Unregistered Nurse

9.4 Ottobar Upstairs
Vaniish
Extended Release
Drone Theory

Plus DJ Matty Pants playing Deathrock all night


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9.18 Windup Space
Gooch Palms
TBA


10.3& 10.4 Ottobar
U+Nfest 3!!!
Night Birds
Screaming Females
Ausmuteants
Nothing
Chain and the Gang
Ed Schrader's Music Beat
Angel Du$t
Amanda X
Downtown Boys
Sam Coffey and the Iron Lungs
Big Mouth
Wume
Give
Sex Jams
Natural Velvet
+ more TBA!

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($13/ day, $20 for both!)

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UNREGISTERED NURSE NAMED BALTIMORE'S BEST MUSIC PROMOTER 2012!!!

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CONFIRMED! 7.2 at Golden West++ CLICK THE PICTURE TO RSVP!! ++PLANING FOR BURIAL (NJ heavy slowcore)BLACKSAGE (Bmore)BIRTH (DEFECTS) (First show)$610pm♥ Unregistered Nurse Booking/////////////from P4K::Planning For BurialDesideratumMay 14, 20147.9As Planning for Burial, Matawan, New Jersey’s Thom Wasluck filters post-metal, doom, ambient, and goth-rock through his own terminally miserable lens. Isolation is a frequent theme in his lyrics and music beyond the fact that he works alone. Leaving, from 2009, showcased the budding stages of Wasluck’s sound; it was a largely unheralded effort even after Enemies List re-released it in 2010, but Wasluck forged on, releasing a series of tapes, EPs and splits in the following years.Desideratum is his second full-length and first for the Flenser; it’s an improvement on his earlier work, bringing together the many different sides found on his smaller releases. Wasluck’s longing and misery plays such a role in Planning for Burial’s music that it often receives equal credit alongside the instrumentation; in the liner notes for the 2012 EP Quietly, he credited “a lovesick/broken heart” and “gloom,” while Desideratum’s credits include “whiskey” and “bad sleep.”On “Where You Rest Your Head At Night” (which originally appeared as a demo version on the 2011 compilation EP Late Twenties Blues) Wasluck beats one riff into the ground over and over for eight minutes, so even when drums and piano come in, the assault hardly cedes. This circular riffing mirrors the lyrics, in which Wasluck describes one of his many restless nights: “When it’s late and I can’t sleep/ I circle your block/ Looking for any signs that you may still be awake.” On the demo version, the guitar is more smeared and the drums are bare thumps; here, the drums come out and punctuate the guitars, like Godflesh’s heaviness seeping through Jesu’s melancholy. For an eight-minute track with minimal arrangement, it has a breathtaking immediacy that makes it one of the strongest songs on the album and his catalog. This is Planning For Burial at its most metal, and this hardly resembles most metal in content, sound, or the willingness to be open.The most devastating song on Desideratum is “Purple”, constructed from an ambient drone overlaying a voice program reading a text that Wasluck received from a past love interest solemnly desiring to reconnect. It’s the shortest song on the record, and it succinctly captures the frustrations of love and heartbreak in the digital age. Filtered through the sterile voice program, the normally heartfelt words become severed from any real sense of emotion, little more than bits of information. Lyrical content aside, “Purple” is also an example of Wasluck’s use of gorgeous, yet tortured drones, which sound like drifting away from the earth at quarter speed.Desideratum ends on a grayly inspirational note with “Golden”, which begins with Wasluck’s bare guitar and voice before feedback creeps in and the song explodes into a mass of thick stomps, pained leads, and drones. Lyrically, Wasluck’s listening to records with an unknown female character while “thinking about the girls who wanted nothing to do with you”. As for his specific thoughts on that subject, he doesn’t hold back: “The golden years never happened to you or anyone you thought you knew/ They all grew up to be miserable adults, just waiting for the day they get to die.” For a guy who gets hung up on past relationships, he’s not terribly fond of nostalgia either.“Golden” could be interpreted pessimistically, but it also suggests that “golden years” are a crutch, and that once you break free of the notion’s constraints, you’ll be better for it. Wasluck may have a permanently fractured heart, but he bares himself to the world because other people share his feelings, too. In an area of music that’s too often defined by esoteric aesthetics and insularity, Desideratum is a testament to openness.

CONFIRMED! 7.2 at Golden West
++ CLICK THE PICTURE TO RSVP!! ++

PLANING FOR BURIAL (NJ heavy slowcore)

BLACKSAGE (Bmore)

BIRTH (DEFECTS) (First show)


$6
10pm
♥ Unregistered Nurse Booking

/////////////

from P4K::
Planning For Burial
Desideratum
May 14, 2014
7.9



As Planning for Burial, Matawan, New Jersey’s Thom Wasluck filters post-metal, doom, ambient, and goth-rock through his own terminally miserable lens. Isolation is a frequent theme in his lyrics and music beyond the fact that he works alone. Leaving, from 2009, showcased the budding stages of Wasluck’s sound; it was a largely unheralded effort even after Enemies List re-released it in 2010, but Wasluck forged on, releasing a series of tapes, EPs and splits in the following years.
Desideratum is his second full-length and first for the Flenser; it’s an improvement on his earlier work, bringing together the many different sides found on his smaller releases. Wasluck’s longing and misery plays such a role in Planning for Burial’s music that it often receives equal credit alongside the instrumentation; in the liner notes for the 2012 EP Quietly, he credited “a lovesick/broken heart” and “gloom,” while Desideratum’s credits include “whiskey” and “bad sleep.”
On “Where You Rest Your Head At Night” (which originally appeared as a demo version on the 2011 compilation EP Late Twenties Blues) Wasluck beats one riff into the ground over and over for eight minutes, so even when drums and piano come in, the assault hardly cedes. This circular riffing mirrors the lyrics, in which Wasluck describes one of his many restless nights: “When it’s late and I can’t sleep/ I circle your block/ Looking for any signs that you may still be awake.” On the demo version, the guitar is more smeared and the drums are bare thumps; here, the drums come out and punctuate the guitars, like Godflesh’s heaviness seeping through Jesu’s melancholy. For an eight-minute track with minimal arrangement, it has a breathtaking immediacy that makes it one of the strongest songs on the album and his catalog. This is Planning For Burial at its most metal, and this hardly resembles most metal in content, sound, or the willingness to be open.
The most devastating song on Desideratum is “Purple”, constructed from an ambient drone overlaying a voice program reading a text that Wasluck received from a past love interest solemnly desiring to reconnect. It’s the shortest song on the record, and it succinctly captures the frustrations of love and heartbreak in the digital age. Filtered through the sterile voice program, the normally heartfelt words become severed from any real sense of emotion, little more than bits of information. Lyrical content aside, “Purple” is also an example of Wasluck’s use of gorgeous, yet tortured drones, which sound like drifting away from the earth at quarter speed.
Desideratum ends on a grayly inspirational note with “Golden”, which begins with Wasluck’s bare guitar and voice before feedback creeps in and the song explodes into a mass of thick stomps, pained leads, and drones. Lyrically, Wasluck’s listening to records with an unknown female character while “thinking about the girls who wanted nothing to do with you”. As for his specific thoughts on that subject, he doesn’t hold back: “The golden years never happened to you or anyone you thought you knew/ They all grew up to be miserable adults, just waiting for the day they get to die.” For a guy who gets hung up on past relationships, he’s not terribly fond of nostalgia either.
“Golden” could be interpreted pessimistically, but it also suggests that “golden years” are a crutch, and that once you break free of the notion’s constraints, you’ll be better for it. Wasluck may have a permanently fractured heart, but he bares himself to the world because other people share his feelings, too. In an area of music that’s too often defined by esoteric aesthetics and insularity, Desideratum is a testament to openness.

True Widow flier by David Van. Click to RSVP!!

True Widow flier by David Van. Click to RSVP!!

Here’s a video from Texas’ True Widow, playing Thursday at the Golden West w Purling Hiss + Pontiak.

Pitchfork review HERE

*CONFIRMED 8/11*
CLICK THE PICTURE TO RSVP

Purling Hiss (Mem. Birds of Maya, Woodsist/ Mexican Summer Records… http://www.facebook.com/PurlingHiss?sk=wall)

True Widow (End Sounds… http://truewidow.blogspot.com/)

With Guest, TBA

$7// 10pm

Purling Hiss, From Pitchfork; 
Public Service Announcement
[Woodsist; 2010]

7.4
"Tracks like "Porch Dude/Slight Return" begin with a perfectly normal riff. But then the tape wobbles and the music sounds like an accident that’s been reigned in and controlled. The jams are given shape and then ripped apart by recording technique. And these days, when an album sounds this imperfect, you have to assume there’s a reason. It’s 2010, and recording pristine songs takes little more than a good mic and some pirated editing software. It’s up to artists to recreate primitive, raw recordings artificially, and Purling Hiss uses this rawness as a dominant instrument. Without these smudges, Public Service Announcement could play out as an off-kilter, potentially flat version of recycled AM radio gold. With these imperfections, though, it sits comfortably beside other sonic innovators with a vital pop music heart: Ariel Pink, John Maus, and even at times a stony version of Phil Elverum’s warm, all encompassing ambient hiss…. (read full review here… http://173-45-232-224.static.cloud-ips.com/reviews/albums/14916-public-service-announcement/)

ON ALTERED ZONES;
http://alteredzones.com/posts/1546/purling-hiss-hoodoo/


////////////////////////////////////////////////

True Widow, From Pitchfork;
As High As The Highest Heavens And From The Center To The Circumference Of The Earth
[Kemado; 2011]

7.4 


”[…]But there’s a lot more to this band than a generous nod toward their slowcore antecedents. For one thing, True Widow’s guitars are much louder and grittier, with a vast bone-crunching slab of murky distortion laid thick over the snail-paced grooves they settle into. They’ve even taken a stab at coining their own genre, “stonegaze,” to describe this sound, although it’s perhaps unwise to assume this is anything other than an inter-band joke. Some of the titles (“Blooden Horse”, “Skull Eyes”, “Doomseer”) suggest material that is far darker than the wares actually on offer here, but it’s clear that True Widow get their kicks from throwing a spanner in the works on occasion. It’s there in the mysterious, over-long, but strangely fitting title of the record, and in the mix-up of Josh Homme-style churning riffage circa the first Queens of the Stone Age album and the floaty, angelic vocals of bassist Nikki Estill on the opening “Jackyl”.

That song is a fine demonstration of this band’s complete mastery of control— the seething guitar sound of Dan “D.H.” Phillips makes it feel like they might spin off into recklessness at any moment, but they never do. Instead, True Widow slump into ennui and remain locked down there for the duration. The majority of the vocals are sung by Phillips, who enters the fray with “Blooden Horse”, which compliments Estill’s cooing with pangs of foreboding and cold-sweat rumination. The lyrics are wrung out with the same shaved-down discipline as the music, where nothing ever topples over into over-wrought emoting. Despite this rigid adherence to restraint, much of this material proves to be emotionally affecting— Phillips’ work peaks on “NH”, which plays out like a slo-mo dip into the bleak blues of Mudhoney’s “If I Think” and Codeine’s “D”, with great lashes of poignancy added via Estill’s heavily reverbed backing vocals.”

Read the rest of the review here;
http://www.pitchfork.com/reviews/albums/15202-as-high-as-the-highest-heavens-and-from-the-center-to-the-circumference-of-the-earth/

*CONFIRMED 8/11*

CLICK THE PICTURE TO RSVP

Purling Hiss (Mem. Birds of Maya, Woodsist/ Mexican Summer Records… http://www.facebook.com/PurlingHiss?sk=wall)

True Widow (End Sounds… http://truewidow.blogspot.com/)

With Guest, TBA

$7// 10pm

Purling Hiss, From Pitchfork; 

Public Service Announcement

[Woodsist; 2010]

7.4

"Tracks like "Porch Dude/Slight Return" begin with a perfectly normal riff. But then the tape wobbles and the music sounds like an accident that’s been reigned in and controlled. The jams are given shape and then ripped apart by recording technique. And these days, when an album sounds this imperfect, you have to assume there’s a reason. It’s 2010, and recording pristine songs takes little more than a good mic and some pirated editing software. It’s up to artists to recreate primitive, raw recordings artificially, and Purling Hiss uses this rawness as a dominant instrument. Without these smudges, Public Service Announcement could play out as an off-kilter, potentially flat version of recycled AM radio gold. With these imperfections, though, it sits comfortably beside other sonic innovators with a vital pop music heart: Ariel Pink, John Maus, and even at times a stony version of Phil Elverum’s warm, all encompassing ambient hiss…. (read full review here… http://173-45-232-224.static.cloud-ips.com/reviews/albums/14916-public-service-announcement/)

ON ALTERED ZONES;

http://alteredzones.com/posts/1546/purling-hiss-hoodoo/

////////////////////////////////////////////////

True Widow, From Pitchfork;

As High As The Highest Heavens And From The Center To The Circumference Of The Earth

[Kemado; 2011]

7.4

”[…]But there’s a lot more to this band than a generous nod toward their slowcore antecedents. For one thing, True Widow’s guitars are much louder and grittier, with a vast bone-crunching slab of murky distortion laid thick over the snail-paced grooves they settle into. They’ve even taken a stab at coining their own genre, “stonegaze,” to describe this sound, although it’s perhaps unwise to assume this is anything other than an inter-band joke. Some of the titles (“Blooden Horse”, “Skull Eyes”, “Doomseer”) suggest material that is far darker than the wares actually on offer here, but it’s clear that True Widow get their kicks from throwing a spanner in the works on occasion. It’s there in the mysterious, over-long, but strangely fitting title of the record, and in the mix-up of Josh Homme-style churning riffage circa the first Queens of the Stone Age album and the floaty, angelic vocals of bassist Nikki Estill on the opening “Jackyl”.

That song is a fine demonstration of this band’s complete mastery of control— the seething guitar sound of Dan “D.H.” Phillips makes it feel like they might spin off into recklessness at any moment, but they never do. Instead, True Widow slump into ennui and remain locked down there for the duration. The majority of the vocals are sung by Phillips, who enters the fray with “Blooden Horse”, which compliments Estill’s cooing with pangs of foreboding and cold-sweat rumination. The lyrics are wrung out with the same shaved-down discipline as the music, where nothing ever topples over into over-wrought emoting. Despite this rigid adherence to restraint, much of this material proves to be emotionally affecting— Phillips’ work peaks on “NH”, which plays out like a slo-mo dip into the bleak blues of Mudhoney’s “If I Think” and Codeine’s “D”, with great lashes of poignancy added via Estill’s heavily reverbed backing vocals.”

Read the rest of the review here;

http://www.pitchfork.com/reviews/albums/15202-as-high-as-the-highest-heavens-and-from-the-center-to-the-circumference-of-the-earth/

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