‘
Friday, July 24
Frank Hurricane
Aran Ruth
Revigorant
Doors 7:30 pm, $15
It's a wild night of exciting solo sets! Mystical troubadour Frank Hurricane descends from the holy mountains of North Carolina to spread his wry, psychedelic observations of what normal society is up to. A prodigious and creative finger-picking guitarist, Hurricane accompanies his tales with musical aplomb, while veering from stoner goofiness into profundity with a single line or two of lyrics — it's hard to look away.
Detroit's Aran Ruth brings a different take on supernatural vibes and finger-picking, mining a recent obesession with new material looking at a distant future. Kicking off the show is Revigorant, the solo act of Damon Sturdivant from Tyvek, Puffy Areolas and Little Claw.
Frank Hurricane
Aran Ruth
Revigorant
Doors 7:30 pm, $15
It's a wild night of exciting solo sets! Mystical troubadour Frank Hurricane descends from the holy mountains of North Carolina to spread his wry, psychedelic observations of what normal society is up to. A prodigious and creative finger-picking guitarist, Hurricane accompanies his tales with musical aplomb, while veering from stoner goofiness into profundity with a single line or two of lyrics — it's hard to look away.
Detroit's Aran Ruth brings a different take on supernatural vibes and finger-picking, mining a recent obesession with new material looking at a distant future. Kicking off the show is Revigorant, the solo act of Damon Sturdivant from Tyvek, Puffy Areolas and Little Claw.
TICKETS NOW ON SALE
Friday, September 25
Windy and Carl Meet Optigan Conservatory
Opening set by Swartz Et
Kranky Record Release Party
Optigan Conservatory is a duo comprised of Frank Rotondo (Detroit-area free music ensemble Laughing Gas) and Fred Thomas (songwriter and producer, Saturday Looks Good To Me), who have been making minimalistic electro-acoustic sounds since 2016.
In the last days of 2024, Windy and Carl and Optigan Conservatory got together, falling into a mode of sound creation. Windy and Carl’s hovering augmented chord voicings and vapourous guitar drones were paired with electric piano and synth bedding from Frank Rotondo and Fred Thomas. There are echoes of the earliest releases from Windy and Carl as well as refractions of the same opaque energy that surfaced in the early Kranky catalogue. The slightest hints of Optigan Conservatory’s love of glitchy electronics are there within the greater waves of dense sound, and an eerie character grows quickly as the album plays on.
Swartz et is the music project of Detroit-based artist and musician Steve Swartz. His music has been described as atmospheric and immense, largely due to his earliest sound influences as a child growing up among the fields of Iowa and the mighty Great Lakes. The late ’90s found him playing in the Detroit music scene as guitar player for the shoegaze band Au Revoir Borealis. As the band’s activity faded, Steve has continued to explore worlds of sound through guitar, synthesizers and field audio.
Wednesday, September 30
Horse Lords
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.
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.
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.
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.
How does your support help? Your donations go directly to our programming, exhibitions, publishing, media manufacturing, archival work, artist commissioning, project collaborations, educational work and regranting in the form of artist prizes, awards and emergency assistance. We believe that now more than ever, this work is important to the cultral health of our community, both through supporting, highlighting and perserving our region’s cultural legacy and by keeping it in dialogue with devlopments in the rest of the country and the world.