Monday, September 28
Spiral Galaxy
Viands
Matthew Smith (solo instrumental)
Doors 7:30 pm

For nearly a decade, flutist Sara Gossett and treated machines manipulator Plastic Crimewave have created devotional sonic voyages and droney soundscapes. Utilizing a 70s drum machine pulse, they conjure the textural and kosmische vibe of Germanic seekers like Yatha Sidhra, Popul Vuh, Achim Reichel, and early Kraftwerk. The duo's first album on Cardinal Fuzz/Lion records features special guests Jean-Herve Peron of legendary avant-German collective Faust (whom Spiral Galaxy was lucky enough to open for), Kawabata Makoto of Japanese psych gods Acid Mothers Temple, and guitar wunderkind Ryley Walker. A new LP is due on Cardinal Fuzz/Feeding Tube in Summer of '26, featuring guests like Powers/Rolin Duo, Drazek Fuscaldo, and weirdo legend Bobby Conn, who also produced the cosmic groove platter.   

Spiral Galaxy has toured the UK (playing with Mark Fry and members of Comus) and Europe, and played Chicago Psych Fest, Milwaukee Psych Fest, and The Feed Me Weird Things series.    Plastic Crimewave is the creator of the famed Galactic Zoo Dossier psychedelic fanzine and label imprint for Drag City, and has toured the world as a DJ and leading his own spacepunk units like Plastic Crimewave Syndicate. Sara Gossett is a renowned painter who has done LP covers for releases by Harvey Mandel, Erkin Koray, The Syn, Green Seagull, and more.

Detroit guitarist/songwriter/producer and all-around music guy Matthew Smith planned to perform his solo, abstract instrumental set, but after reflecting on his first time sharing a bill with Plastic Crimewave on September 11, 2001, he’s decided to play some rarities from the Outrageous Cherry catalogue that are evocative of that era.

“Musician and producer Matthew Smith is the hard-working Detroit vocalist that fronts Outrageous Cherry and the Volebeats. [...] [he is ] among the intelligent voices in modern pop [and] straddles the line between alternative country and nostalgic '60s and '70s-style pop.” [All Music Guide].

Electronic music duo Viands formed when multi-instrumentalists David Shettler and Joel Peterson hopped on stage during normal cafe hours at Trinosophes. Drawing on spontaneous thematic material, ambient settings and aleatory elements, Viands constructs a new sonic universe every time they perform. Their long-form epics seem to have structure and development but are the product of the intuitive interplay between members, each of whom have established histories in music-making of all kinds.

---

Wednesday, September 30
Horse Lords
Ben Van Camp
Doors 7:30 pm

[$20 at entry]

Horse Lords were founded in Baltimore, Maryland in 2010. They evolved from the experimental collective Teeth Mountain and began as a trio with drummer Sam Haberman, guitarist Owen Gardner, and bassist Max Eilbacher, soon adding alto saxophonist Andrew Bernstein to the core ensemble. Though Horse Lords grew out of the fertile Baltimore noise and leftfield rock scene, a storied environment for artists and weirdos that has nurtured many an influential outsider band (Lungfish, Matmos), their approach is more omnivorous than the stippled rhythms of instrumental electric rock would indicate.

Across sixteen years of frequent touring, Horse Lords have released ten studio, live, and collaboration albums in addition to a split EP with fellow Baltimoreans Lower Dens, a handful of singles and compilation tracks. For RVNG’s FRKWYS series, the band collaborated with Berlin-based composer Arnold Dreyblatt, a one-time student of La Monte Young and Pauline Oliveros whose just intonation chamber music was a crucial part of the post-Fluxus Downtown New York City environment.

With the relocation of three of the four members to Germany beginning in 2021, the potential for more further creative exploration, and performance opportunities including the Moers Festival (with an 11-piece lineup, interpreting Julius Eastman’s music as well as their own), the interdisciplinary phases of the band’s music was poised for fascinating new directions. The band observes “We are always trying to balance working within the limitations of the quartet and pushing beyond them.

For their second studio album on RVNG Intl., Demand To Be Taken To Heaven Alive!, Horse Lords have followed this notion and augmented the instrumentation, expanding the format slightly to include bass clarinetist Madison Greenstone (TAK Ensemble), trombonist Weston Olencki (Nate Wooley, RAGE Thormbones) and vocalists Nina Guo (Departure Duo) and Evelyn Saylor (Holly Herndon, Caterina Barbieri) across a program of twelve original compositions.

Ben Van Camp of Detroit prog jammers MRKT kicks things off with a solo guitar and synth set.

---

Thursday, October 1
BASIC
Doors 7:30 pm, $16

Working with guitars, drum machine, sampler, self-built electronics, and all manner of percussion, BASIC synthesize the vast influences and distinct histories of the players, producing a boundary-less, rhythm-forward amalgam of art rock, trance jazz, collective improvisation, and humming electronics on their new eponymous full-length for No Quarter, released in June 2026.

Philadelphia’s Chris Forsyth, known for his lyrical guitar compositions and mercurial improvisations as leader of the Solar Motel Band, founded BASIC in 2022 naming the project in homage to the 1984 Robert Quine/Fred Maher album “Basic,” yes, but also to indicate a desire to get down to fundamentals rhythmically and musically. Shortly thereafter, fellow Philly denizen Mikel Patrick Avery, whose subtle and propulsive drumming has provided the pulse for Natural Information Society, Marshall Allen’s Ghost Horizons, and Rob Mazurek’s Exploding Star Orchestra (amongst other projects), joined, bringing his unique combination of programed beats and acoustic percussion - a single drum with a metallic bell affixed and a variety of hand percussion run through a self-devised barrage of electronic processors and tonal filters (many controlled in real-time with touch pads) - to BASIC. Chicago stalwart Douglas McCombs came on board in late 2024 to tour their debut record “This Is BASIC,” thereby solidifying the lineup and expanding the group’s sound. As often heard in his work with Tortoise and Brokeback, McCombs’ playing in BASIC combines a mastery of musical negative space with memorable lines on Fender Bass VI, a six-string instrument with a distinctive twang tuned an octave below a standard guitar, allowing McCombs to function as both bassist and guitarist.

“Basic” inhales all the music that modernity's global connectivity (our blessing and our curse) allows us, tapping Tuareg rhythms here, angular guitar heroics there, scratchy funk, dubby low end shudder and Highlife-y rhythmic percolation everywhere. There's a fresh, intoxicating looseness to BASIC, exemplified by the ethereal flute & mutating samples of ""Index of Memories," the multifaceted interplay between drum loops and overdubbed acoustic guitar on "Premonition," and the keening delay feedback filling up cracks throughout. BASIC is joined on four tracks by the young Philly double bassist (and frequent collaborator of Forsyth’s and Avery’s) John Moran, known for his work in Victor Vieira-Branco’s Bark Culture and the Daniel Villareal Trio.

BASIC’s “Basic” concept is groove-based, full of space and sonic fields both evocatively ancient and bracingly contemporary. It is a truly collective product, balancing individual expression with surrender to the group. On “Basic” the result is entrancing and, if not “non-idiomatic” then something approaching pan-idiomatic.

Most exciting, perhaps, is the potential for a new renaissance of electro-acoustic groove music that fuses non-Western rhythmic boil with acid-psych moves and funky harmolodics that electrify both the body and the deepest neural pathways, and plays with the boundaries between art, technology and boogie.

---

Saturday, October 3
Ellie Falaris Ganelin with  Michael Malis and Joel Peterson
Doors 7:30 pm, $10–$20 suggested

Outstanding flautist Ellie Falaris Ganelin is joined by internationally-minded Detroit musicians Michael Malis and Joel Peterson, in a concert of improvised music with a focus on Hellenic and near-eastern influences.

Ellie Falaris Ganelin is the director of the Kombos Collective, which she founded in 2011 under the name Greek Chamber Music Project. She is a classically trained flutist who welcomes other traditions into the fold, including jazz, Latin, Balkan and klezmer music. She is active as a performer of chamber and orchestral music in the San Francisco Bay Area. Born and raised in the United States, Ellie is Greek and Croatian-American, whose father hails from Thessaloniki. She’s a proficient speaker and lifelong learner of Modern Greek. Her work with the Kombos Collective has been a wonderful opportunity to celebrate and deepen her Hellenic heritage.

Ellie received her B.A. in Music from the University of Maryland, where she also holds a B.A. in Journalism and a Minor in French. For many years, Ellie had a dual career in nonprofit communications, while simultaneously presenting GCMP concerts.

---

Trinosophes Projects is a 501(c)3 non-profit organization in the state of Michigan that supports, documents, facilitates, presesrves and furthers the arts and culture of Detroit. We are an independent, artist-operated entity located in the city’s Eastern Market district. Contributed and earned income goes directly into the hands of the artists we work with, so if you appreciate our efforts, consider making a donation to support our ongoing mission. Click here for a Paypal link. 

---