Wolf Eyes, Hubble, Foreplay, Soren
1120 Manhattan Avenue
Brooklyn, NY, 11222
This event is 21 and over
Wolf Eyes began as a solo project of former Nautical Almanac member Nate Young, with Aaron Dilloway joining in 1998, and John Olson in 2000. The group has released over 100 recordings in their relatively short lifespan, on labels such as Bulb Records, Troubleman Unlimited, Fusetron, Hospital, and Sub Pop, as well as on Olson's American Tapes label, Dilloway's Hanson Records, Mike Connelly's Gods of Tundra label, and Nate Young's AA Records. Connelly (also of Hair Police) replaced Dilloway in early 2005, due to the latter's departure for Nepal. Dilloway is no longer an active member of the group but he did some production work on their 2006 Sub Pop album Human Animal and has performed with them on several occasions. Wolf Eyes' first two major tours were with Sonic Youth and Andrew W.K. They have also collaborated with jazz musician Anthony Braxton. Journalist Marc Masters discerns the influence of "the dirge of Swans, the clang of Einstürzende Neubauten, even the dark hardcore of the Misfits" on the group's sound. Nick Cain of The Wire characterizes Wolf Eyes as "an ungodly noise hybrid which sucks fragments of US hardcore, industrial, free jazz, avant-garde electronics and death metal into a sonic vortex. Cloaked in cartoonish horrorcore imagery, their music's obvious delight in its own intensity is as infectious as it is puerile."
Ben Greenberg began Hubble in 2011 as a solo guitar project extended from his work with avant-rock band Zs and punk-fuck band Pygmy Shrews. Relying on virtuosic guitar techniques more in line with metal shredders or blues heroes than the experimental scene, Greenberg implemented finger-tapping and minimal use of pedals (no looping ever!) in his long-form compositions, setting him apart from legions of crescendo-building contemporaries. A cassette on NNA Tapes in 2011 entitled Hubble Linger was the first available recording from Greenberg‘s project, The tape was well received, even inciting electronic musician Keith Fullerton Whitman to claim: “…I’m fairly floored by this extended solo-trance-out from Zs guitarist Ben Greenberg, who seems to have invented a device that halts time (musical, actual, and meta-physical); its use is put to great effect across this 60-minute blast of cycling ‘stereo’ chord progressions and assorted haze(s) that approaches the fervour of MBV / Belong’s filtered-out high-gain wash while retaining the minimalist patina of Charlemagne Palestine piece … awesome.”
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