Saturday Nov 27th 2010 @Artisphere

Tatsuya Nakatani, STÖAT, Prehistoric Horse, Grex, Mind Over Matter Music Over Mind, Promute, Big Drum In the Sky Religion

Tatsuya Nakatani

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.

Improvised apocalyptic black ferretcore: STÖAT is DC's newest supergroup, including members of Pilesar, Violet, Gum Yummy, Sarcastic Orgasm, and Blue Sausage Infant. STÖAT was laboratory-bred with enormous musk-sacs to enhance the fragrant hybrid of doom metal, noise, unmedicated tantrums, substoner riffing, and pungent offal. This may or may not happen again. Attendance is mandatory.

Grex (greks) n. 1. a multicellular aggregate of the groups Acrasiomycota or Dictyosteliida, formed for the purposes of travel and food collection. 2. a Bay Area creative music partnership composed of Karl A.D. Evangelista and Margaret Rei Scampavia. Grex (the band) was formed in and around the Mills College music axis, late night inside jokes, and intense dissections of South African music, emphasizing genre bending, cross-idiomatic conceits and melding elements of mostly everything (Evangelista has a background in free jazz and Scampavia is a biologist) into something stark and eldritch.

Mind Over Matter Music Over Mind

Our medium is sound. Sound generated. Sound borrowed and relocated. With this sound we create places and we create events. Some of these events are music. Many are not. To the extent that the places and events we create are extraordinary and the manner in which the events are allowed to occur within these places is extraordinary, our work product is extraordinary. This is the critical dimension of MOMMOM. The semantic dimension of the project is a bit more nuanced. First point of order: Our work is not a text. By intention, the sounds that we have generated, collected and brought into conjunction are not to be taken as a socially conditioned statement to be decoded or read, nor as an instance of personal or cultural expression to be felt. MOMMOM seeks to change minds not fiddle around with their contents. The political dimension of MOM² is rooted in the distinction between these two approaches. Art can do many things. It need not be limited to making additions to the clutter of facts, beliefs, ideological warrants, and emotional tropes within which our attention flutters like debris in a strong wind. MIND OVER MATTER MUSIC OVER MIND is directed at the function of consciousness, not at its contents. For the mind, morphology is physiology and MOM² seeks to redraw the boundaries of mental health. This radical re-normalization of mental possibility is inherently political, challenging as it must, the most basic premises of social organization and order.


Noise is solace. Sorrowful and pure. I created Promute in 2002 after graduating from Columbia College Chicago. It is a project in which I take great care to maintain that purity. I have used environmental recordings, electroacoustic instruments, synthesis, and conventional tools to create. I believe in the ever-changing process in the sonic arts, which keeps every recording fresh and every performance demanding for the audience and the performer. I was based out of Chicago until 2005, when I moved to North Carolina. I promptly secured a position with Nightsound Studio, and immersed myself into recording and performing live. I feel that my perspective towards audio has played a large part in working on recordings for the local acts that I work with. Some of my current pieces are included on the Silber on Silber Compilation, and Christhole from the Akashic Revolve. Two of my film scores include Balloon Animals, and Neptune and Dragon by Justin Meckes. I have worked on several records for many bands and artsists over the last ten years.

Prehistoric Horse
Prehistoric Horse is the modern improvised music trio of David Grollman, Valerie Kuehne and Lucio Menegon. Prehistoric Horse plays a very intense and dynamic form of improvisational music that incorporates the dramatic and absurd and sometimes borders on sheer noise. The sound is a mashup of Paal Nilssen-Love/Han Bennink drumming with Fred Frith/Sonic Youth guitars + electronics and Bach/Britten/Bi-polar disorder cello.
"Prehistoric Horse are an improv trio from NYC who generate spasmodic bursts of clatter and skree via cello, drums, and guitar, typically played in ways that would make conventional music teachers shudder in horror." (Seattle Stranger)
Prehistoric Horse

Saturday Nov 27th 2010 @ 8 p.m. - 12:30 a.m.

~ $8.00

1101 Wilson Boulevard, Arlington, VA