Weeed (LP Release)

Hailing from a small island in the pacific northwest, WEEED has been the collaborative musical explorations of 3-4 close friends since 2008. Though years of shows and recordings have pigeon-holed their sound into what many describe as stoner rock/heavy psych, the milieu of what inspires them is wide-ranging and their intention during the last several years has been to draw from a deeper pool of sonic stew that includes styles such as gnawa, traditional folk, jazz, minimalist orchestras, krautrock, overtone singing, desert blues, and much more.

WEEED’s 5threlease and 3rd studio album, “THIS” is the product of both a desire to make such influences more apparent as well as a desire to explore the boundaries of the members’ abilities to connect with each other; to become, in essence, one mind. Though the skeleton of the album was written during practices, the dynamics and fullness of each song were often reconnoitered and spawned through the improvisations which occurred during live settings and tours. The idea was discovery through the act of being present, and “THIS” was the result.

Sonically, “THIS” is an outgrowth of their last release, “META”, which saw the band beginning to experiment with ambient & vocal looping, flutes, synthesizers. Those explorations are present here, as is the notable (and permanent) addition of a second drummer, which is defined through the mixtures of tight syncopations and pulsing polyrhythms present in these songs. Recorded & produced at Bear Creek studio in Woodinville, WA, “THIS” marks a shift in sound that will only lead to further exploration into new musical territory.

Arrington De Dionyso

An uncompromising voice in contemporary music, Arrington de Dionyso integrates ancient soundmaking techniques with trans-modernist inquiries into the nature of consciousness. His propulsive improvisations utilize voice and reeds (primarily bass clarinets and his invention the Bromiophone) as multiphonic tools in the navigation of liminal spaces between shamanic seance and rock and roll ecstasy.


While deeply rooted in the punk inclination to tear down musical standards in an effort for liberation, Arrington's music weds no-wave iconoclasm with the spiritual searching of Ayler era free jazz to reach towards an unveiling of primordially potent universalities. His compositions embrace sounds as colors, placing emphasis on the complimentary spectrums- from circular overtones whispered through bamboo flutes to the penetrating deep and guttural howls of amplified throatsinging- all with the lungs of an athlete.


Founder of the Olympia-based Old Time Relijun in 1995 and the trance-punk "a la javanaise" ensemble Malaikat dan Singa in 2009, Arrington has toured extensively and maintains ongoing fruitful collaborations with musicians throughout Europe, North America, Japan, and Indonesia. No matter the continent, he seeks innovative approaches to improvisation both intuitive and indigenous.


In 2016 he completed a film "Reak: Trance Music and Possession in West Java" documenting a ground breaking collaboration in which Arrington performs on the bass clarinet with the participants of a trance possession ceremony in Sunda, Indonesia.


In late 2016 following the US Presidential Election, Arrington was targeted by far right-wing conspiracy theorists seeking to tie his artwork into the bizarre “Pizzagate” hoax. Partially in response to this campaign of harassment, along with ever-deteriorating conditions for global democracy, Arrington launched a new project called THIS SAXOPHONE KILLS FASCISTS, which investigates the power of late 1960’s “Ecstatic Free Jazz” as the template for a new approach to “Protest Music” in our contemporary milieu. This Saxophone Kills Fascists toured throughout the USA and Canada, and in late 2017 performed at the SUPERSENSE Festival of Ecstatic Arts in Melbourne, Australia, and the Museum of Old and New Art in Hobart, Tasmania.


Whether as a band leader or solo performer Arrington's music evokes an "Ancient Future", sometimes shocking and hallucinatory, always aiming to channel Spirit.

Diminished Men

By distorting hard boiled film and classic instrumental music through a dark, overcast lens, Diminished Men refocus their influences into something entirely unique. Their jagged, hard-charging approach evokes images of slit jugulars and accelerated heart rates all the while swathing you in a blissful claustrophobia. Drawing elements of Link Wray, Morricone's dissonant horror scores, gritty noir and Joe Meek's sickly productions, as well as the provocative imagery of filmmakers like Wim Wenders and Jean-Pierre Melville, synthesizing them into something truly organic and original.

Formed in 2005 by guitarist Steve Schmitt and drummer Dave Abramson, Diminished Men are an integral part of Seattle's unique and prolific underground music scene. Abramson, also a member of Master Musicians of Bukkake, has done time in Climax Golden Twins and has collaborated with Secret Chiefs 3, Eyvind Kang, Six Organs of Admittance, Grails, etc. Bass VI player and multi-instrumentalist Simon Henneman has released two solo records and plays guitar in the free jazz group WA with iconic Northwest drummer Gregg Keplinger. Diminished Men have released three albums on the Sun City Girl's record label Abduction, in addition to two full length albums and two cassette EP's on their own label Bowels Of Lunacy.

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