20, 2011 By: M*P* Lockwood Category: albums

In honor of CMJ weekend here in NYC, I present the final part in my series of posts (see Part 1 and Part 2) , wherein I listened to bands I’d heard “buzz” about among an airline’s “Alternative” listening selections and wrote down my impressions. (It was a long flight) These first 2 selections don’t count as indie rock I don’t think, but I had heard the names so I gave them a listen.

You Me At Six

You Me At Six “Hold Me Down” – Looks like 13-year-old mall kids and sounds like every band on modern rock radio. You know, Papa Roach and whatnot.

30 Seconds to Mars

30 Seconds to Mars “This is War” – I’m not fooled by the album title and tiger on the cover. This is that actor guy’s band isn’t it? I have a feeling this will be bad. … I couldn’t sit through the symphonic intro. Next track. Sounds like the last band but with even worse singing. Seriously. “whoooo-AAAHHHH-ohhhh” overdubbed 8 times along with 10 overdubbed U2 guitars going “needle-deedle-deedle-deedle” … why am I torturing myself like this?

Beach House

Beach House “Teen Dream” – Uh oh, band photo doesn’t look good. Hippie-hipster couple in a field of wheat at sunset? Bad news. I was right. I could barely make it to the point in the song where they start singing. Slooow 2-chord organ and acoustic guitar songs with the obligatory reverb and echo for “mood.”

Yeasayer

Yeasayer “Odd Blood” – Wait a minute here. This one actually sounds DIFFERENT. At least it’s got some interesting sounds in it, mechanical springs and a strangely pitch-shifted vocal. The first song’s got to be a fluke… And sadly, I was right. Track 2 and here’s all the indie singing and mudslide of backing-moan/reverb/synth, flutes, and cymbals that gently go “pshshshhh” – ugh, and moving steeply downhill from here. Track 4 and it’s gone all the way back to the crapfest. Oh well.

MGMT

MGMT “Congratulations” – So this Brooklyn band (pronounced “Mudgemutt” if you ask me) is pretty big but I have still never heard them. But somehow I have seen reviews that say this album is way too weird and not as great as their first. I have low expectations. Let’s see… Okay, well, I guess if “Pet Sounds” sounds like “Metal Machine Music” to you, this album might be way too weird. Mostly just a mild helping of that same Soft Bulletinness, with some Beach Boys in the mix, yeah. The cover has an illustration of a cartoon cat surfing some kind of monster wave, but this music is more like dipping your toes in the kiddie pool in the back yard. I suppose it would have been far out in 1965. That’s almost half a century ago now. Why is this music not relegated to stuffy jazz club type setting by now?

The Hold Steady

The Hold Steady “Heaven is Whenever” – Sounds just like John Cougar Mellencamp.
******
And that’s all I’ve got. Keep in mind, these are just my opinions and impressions, shared for your amusement. If you love the music I hated, feel free to listen to the music I love, or heck, my own music, and write your impressions in the same manner. In fact, you should totally do that. I think that would be hilarious.

Foot Village fall east coast tour 2011

October 01, 2011 By: M*P* Lockwood Category: dates, news

Foot Village, the all-drumming-and-shouting-and-nothing-else band, starts an east coast tour today with their appearance at the All Tomorrow’s Parties event in Jersey! And they’ve made this fun little tour commercial:

The rest of the dates are as follows, including a Brooklyn show next weekend!

Mon 3 – Baltimore, MD @ Floristree
Tue 4 – Greensboro, NC @ CFBJ with Ear Pwr
Wed 5 – Cleveland, OH @ Now That’s Class with Cloud Nothings
Thurs 6 – Columbus, OH @ Skylab
Fri 7 Philadelphia, PA @ Pi Lam with Dustin Wong
Sat 8 – Providence, RI @ AS220
Sun 9 – Brooklyn, NY @ Death By Audio

 

AIDS Wolf fall 2011 tour dates – w/ Unicorn Hard-On!

August 20, 2011 By: M*P* Lockwood Category: dates, news

I got these tour dates in my email and my first reaction was “Huh, why is this person sending this to me?” but then I thought “Oh wait, I do a blog! Maybe this is one of those promotional things!” along with “It sure would be great if all the bands I liked emailed me their tour dates so I don’t have to pay attention to Facebook.” And so to encourage y’all to do just that, I am presenting here AIDS Wolf’s fall tour dates! Several of these are with the awesome Unicorn Hard-On, whom I’ve raved about plenty before. (AIDS Wolf video at the bottom)

10/20/11 – Brooklyn, NY @ Death By Audio
10/21/11 – Cleveland, OH @ Now That’s Class
10/22/11 – Chicago, IL @ Empty Bottle
10/23/11 – Minneapolis, MN @ 7th Street Entry
10/24/11 – Iowa City, IA @ Gabe’s Oasis
10/25/11 – Lawrence, KS @ Replay Lounge
10/26/11 – Normal, OK @ Opolis
10/27/11 – Austin, TX @ 29th St. Ballroom @ Spide
10/28/11 – Denton, TX @ Rubberglove
10/29/11 – Hot Springs, AR @ tba
10/30/11 – Birmingham AL @ Firehouse
10/31/11 – Athens, GA @ Farm 255

11/3/11 – Miami, FL @ Churchill’s
11/4/11 – Tampa, FL @ Crowbar
11/5/11 – Orlando, FL @ Will’s Pub
11/6/11 – Atlanta, GA @ 529
11/7/11 – Chapel Hill, NC @ Nightlight
11/8/11 – Harrisonburg, VA @ Festival Ballroom at JMU

11/10/11 – Washington DC @ Comet Ping Pong
11/11/11 – New York, NY @ 92Y Tribeca
11/12/11 – Binghamton, NY @ Pajama Kazama
11/13/11 – Boston, MA @ Church of Boston

All October dates w/ Henry and Hazel Slaughter; all November dates &
Halloween show w/ Unicorn Hard-On

And here’s AIDS Wolf playing a song at their practice space:

 

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