Date(s) - 04/24/2018 - 04/25/2018
8:00 pm - 12:00 am
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PHOTO BY ACVilla
With a synthesizer and a microphone, Thollem’s Hot Pursuit Of Happiness forges elements of punk rock, blues, and psychedelia, among many other influences. Including new songs and solo arrangements of Tsigoti songs, with “fluid keys pulverization” (Brad Cohan, Spin Magazine), Thollem’s work is ”political debauchery and a forward vocal delivery … that comes a-swingin’ right out of the gate” (Chocolate Grinder, Tiny Mix Tapes).
- Laura Ortman – Apache violin
- David First has always been fascinated by opposites and extremes. At 20 he played guitar with renowned avant-jazz pianist Cecil Taylor in a legendary Carnegie Hall concert. Two years later he was creating electronic music as an artist-in-residence at Princeton (released in 2013 on Dais records) and leading a Mummerʼs String Band in Philadelphia parades. He has played in raucous drunken bar bands, semi-legal DIY basements and in pin-drop quiet concert halls with classical ensembles. As a composer First has created everything from finely crafted pop songs to long, severely minimalist microtonal droneworks. His AIDS crisis opera, The Manhattan Book of the Dead, was staged at LaMama’s Annex Theater (NYC) in 1995 and in Potsdam, Germany in 1996. His 2011 song, We Are (featuring TV on the Radio’s Kyp Malone), was released to much acclaim in the Occupy Movement and was officially released on the compilation Occupy This Album which also featured tracks by Patti Smith, Willie Nelson, Yoko Ono a.o. First’s performances often find him sitting trance-like without seeming to move a muscle, unless he is playing with his psychedelic punk band, Notekillers, at which time he is a whirling blur of hyperactive energy. First’s most recent project, Same Animal, Different Cages (Fabrica records), is a series of solo LPs on a variety of instruments, including acoustic guitar, analog synth, the most recent, Civil War Songs for solo harmonica, and sitar (TBR spring 2018).
Since the passing of Derek Bailey, no guitarist has subverted the purpose of the instrument as on this confounding and fascinating album.
– Lar Gotrich/NPR
As if he is accompanied by ghosts of harmonica players who died centuries hence.
– Marc Masters/Wire Magazine