On August 1st we received notice from our landlord that the building Metropolis Underground calls home has been sold and all leases have been terminated.I’ve had to cancel the remaining show schedule, but I’m currently looking for a new venue for next year. I’ll let everyone know the moment I find a new space. Thanks to everyone that supported us through the last 5 years and hopefully into the future.
Dave Ross started playing guitar at age 10, and was self-taught until he attended Berklee College of Music in Boston Mass. where he studied with Jon Damien and Bret Willmott. In 1993 he won the Boston music award for his work with the funk band “Chuck”. In the years to follow Dave became busy with a myriad of projects in styles including Jazz, Punk, World beat, Gospel, Ju Ju, Hardcore, and Free improvisation as a writer, producer and player. In 2005 Dave moved to New York City to engage the thriving free music scene there. He has played and/or recorded with, Henry Grimes, Roy Campbell Jr., Sabir Mateen, Charles Downs, Joe Rigby, Albey Balgochian, Dennis Warren, P-Funk horns, Chuck Brown and the Soul Searchers, Lawrence Cook, Jackson Krall, Daniel Carter, Saco Yasuma, Lou Grassi, Federico Ughi, Yuko Fugiyama, Andre Martinez, Walden Wimberly, Jane Grenier B, Matt Lavell, Francois Grillot, Baron Brown, Hillard Green, Mike T A Thompson, Ken Filiano, Steve Swell, Ras Moshe, Shayna Dulberger, Flip Barnes, Fay Victor, Rob Egan, Hillary Nobel, and Jon Dirac among others.
Bob Hubbard has been creating his own niche in the jazz scene with “out of the box” thinking and creativity. Bob is originally from Central NY and received his first drum kit when he was four years old. He started his professional career at the age of 16, traveling the US as a touring drummer for several music projects. Hubbarb’s main focus is jazz and creative variants have found him working continuously with some of the heaviest hitters in creative/free jazz. More recently, he has recorded music with Eric Mingus, song of icon Charles Mingus, and is finishing a colo CD of drum compositions and improvisations titled “Indians of Steel”.
The Magnetic Pull, from Syracuse, NY, is an ever evolving instrumental entity grown from roots in rock, jazz, funk, and electronica. By blending keyboards, guitars, drums, and diverse samples, they create a maelstrom of haunting melodies and menacing rhythms that challenges the traditional notion of “jam band”. This enticing and invigorating synthesis of digital manipulation, crystalline melodies, and throbbing rhythmic patterns provide for an experience that is at one moment soothing and pulsating but strong and explosive the next.
Dave Ross, Bob Hubbard, Alex Obert & Magnetic Pull – July 14th
Show starts @ 8pm
$5.00 to $10 Donati0n
Tatsuya Nakatani (percussion) is originally from Osaka, Japan. In 2006 he performed in 80 cities in 7 countries and collaborated with 163 artists worldwide. In the past 10 years he has released nearly 50 recordings on CD.
He has created his own instrumentation, effectively inventing many instruments and extended techniques. He utilizes drumset, bowed gongs, cymbals, singing bowls, metal objects, bells, and various sticks and bows to create an intense, organic music that defies category or genre. His music is based in improvised/ experimental music, jazz, free jazz, rock, and noise, yet retains the sense of space and beauty found in traditional Japanese folk music.
In addition to live solo and ensemble performances he works as a sound designer for film and television. He also teaches Masterclasses and Workshops at the University level. He also heads H&H Production, an independent record label and recording studio based in Easton, Pennsylvania. He was selected as a performing artist for the Pennsylvania Performing Artist on Tour (PennPat) roster as well as a Bronx Arts Council Individual Artist grant.
Tatsuya Nakatani Solo & Quartet (featuring Mike P, John Bateman, R. Scott Oliver)
July 11th 2010
Show starts @ 8pm
“Screwed Anthologies” was originally commissioned by labotanica for the exhibit “Screwed Anthologies”:
David Dove grew up learning his horn in the public school band program, while at the same time playing electric-bass in punk rock groups. Before he was out of high school, he began a period exploring (formally and informally) a range of musical styles (including classical, jazz, experimental and 6 years in the band Sprawl). In the early 1990’s, he became dedicated to free improvisation, gigging and experimenting with a small group of like-minded Houston musicians (including New Zealander Paul Winstanley and the then-trio Charalambides). A degree of isolation, an eclectic musical background, and a commitment to creativity eventually led him to conceive of a new approach for music education. In 1997, Dove started working at MECA, an inner-city arts community center, where he began to develop this approach. In 2000, Pauline Oliveros (an important mentor) invited him to start a branch of The Deep Listening Institute (DLI) to further his education goals and bring contemporary musicians to Houston. In 2006, DLI Houston became Nameless Sound, an independent, Houston-based organization. Nameless Sound reaches over 1500 young people every year through creative music workshops in public schools, community centers, homeless shelters, and refugee communities. Dove has given performances and workshops all over the US and some internationally (Mexico, Canada, Scotland, Vietnam, Germany). He has collaborated with many of his favorite local/national/international artists (some well known, some less known).
Lucas Gorham first met Dove when he was a teenager in 1999. Lucas was playing guitar in a local ‘rock-en-español’ band. Nurtured on his parents’ record collection and turned on to Cecil Taylor by a hip math teacher, Gorham fit right in with Nameless Sound’s Youth Ensemble. By the time he was 19, Gorham had gained (through Nameless Sound) experience from workshops with some of the premiere names in creative music (including Pauline Oliveros, Joe McPhee, Eugene Chadbourne, Sam Rivers, Leroy Jenkins, and William Parker). Gorham went on to become a key player in Houston’s music scene (both ‘underground’ and ‘above ground’). He fronts (and writes for) Grandfather Child, a hard-rocking, heartfelt, and inspirational soul/gospel/boogie/blues quartet. Strongly affected by his time playing for a charismatic ministry, Gorham calls his band “church music without the religion”. His ecstatic tendencies (and experimental tendencies) are even stronger in his “Sad Gorilla” solo sets, where three guitars (two lap steels), voice, and looping pedals weave a raw-but-soulful web of grooves (and deconstructed grooves), blues, boogie, drone, noise, and improvisation (sometimes done in ‘guerilla’ style public performance). Gorham isn’t chained to his own vision. His wide range and open spirit have made him one of the most active collaborators in Houston’s busy improvisation scene.
June 14th @ 8pm
Saxophone player Klaus Ellerhusen Holm and bass player Roger Arntzen have joined forces and created the duo Ballrogg. The duo started out exploring the music of Eric Dolphy in a small format, stripped down to only bass and reeds in 2006. Songs from greats such as Paul Bley, Ornette Coleman and Jimmy Giuffre was soon also brought into the concept, aside with compositions by the group itself. The results was some free jazz-classics combined with spacy and energetic originals placed into an acoustic chamber setting.
Their self-titled debut-album was released in Norway in March 2007 and was met with good critics in both the Norwegian press as well as the American. After touring the last year in Europe the duo has moved farther away from the American avantgard jazz to a more freely European contemporary world of sounds. The focus is now exclusively on original compositions. Trying to melt the two instruments into one sound Ballrogg is emphasizing sustained sounds, intervals and textures, and integrates it into clear and simple compositions.
Klaus Ellerhusen Holm (sax, clar) leads his own group Klaus Holm Kollektif, who was awarded “Yong Nordic Jazzcomets 2003”. He plays free-improvised music with the Norwegian trio Murmur and has worked with international artists such as Raymond Strid, Axel Dörner, Jim Denley, Mattias Ståhl, Ingebrigt Håker Flaten, Ingar Zach, Sture Ericson and Frode Gjerstad, and has done tours on festivals and jazzclubs in several countries in both Europe, America and Asia. The last years he has also composed music for various chamber music settings and also music for film.
Roger Arntzen (double bass) is known from the piano trio In The Country, who was awarded “Young Jazz Musicians Of The Year 2004” in Norway. The trio has released three albums on the Norwegian cult-label Rune Grammofon to much acclaim. He is a regular together with Shining-leader Jørgen Munkeby with the noise-rock-jazz-quartet Chrome Hill and has teamed up with Chrome Hill-drummer Torstein Lofthus as two thirds of Håvard Stubø Trio. He has also worked with downtown NYC icon Marc Ribot and pedal-steel guitarist Bob Hoffnar, and other international artists such as Neil Metcalfe, Terry Day, John Russell, Sidsel Endresen, Susanna Wallumrød and Stian Carstensen.
Vertex is a norwegian duo that spontaneously compose electroacoustic music that is both immediate and enticing to listen to. From lowercase drones through beautiful melodic passages to assaulting industrial walls of sound, Vertex creates a plausible yet otherwordly soundscape with it’s own set of natural laws. A universe that focuses in on form and interaction.
Vertex’ debut album, shapes & phases has just been released through the renowned label SOFA. The album is produced by vertex and mixed and mastered by the talented Giuseppe Ielasi.
Petter Vågan (b. 1982) is a hard-working up and coming impromusician who ́s becoming a household name in Norway these days, he ́s released several albums and toured all over Norway, Sweden, Russia, USA,Canada, Germany and the Netherlands. He ́s playing on guitars, lapsteels and prepared guitars, and utilises an array of effects in a delicate manner, to mangle and distort reality in his own way. He has a performing masters degree from the world-renowned jazzcourse the the Conservatory of Music in Trondheim. He ́s has played with musicians like Christian Wallumrød, Ståle Storløkken, Mathias Eick, Håvard Wiik, Håkon Kornstad, Thomas Strønen, Jonas Kullhammar, Mats Eilertsen, Lene Grenager and Kjetil Møster etc
Tor Haugerud (b. 1962) has been an active musician, composer and performanceartist for the last 24 years. He ́s developed a unique playingstyle with his unorthodox drumset and use of electronics and unconventional instruments like fans, drills, singing bowls, bows, stones. Has in recent years operated in the more free musical landscapes, with musicians like Kim Myhr, Christian Wallumrød, Stian Westerhus, Martin Taxt, Jon Balke, Sidsel Endresen, Ingar Zach, Eirik Hegdal, Michael Duch, Kjetil Møster etc, and with the groups Alpaca Ensemble, Én Én Én, Murmur, and TIE (Trondheim Improvisasjons Ensemble).
Show starts @8pm
From 1969 to 1971 (Ann Arbor, Michigan), Ben played guitar in Sproton Layer, a psychedelic rock quartet with brothers’ Roger (Mission Of Burma, Binary System, Alloy Orchestra) and Laurence (Destroy All Monsters, Larynx Zillion’s Novelty Shop, Mr. Laurence). With all band members still in High School, Sproton Layer opened up for Commander Cody & The Lost Planet Airmen and Carnal Kitchen (led by sax player Andy Mackay). Sproton Layer was described as “Syd Barrett fronting Cream” in “Our Band Could Be Your Life”, a book by Michael Azzarad.
In 1974, the Miller brothers formed The Fourth World Quartet with Jack Waterstone. Instrumentation was Piano, Bass Clarinet, Saxophones and electric guitar; a blend of 20th Century composition andfree improvisation. In 1975, Roger was replaced by composer/pianist Denman Maroney.
From 1976-78, Empool, led by twin brother Laurence, was a creative workshop ensemble that seemed to be in a constant state of transformation. A website and CD release is imminent.
Also in 1976, Ben and Lar joined up with Cary Loren‘s Destroy All Monsters. In 1977, as their second incarnation, Ron Asheton (The Stooges) and Michael Davis (The MC5) joined the party, and for the next two years this Ann Arbor/Detroit based punk band pumped out a haphazard wall of sound opening up for Sonic Rendezvous, Pere Ubu, The Ramones, Devo, Lydia Lunch, Suicide, The Romantics, The Stranglers, and others. Lar and Ben left the band late 1978 due to creative differences. The band continued as a quartet until 1985.
Ben’s Destroy All Monsters interview Apr. 2004
“While not as well known as the Stooges or the MC5, Destroy All Monsters were another Ann Arbor band whose influence far outstretched its life as an active band. Combining art punk, free jazz, garge rock and lead singer Niagara’s histrionics, Destroy All Monsters were the hidden link between the Velvet Underground and no-wave bands like Sonic Youth.”
Josh Steichmann ANN ARBOR CURRENT Sept. 2004
In the early ’80s, Ben and Laurence formed many Ann Arbor avant rock bands; The Same Band , The Other Band , Low Income Zone, Radio Silence, and Nonfiction. Nonfiction being the most well known opened up for The Replacements, Lydia Lunch, Mission of Burma and others. Their 1984 release “Walking Sideways, Talking Backwards” included Ben’s arrangement of Laurie Anderson’s O-Superman! Nonfiction disbanded in 1985.
In 1982, Ben formed GKW with language artist Robert Currie. Originally this was a seven-piece garage artrock band with two rhythm sections. Its members came and went as did its creative focus. In 1985, GKW disbanded and reformed as a duet basing their sound more on minimalism. They played infrequently with little regard to audience attendance. In 1991, actors/directors Linda Kendall and Peter Knox joined up honing a performance art sensibility until the group finally disbanded in 1994. GKW’s highlights were opening up for the Ann Arbor 16mm Film Festival, presenting workshops on collaboration at Columbia College Chicago and participating in a performance art weekend gig at Focus Gallery, Detroit, juried by Laurie Anderson. The group concentrated on prepared guitars, stereo tape loops, analog synths, and other outmoded technologies during the decade’s rise of digital fanaticism. GKW produced six cassette releases. A CD Box collection is in consideration.
M3 is a recording-only project with Miller brothers Laurence, Roger and Ben. Being that no brother lives in the same state, this long-distance collaboration is infrequent at best. Since 1989, they have released two very different CDs; self-titled and “Unearthing”. M3’s third CD is in the recording process (Mar. 2010) and a live show @ The Nervous Center, Chicago (2001) is in consideration.
Ben played prepared stereo guitar for Chicago’s Dirty Old Man River from 1997 through 2000, and can be heard on both The Saddest Movie Screen and Ageless.
Phantom Pilots are Joe Plessas (Bedouins, Quartet Trio, Birds Anonymous) and Rob Coye (Grisly Fiction, Quartet Trio, Small Girl Boils Water). Their first flight was August 2006. Their (rare) gigs are electric guitar recitals. Both Rob and Joe are pedal pushers. Joe trumps with his ‘Mountain of Mayhem’ set up. Both Pilots are e-bow certified. Many of the recorded tunes were spot-composed after pressing the record button. (Is it still improv once it’s recorded?) The sound is Fripp and Eno-ish, with a touch of John Fahey, and a nod each to pre-‘Dark Side’ Pink FLoyd and a Genesis tune called “Silent Sorrow in Empty Boats”. Phantom Pilots have two albums out, ‘Due to Multiple Consecutive Bummers…’, and ‘Touch the Wall Keep Moving’. They are available at cdBaby, iTunes, eMusic, and Amazon MP3.
Show starts @ 8:30
Thinguma*jigSaw: Two elusive, exceptional, pivotal personalities – cunningly spinning a web of flamboyant brouhahas within the idiom of their own device: charming, clever, generous, sinister splatterfolk. Splatterfolk combines elements of traditional Irish/British/American folk with contemporary art music, and spices it up with lyrical and musical components usually associated with horror films, experimental theatre and modernistic poetry. There is also an abundance of film and popcultural references. It’s the new revolution within the folk music – scene of today, and you will find no finer exponents of this subversive art than Thinguma*jigSaw.
Words For Snow is an ongoing ever changing side project featuring Mike ((P)) and R. Scott Oliver. WFS blend pretty melodies with walls of drone, psych and space rock. The base of the project revolves around it’s two core members with a revolving door of special guests. Mike ((P)) is a member of Atlantic Drone and the Beauty Scene Outlaws. R. Scott Oliver is also a member of Atlantic Drone as well as ORAA, Torus and his own solo work.
The show on the 16th will also feature Steve Cerio (Atlantic Drone), John Bateman (Atlantic Drone, Beauty Scene Outlaws), Paul Shedd (Beauty Scene Outlaws)
Show starts @ 8:30