Xiu Xiu

Xiu Xiu

Bill Orcutt (electric guitar set)

Tue · May 28, 2019

Doors: 7:00 pm / Show: 8:00 pm

$18 adv / $20 door

This event is all ages

Xiu Xiu
Xiu Xiu
It could be handfuls of reds

It could be turning Caravaggio’s ​Boy with Basket of Fruit​ to face the wall

It could be a commission by the Guggenheim entitled ​Deforms the Unborn

It could be the demon Vetis, whose friends call Him The Life Promiser

It could be that in 1918 a pregnant Mary Turner was hung upside down from a tree by a lynch mob while they cut out her fetus & that this could happen today, as it did then, without consequences for whitey

It could be handfuls of natural pearls

It could be collaborations with master Haitian drummers

It could be doing the wrong thing together forever

It could be long lists of how The Devil’s acts towards children before, during & after their possession

It could be short list of produce, insects & imagined blues musicians

It could be handfuls of an insane 9 year old's feces smushed on the lunch table

It could be a psychedelic Chicago house song about a pig & about your parents

It could be your dad’s new husband gave you his boyhood viola

It could be a collaboration with master Yoruba drummers

It could be handfuls of cactus spines & a poison dart

It could be your sister has cancer & they keep chopping parts of her body off

It could be a conscripted arco bass piece that was a dedication to Turkish feminists

It could be Jack Smith has a film called ​Normal Love

It could be scisssssssors, air conditioner tubes, glasses of ice & seashells

It could be handfuls of hot pink Make Noise 1/8inch audio cables

It could be that Nature is making it clear to us that we deserve it and that we are making it clear to Her that we are ready, ready to go

It could be a short novel called ​The Rhythm Section Talked about Drugs, The Horn Players Talked about Ass & The Strings Talked about Money

It could be improvised vocals by Elliot Reed & orchestrated vocals by Eugene Robinson

It could be that European religious paintings of male martyrs depict them surrounded by chubby, adoring angels, everyone’s tearful mothers & converted sex workers dutifully sponging out their holy & shallow wounds

It could be that European religious paintings of female martyrs depict them with their nipples being torn off, throats branded & their naked torsos flayed while they are totally alone aside from the men torturing them

It could be handfuls of Diamanda Galás & Roy Orbison action figures

It could be that despite the confusion of this life, people who can still truthfully call themselves human try to push through 2019’s collecting horror

It could be slowed down & fuzzed out field recordings of disappearing frogs

It could be flat purple & black or glossy black & purple

It could be mescal in a bottle & baby on a boob, hair dyed blonde for nobody, nobody move

It could be handfuls of that you just have to stop being a wuss & deal with it It could be...

Daniel Brevil - percussion
Devin Hoff - double bass, bass vi, bass guitar Emmanuel Obi - percussion
Ayo Okafor - percussion
Elliot Reed - percussion, experimental percussion, vox Eugene Robinson - vox
Greg Saunier - organ
Angela Seo - piano, vox, electronic percussion, organ, harmonium Ches Smith - percussion
Ace Stewart - vox
Jamie Stewart - vox, synths, guitar, experimental percussion, viola River Stewart – vox

A)
Girl with Basket of Fruit
It Comes Out as a Joke
Amargi ve Moo
Ice Cream Truck
Pumpkin Attack on Mommy and Daddy

B)
The Wrong Thing
Mary Turner, Mary Turner Scisssssssors
Normal Love

Recorded by Butch Jenny Stewart at NURSE Additional recording by Tara Jane O’Neil
Mixed by John Congleton at Elmwood West Mastered by Lawrence English at Negative Space

PRODUCED by Angela Seo and Greg Saunier
Bill Orcutt (electric guitar set)
Bill Orcutt (electric guitar set)
Since 2014, software engineer and occasional avant-guitarist Bill Orcutt has been developing an open source computer music program called "I Dropped My Phone the Screen Cracked" and has used it to record two LPs, 2016's "Cracked Music" and 2017's "An Account of the Crimes of Peter Thiel and His Subsequent Arrest, Trial and Execution" which the Wire magazine described as "maddening", "hypnotic" and "oddly pleasant."

As one of experimental music's most influential guitarists, Bill Orcutt weaves looping melodic lines and angular attack into a dense, fissured landscape of American primitivism, outsider jazz, and a stripped-down re-envisioning of the possibilities of the guitar. Whether he’s playing his decrepit Kay acoustic or gutted electric Telecaster (both stripped of two of their strings, as has been Orcutt’s custom since 1985), Orcutt’s jagged sound is utterly unique and instantly recognizable, compared with equal frequency to avant-garde composers and rural bluesmen. The New York Times has called him a "powerful musician... a go-for-broke guitar improviser," and described his sound as "articulated sprays of arpeggiated chords and dissonance."

Orcutt originally appeared on the underground scene as a co-founder of Harry Pussy, whose explosive music combined ‘70s no wave, the ferocity of ‘80s hardcore, and the acrobatic intricacy of Cecil Taylor. Seemingly single-handedly, and over the course of dozens of releases, Harry Pussy built the prototype for noise-rock in the ‘90s and beyond. Throughout, Orcutt (aided occasionally by a second guitarist) wove incandescent, treble-heavy lines through the maelstrom of Adris Hoyos’ percussion. They toured extensively, performing or traveling with bands like Sonic Youth, Sebadoh, The Dead C, and Guided by Voices, before screeching to a halt in 1997. Writing about a 2008 compilation of their work, Pitchfork described Harry Pussy as "just about the most abrasive band America has ever seen."

After a hiatus of over a decade, Orcutt reemerged as a solo artist, at first performing solely on acoustic guitar. Drawing influences from Cecil Taylor (again), Dylan’s Basement Tapes, and the recursive voice of Gertrude Stein, Orcutt began exploring the invisible threads linking free improvisation to the forgotten crevices of the American songbook, from blues to minstrelsy.

Upon his return, recognition was immediate. His 2009 album "A New Way To Pay Old Debts," originally released on Palilalia and reissued by the acclaimed Viennese electronic music label Editions Mego, was named 3rd best recording of that year by WIRE magazine, who praised its "tense muscularity." Orcutt went on to work extensively with Editions Mego, issuing a total of four records under their auspices. NPR named Orcutt's 2011 album "How The Thing Sings" as the 3rd best avant garde album of the year, commenting that his playing would "make Derek Bailey do a double-take". His 2013 album of standards, "A History of Every One," made NPR's list of the year's best new guitar records, and was singled out by the Guardian, who described it as "covers of traditional American songs, deconstructed in lurching flurries of twanging metal." Most recently, Orcutt's 2015 album "Colonial Donuts" was ranked #14 on Rolling Stone's Best Avant Garde Albums of The Year.

Orcutt maintains an active tour schedule, performing in North & South America, Asia and Europe, and appearing at festivals world-wide, including Hopscotch (Raleigh), Incubate (Tilburg), Le Nouveau Festival du Centre Pompidou (Paris) and Unsound (Krakow). Rolling Stone described his performance at 2014's Big Ears Festival as "savage."

In recent years, Orcutt has resumed his paint-peeling electric guitar attack, best represented by his collaborations with drummers (Chris Corsano or Jacob Felix Heule), guitarists (Loren Connors and Sir Richard Bishop), and others (including cellist Okkyung Lee and vocalist Haley Fohr of Circuit des Yeux). His newest work continues the guitarist's signature interrogation of his instrument, yet signals a new phase of cautiously-employed conventional melody and song structure. With each recording and performance, Bill Orcutt continues to invent a sonic vernacular built around raw and tortured tones, ragged minimalism, and seemingly inexhaustible improvisational stamina.

"No one is playing acoustic guitar like Bill Orcutt right now. No one."

NPR

"Quite awe-inspiring, and unlike anything else I can think of."

Wire Magazine

"Anyone can admire the raw soul of his playing and the way he shoots out ideas in real-time, reacting so quickly it's as if he's creating a new language as he speaks it... it's impossible to listen to A New Way to Pay Old Debts without being affected by it."

Pitchfork

"When Bill Orcutt starts playing the acoustic guitar, it's clear there are still so many new things to be said with it."

The Guardian

“Having rehabilitated an old Kay acoustic guitar, slack-tuned to ease the tension on a cracked headstock, Bill had developed a signature style of glottal runs and deep string-bending akin to a 21st century country blues. This, refracted through an increasingly wry presentation, has constituted his re-emergence as one of the most baffling instrumentalists and conceptualists of the time.”

BOMB Magazine
Venue Information:
The Chapel
777 Valencia Street
San Francisco, CA, 94110
http://www.thechapelsf.com