August 5 - GRAVEYARDS (members of Wolf Eyes, Melee), PIMA GROUP, BEE MASK @ Plays and Players

[bowerbird.org]

August 5th
(wednesday)

GRAVEYARDS (John Olson, Ben Hall, and Chris Riggs)
PIMA GROUP
BEE MASK

@ Plays and Players
1714 Delancey Place
8pm; $5-$10

SUMMER SUBLIME
A triple bill of haunting beauty and sublime intensity closes out the
Bowerbird summer season. Detroit's Graveyards (members of Wolf Eyes,
Melee), will be joined by Melisa Putz and Thomas Clark's dance and
music collaboration PIMA Group, and special performance by Chris
Madak's Bee Mask. The event will take place on the air-conditioned
3rd Floor of the Plays and Players Theater, and the adjacent Quig's
Pub will be offering adult beverages and other libations throughout
the night.

ABOUT THE ARTISTS
Wolf Eyes has long been the dominant sonic export from Detroit,
Michigan, but it's members are just the tip of an exciting community
of musicians. In Graveyards, Wolf Eyes' John Olson (here playing
saxophones) is joined by percussionist Ben Hall and guitarist Chris
Riggs (stepping in for cellist Hans Beutow) for what Hall describes as
"New American Improvisation". Decidedly outside both the jazz idiom
and the sounds that have become associated with the term "free
improvisation" (and even further from the harsh noise of Wolf Eyes )
Graveyards seeks to find a new, spontaneously composed vocabulary to
allow for a sound that is both large and succinct at once.

Founded as an outlet for dancer and choreographer Melisa Putz and
musicians Michael Barker and Thomas Clark to develop new methods for
the integration of dance, music, and visual art, PIMA Group has been
consistently among the most affecting and provocative collaborations
Philadelphia has to offer. Best characterized as 'beauty in
distress', PIMA Group's work has a haunting and disembodied quality
that prospers richly in the unique character of the Plays and Players
Theater.

Bee Mask is an ongoing project of Philadelphia-based artist and
curator Chris Benedetto Madak, focused on the use of handmade
electronics, tape, synthesizers, and prepared instruments in
inherently indeterminate situations that underscore the distinction
between the improviser as an embodied subject and improvisation as a
grammatical activity. Live and on record, this work evokes complex
and often absurd genealogies of tactics and signifiers as a means
toward a contemporary implementation of the utopian ethics of
experimental music and historical anti-arts.

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BOWERBIRD. LISTEN DIFFERENT
For more information please visit: www.bowerbird.org