1100 Chestnut Street
Philadelphia, PA, 19107
Doors 7:00 PM / Show 8:00 PM
This event is 21 and over
Instrumental Rock/Metal group from Philadelphia, PA, USA.
Current line-up: Kevin Hufnagel - Guitar, Colin Marston - Bass, Jeff Eber - Drums
Ex-member: Clayton Ingerson - Bass
1998 - Kevin Hufnagel calls Clayton Ingerson...says he has some riffs he wants to show him. A few riffs turn into 5 or 6 songs. We begin auditioning drummers to no success.
1999 - Dysrhythmia is born. Drummer Jeff Eber is found through a psychic dream. We play our first show ever, in Philadelphia, PA, at the legendary Stalag 13 with Discordance Axis, and Ruins. Purchase a used van for $1,000 and begin to think about touring.
2000 - Our first record Contradiction is released. Recorded on 16 track analog reel-to-reel in a basement in South Jersey over two weekends. Embark on our first DIY tour. Continue playing to the same 5 people in Philadelphia.
2001- Record album number two, No Interference. Tour with the infamous Overlords of the Underworld. Release a split 10" with misunderstood musical outcasts, xthoughtstreamsx. Continue playing to the same 5 people in Philadelphia.
2002 - Record a split 7" with Technician, complete with a sheet lead cover and rubber gloves stuffed inside for the consumer's protection. Tour our asses off. Attract the attention of Relapse Records. Sign to Relapse.
2003 - Record album number three, Pretest, with Steve Albini at Electrical Audio Studio B in Chicago, IL. Tour, tour, tour. This time with the likes of labelmates Mastodon, Cephalic Carnage, Burnt by the Sun, and more.
2004 - Continue touring in support of Pretest, doing dates with Clutch, Mastodon, High on Fire, Zeke and others along the way. New material begins to develop yet bassist Clayton Ingerson eventually leaves the band. Colin Marston enters. Dysrhythmia continue on, writing and now rehearsing in Brooklyn at Colin's studio while Kevin makes trips up from Philadelphia and Jeff down from Boston. All for the love of the instrumental rock. Live from the Relapse Contamination Festival 2003 CD is release in a limited edition of 1, 000 copies.
2005 - Writing for record number four continues. New van is purchased. Spring tour with Jucifer. Spend summer demoing the next record. Band relocates to Brooklyn permanently. Translation Loss Records re-issues No Interference with additional bonus tracks. Fall tour. Record our fourth studio album Barriers and Passages with Martin Bisi at BC Studios, set for a Spring '06 release.
2006 - Barriers and Passages is released in May. Tour throughout the Summer with bands: Behold... the Arctopus, Yakuza, and The Dillinger Escape Plan. Begin writing new material.
2007 - Spring tour with Pysopus, and Behold... the Arctopus. Spend the summer writing for the next record. Release a split EP called Fractures with UK-based ambient/drone sculptors Rothko in late August.
2008 - Summer tour and completion of writing for 'Psychic Maps'
2009 - 'Psychic Maps' is released, a Fall tour follows. The band is now on their third van.
PYRRHON is a death metal band from New York City. They formed in 2008 after a chance meeting on a subway platform, and have been honing their increasingly twisted take on the genre ever since.
PYRRHON create a nightmarish blend of clanging death metal with surreal psychedelic elements, jazz rhythms, and delirious storytelling.
Doug Moore - Vocals
Dylan DiLella - Guitars
Erik Malave - Bass
Alex Cohen - Drums
Founded in Philly in 2003, Cleric resides in the circle of bands like The Dillinger Escape Plan and Car Bomb – elite musicians playing avant-metal that wows on both a cerebral level and a gut level. Cleric's brand of metal is marked by dark, cinematic atmospheres and free jazz-informed forays, bursting through a base of highly technical, mathy shred. As a review in Chicago Reader phrased it, the sound is "a kind of metal, the way [David Lynch's] Lost Highway is a kind of movie. It's an elastic tissue of creepy electronic noise and barely-human screaming, impregnated with patches of riff-salad grind and hypercube mathcore."
On Retrocausal, Cleric has pushed its style to new heights. Meshuggah-esque hypnosis, doomful synths, spastic skronking, and blastbeats weave together into highly unpredictable, kitchen-sink epics, many surpassing the 9-minute mark. An ominous vibe, straight off a movie screen, underlies everything; lurking in the shadows are mysterious samples and field recordings evoking deep sea and outer space.
None other than John Zorn is a fan and collaborator who lent his talents to Retrocausal. Elder statesman of musical freedom, a man whose massive body of work incorporates jazz, classical, metal, klezmer, film scores, and more, Zorn guests on Retrocausal's closer, "Grey Lodge." Cleric's relationship with Zorn began in 2013 when he invited the band to work with him on his ongoing Masada project, and continued with his tapping guitarist Matt Hollenberg to join his band Simulacrum (along with John Medeski of Medeski, Martin, and Wood).
In addition to Zorn, Retrocausal features guest appearances by Mick Barr (Krallice, Orthrelm, Ocrilim) and Timba Harris (Secret Chiefs 3).
A concept album, Retrocausal is an adventure story set in a dystopian future. Cleric vocalist/keyboardist Nick Shellenberger explains: "Lyrically, Retrocausal opens a window into a bleak sci-fi landscape plagued by environmental fallout, in which corrupt governments send their citizens to die, and centers around one submarine crew that learns of their intended fate and chooses to pursue the beyond, despite the terrors that await. Told from different perspectives throughout the record, it's a story of hope, fear, uncertainty, and constant struggle in the face of failure and death, and in search of something that may never be."
The album was recorded, mixed, and mastered by Colin Marston (Gorguts, Dysrhythmia) at The Thousand Caves in Queens, New York.
The artwork was created by Cleric's Nick Shellenberger.
Label boss Spruance states, "When we here at Web of Mimicry ran across Cleric's music it almost seemed as if some kind of prophecy was being fulfilled. The music registered in our minds as a kind of missing link, like an inevitable stage in metal-oriented music that has needed to happen for a long time now."
“The music this Philadelphia four-piece plays is a kind of metal, the way Lost Highway is a kind of movie. It's an elastic tissue of creepy electronic noise and barely-human screaming, impregnated with patches of riff-salad grind and hypercube mathcore."
“Progressive, vitriolic and overwhelming... Raging grind gives way to plodding, cumbersome doom before opening the gates to ambient passages akin to the dark, cryptic atmosphere of Emperor.”