Gig #133: Of late 42: Onoe Caponoe, DEAFKIDS, Geneva Skeen, Eraserhead Fuckers, Yves Jarvis, Dis Fig, Michul Kuun, JH1.FS3, SB The Moor, Matmos, FET.NAT, Triad God, Prefab Sprout, Rian Treanor

Onoe Caponoe
DEAFKIDS
Geneva Skeen
Eraserhead Fuckers
Yves Jarvis
Dis Fig
Michul Kuun
JH1.FS3
SB The Moor
Matmos
FET.NAT
Triad God
Prefab Sprout
Rian Treanor

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Onoe Caponoe Blood Moon (City Hunt)
‘Onoe Caponoe is a true individual in a sea full of clones. A truly unique voice, hailing from an unknown area of London, that rises above the endless conveyor belt cacophony of ‘road rap’, ‘drill’, ‘trap’, ‘grime’, ‘mumble rappers’, ‘cloud rap’, ’undrerground rappers’ etc… Onoe carves out his own corner of the galaxy that is truly his own amidst a sea of noise that sadly, all sound the same… Having refined his vision through years of painstaking experimentation, Onoe has travelled to realms most rappers would never dream of going.’ — High Focus

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DEAFKIDS Mente Bicameral
‘DEAFKIDS is one of the most exciting bands I have heard in a very long time. They are a unique psychoactive journey of Brazilian polyrhythmic percussion, hypnotic chanting, and aggressive repetitive raw punk all echoing out from another dimension. Having had the blessed opportunity to play several shows with them in Europe and Brazil I can say that without a doubt, they are something new and mind blowing created from something old and primal. Their youthful energy is contagious and their wisdom and deep knowledge of sound is beyond their years. Although raging and distorted, these sounds are medicinal, like some sort of sonic Ayahuasca.’ — Steve Von Till

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Geneva Skeen Los Angeles Without Palm Trees
‘The opening track of Geneva Skeen’s new album, Sonorous House, sets a quite scary mood with its recordings of a Mojave desert wind storm. For the rest of the album the storm settles down a bit: the atmosphere changes into a (relatively) calm night mood in Los Angeles Without Palm Trees. Flutter In Place, the album closer, features a recording of the world’s largest colony of Mexican free-tailed bats departing their cave to roam the summer night air of Southeast Texas. But this album is not built from environmental recordings alone: ‘sounds on this album are both recorded and produced. Interspersed are a variety of electronic instruments and processes, and compositional techniques that are variously clear-cut or intentionally buried by digital processing.” Two of the tracks are entirely created using only her voice.’ — ambiantblog.net

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Eraserhead Fuckers live @ Thought//Forms Gallery
‘Eraserhead Fuckers is a noise-hip-hop project that somehow lives up to the name with his confrontational performance style and brutal beats.’ — Queen City Sounds and Arts

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Yves Jarvis That Don’t Make It So
‘Intimate, isolating, scattered and collected. These contradictions shape the experimental world that Yves Jarvis calmly inhabits and confidently explores on The Same But By Different Means. Montreal’s lo-fi maestro, formerly known as Un Blonde, returns with another lengthy tracklist of expressive soundscapes where guitars are wide-ranging in technique; arrangements are rich in melody; keys gently bounce around jazz chords; and percussion skips in and out of bars, sounding more like tumbling accents than rhythmic maps. Much like his previous work, instrumentation is sparse. Sustained notes serve as cushions that either fill those gaps of instrumental rest or mellow the spritely jives of his wide-ranging idiosyncrasies. No matter the tempo, it’s all rather soothing.’ — Exclaim

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Dis Fig Watering
‘Felicia Chen is usually associated with spinning intense electronic DJ sets under the guise of Dis Fig. At one point during the recording of her debut album PURGE, Chen conveyed to her label boss, Geng, who runs the New York City-based PTP, that the vibe of the music was like anguished Portishead meeting the bass swamped tendencies of the Bug.’ — Phillip Miynar

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Michul Kuun Be / Have / Oh
‘Michul Kuun (aka NAH) is a producer, percussionist, and visual artist currently splitting his time between Philadelphia and Antwerp. A staple of Philly’s rich avant-garde scene, MK is a prolific sound sculptor who’s developed a dynamic synthesis of textured noise and confronting percussive rhythms. Performing live with little more than a drum kit and various samplers, he channels a frenetic energy that teeters on the edge of violent hostility and playful chaos.’ — WAV

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JH1.FS3 Pipe Talk
‘JH1.FS3 is the duo of Frederikke Hoffmeier and Jesse Sanes. Though each figures individually in the now-generation of industrial noise—as Puce Mary and Liebestod respectively—JH1.FS3 delineates a more subtle “cinema of the ear.” Here, their words are spoken amidst a savvy re-assembly of 20th century avant-sonics: music concrète, technique extension, and pure electronic sound.’ — Dais Records

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SB The Moor FEELS RIGHT :O
‘On “Spirit Realm.Final”, non binary CA based rapper SB THE MOOR takes the extremes from “Pillows” and “MNFST​.​dstnii” and a swarth of self released cassettes and mix tapes and pushes them even farther into the psychedelic netherworld that is their mind. This record truly defies categorization, it’s at once both haunting, beautiful, chaotic, poised, explosive and contained, seamlessly bridging hip hop, post rock, noise, industrial, and avant garde. These terms seem to contradict each other but upon opening your ears to “Spirit Realm.Final” and the work of SB THE MOOR, you’ll find beauty, chaos, anger, confusion, and even peace in the complicated dichotomies of our very existence.’ — hk

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Matmos The Crying Pill
‘Pushing off from the restricted palette of their last album, the critically acclaimed Ultimate Care II, which was composed entirely from the sound of a washing machine, Plastic Anniversary is also derived from a single sound source: plastic. At once hyper-familiar in its omnipresence and deeply inhuman in its measured-in-centuries longevity and endurance, plastic supplies, surrounds and scares. Seemingly negligible, plastic is always ready to hand but also always somewhat suspect, casting toxic shadows onto the everyday. True to form, the band have assembled a promiscuous array of examples of this sturdy-yet-ersatz family of materials: Bakelite dominos, Styrofoam coolers, polyethylene waste containers, PVC panpipes, pinpricks of bubble wrap, silicone gel breast implants and synthetic human fat.’ — Thrill Jockey

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FET.NAT Soft Purse
‘FET.NAT hail from the small city of Hull, located across the river and the Ontario border from Ottawa, the Canadian capital. Fittingly, they’re a band that straddle musical and cultural divides: Atop the group’s spasmodic rhythms, lead singer and lyricist JFNO delivers his fragmented sing-speak in a hybrid franglais dialect. Hull’s greatest claim to fame, though, is that it’s a party town, a late-night destination for 18-year-old Ottawans eager to take advantage of Quebec’s lower legal drinking age. FET.NAT’s music is hardly the stuff of college-pub playlists, but for all their jarring sonic intrusions and tripped-up time signatures, they know how to entertain. If you can’t exactly dance to their music, you can certainly convulse enthusiastically.’ — Stuart Berman

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Triad God So Pay La
‘黑社會 Triad, Triad God’s follow-up to his debut seven years ago, acts as a sequel to NXB: similar thematic underpinnings, Cantonese lyrics, experimental production accented with fashionable electronic music. But by virtue of technological progression and cultural shifts, the significance of these methods has changed. In considering Triad God’s nebulous, transcultural, and cryptic new album, it’s more necessary than ever to consider its context in the decade’s technological and musical trends. It’s true that such an analysis could (and should) be applied to any contemporary release, but such framing seems especially pertinent to 黑社會 Triad, a visionary and timely reaction to the global network’s impact on forward-thinking art, its dissemination and consumption, and the criticism that rises in its wake.’ — Alex Brown

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Prefab Sprout Orchid 7
‘The way Paddy McAloon operates as an artist belies logic. Following the chronology of his career and separating the facts from mythology quickly becomes impossible. Entire albums get scrapped; old songs find their way onto new projects; stories seem too good to be true. If he had never released I Trawl the Megahertz, it might have been one of these legends: a work unlike anything else in his catalog that denies all of his strengths yet feels almost autobiographical. Newly remastered and reissued as a Prefab Sprout album—it was previously released as a McAloon solo LP in 2003 and largely ignored by both critics and the public—it now stands as one of the peaks of his strange, brilliant career.’ — Sam Sodomsky

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Rian Treanor ATAXIA_D1
‘The roots of Rian’s playful sound are directly linked to his love of the music he grew up with. Coming from Sheffield, you can hear elements of industrial, synth-pop, bleep, extreme computer music and speed garage at play. From Cabaret Voltaire to Warp and beyond; the sound of his city has been, and is, an integral part of his musical development and is still a direct influence. Last year, he noted in an interview that “I’m not a computer programmer, I’m not an articulate person in that kind of way. I’m a visual artist.” Now he elaborates “I meant more that I’m a visual thinker.” Drawing and visual art have been a fundamental part of his life “since I was a child. I got really into graffiti as a teenager and around the same time I got into mixing and these both developed together.” You can sense the mind of a visual artist at work in his music which is also reflected in the artwork he created for this project.’ — HH

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p.s. Hey. ** David Ehrenstein, Cake! Now that’s what I wanted to hear. ** daniel, Hey, whoa, Daniel, so sweet to see you! Thank you for the Collier Schorr add. Why I didn’t find that work in my lengthy searching is quite a mystery. I hope you’re doing just wonderfully well. Everyone, Daniel, who you recent people around here probably don’t know, is kind of a genius, and he has most understandably added this to yesterday’s flower arrangement. ** _Black_Acrylic, Every few years someone claims to have invented an odor app, and it always turns out to be hoax. It’s too bad. I remember your ‘Eaux d’Artifice’, is that possible? Everyone, Another fine flower thingeroony to retroactively beef up the show yesterday, this one by the fine fella/artist Ben ‘_Black_Acrylic’ Robinson who defines it thusly: ‘I made a sort of floral artwork myself back in 2004 for my Degree Show in Dundee – Eaux d’Artifice, which was silk flowers with Alexander McQueen Kingdom perfume in Evian water.’ Yay, you’re officially coming to PGL! That’s so great, thanks! And I’ll finally, finally get to meet you in the flesh! ** liquoredgoat, I tried Billie Eilish. I don’t know, I think it’s just not my thing. I have no feeling for Lana Del Rey’s stuff either. But now Avril Lavigne on the other hand … ha ha. Joke. As my gig above must make obvious, I guess. Thanks for getting ‘MLT’. Yeah, I assume you mean the hardcover with the Sue De Beer cover photo. Yeah, I love that cover, and it still depresses and pisses me off that the publisher refused to use that cover on the paperback, giving it instead the worst book cover I’ve ever had, because they said the cover was too disturbing and had harmed sales, so instead they gave the paperback the most boring, vague, can’t-even-focus-your-eyes-on-it dull cover imaginable, and, boy, that really helped the sales, ha ha. Oops, sorry, sore point. Yeah, don’t let that block become a thing. Ignore it, press on, and you’ll be whipping out something awesome any hour now, you bet. ** Bill, You deserve beaucoup flowers. Awesome about the demo. Pant, pant. ** Steve Erickson, Great about the good start to your series! Interesting, I didn’t know about the BBFC website. Huh, I’ll check it out. I did see that about the Ferrara retro. And I wish I was there since I realise I think I’ve only seen maybe four of films. ** Okay. Here’s this month’s new stuff-filled gig. I think it’s maybe a bit more eclectic than the last few, so maybe something there will hit your own personal zeitgeists. See you tomorrow.