Gatekeeper (DJ Set)
289 Kent Avenue
Brooklyn, NY, 11249
Doors 11:30 PM
This event is 21 and over
HEREIN LIES THE ULTRADEMON
HE WILL BREAK THE DOOR
HE WILL WRENCH THE LOCK
HE WILL SMASH THE DOOR-POSTS
HE WILL FORCE THE DOORS
HE WILL BRING UP THE DEAD TO EAT THE LIVING
AND THE DEAD WILL OUTNUMBER THE LIVING
THE SEAT OF HIS WORSHIP LIES BEHIND THE EYES
HIS TEMPLE LIES BEHIND THE EYES
LORD TEMPORAL OF ETERNAL RETURN
HIS RETURN IS ETERNALLY IMMINENT
SSION (pronounced shun) is Cody Critcheloe. SSION is Critcheloe’s project alone and is ever evolving but through his music, art and performance he emphasizes that the world of SSION is an inclusionary one. Critcheloe, the frontman-child, considers SSION to be more of a brand for his idea(L)s than anything else. SSION isn't from anywhere and it doesn't belong to any scene and it's not really that gay considering that in 10 years everyone will be gay. It's just a really interesting* mold slowly growing all over the world, sort of like the grateful dead but more body conscience. SSION is always active but never consistant; they’ve been releasing records whenever they want for the last 10 years. 2012’s release “Bent” garnered huge amounts of attention from the likes of the New York Times, Dazed & Confused, V magazine, Huffington Post, The Fader and VICE and was accompanied by critically acclaimed music videos for “My Love Grows In The Dark”, “Earthquake”, “Luvvbazaar” and “High” – all produced and directed by Critcheloe. He’s also directed videos for other artists including The Gossip, Peaches and Santigold,
SSION’s live shows are legendary, they’ve previously toured with The Yeah Yeah Yeahs and The Gossip and played their first headlining sold out tour in Europe last year.
Gatekeeper (DJ Set)
Inspired by the sounds and visions of forgotten b-movie film scores, classic fantasy games and lurid arcade imagery, the duo of Aaron David Ross and Matthew Arkell have created their own morbidly compelling discotheque, a vividly detailed flight of fancy in which the conventions of techno, Chicago house, italo-disco and industrial are transfigured into a singular phantasmagoric adventure populated by hushed screams, Gregorian dungeon chants and cinematic washes of mammoth sound.
It is easy to understand why the bands early outings were sometimes dubbed “slasher-disco”. Meeting in Chicago in 2005 while studying in art-school, Ross and and Arkell began experimenting with different musical projects, but it was when they stumbled upon a YouTube video of electronic music pioneer Mark Shreeve covering John Carpenter that Gatekeeper discovered its’ true calling and inspiration – bringing the intensity and power of visual imagination to evocative, distinctly danceable musical realization. Early tracks caught the ears of new Kompakt imprint ‘Fright’ , releasing the limited “Optimus Maximus” 12” EP last October, which was received with enthusiastic intrigue. The band also became noted for their unique live appearances, playing special installation-type locations while utilizing custom-made special effects light shows from the talented Thunderhorse team.
Named after the historic Egyptian city known for its ancient monuments, their newest EP ‘Giza’ indeed finds the band advancing into more exotic, outlandish territory. It also sees them fusing their earlier disco leanings with a faster-paced, more club-oriented approach, as exemplified in the arcade biker theme of ‘Chains’, the haunted melody swirls of ‘Storm Column’ and ‘Serpent’, or the feverish, nightmare-ridden after-hours club romp of ‘Mirage’. Released December 6th on the ever progressive Merok Records, the label responsible for unearthing such cutting-edge talent as Crystal Castles, Salem, Titus Andronicus, Active Child and Teengirl Fantasy, ‘Giza’ provides a compelling showcase of Gatekeepers’ wonderfully fey imaginary world. Simultaneously celebratory and macabre, paranoid and darkly seductive, studied and deranged, it is one that will alternately make you want to move as well as cling to the edge of your seat.
What press are saying:
“Even though thick smoke was choking the room, everything felt bright,
erotic, alive.” – The New York Times
“[Gatekeeper’s] work combines camp theatricality with skeletal
simplicity; soundtracking the eternity of the desert as poignantly as
it might John Carpenter’s New York, silhouetted by a full moon.” – Altered Zones