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Support: Timmy's Organism, The Flying Luttenbachers
GA standing room. All ages.
Accessible accommodations should purchase a General Admission ticket and will be taken care of at the venue day of event.
Psych-punk psychic warrior, ear worm-farmer, and possessor of many stamped passport pages John Dwyer does not let up. His group Oh Sees (aka Thee Oh Sees, OCS, The Oh Sees, etc) have transmogrified to fit many a moment – from hushed druggy folk to groovy demonic pop chants to science fictional krautrock expanse and beyond – to suit his omnivorous whims. It’s common knowledge however, that at their shows, you’re there asking for a beating. 20 years going and the shows keep getting more and more intense, as many a soupy swarm can attest. The locked-in Rincon/Quattrone drum cops propel masses of strangers to froth and lean into each other as the insistent and repetitive underpinning tumbles nimbly from Tim Hellman’s bass. Meanwhile John ricochets breathy yips and snippets of synth and all manner of guitar heroics around your brain canyons while your reptile instincts yell “move”. Brain-stem body rock meets cerebral expanses, and their now du jour prolifically feeds a labyrinthine garden of well-hewn tunes.
Last year’s Orc was a muscular and darkly inventive turn for the group, stretching out further into space while simultaneously sharpening their heaviest inclinations to a rusty point. After a re-visitation of the softer side of the genesis of the group with “Memory of a Cut Off Head”, all signs point to another banger on the horizon as the group decamps this March back to the dusty pecan farm where Orc was spawned for another go-round.
Timmy's Organism began in the late 2000s as the solo project of Timmy Vulgar, longtime frontman of a string of Detroit punk bands including the Epileptix, Clone Defects, and Human Eye.
Vulgar was experimenting at home with four-track recording, using borrowed synthesizers to create ambient percussion for his extremely skewed Beefheart-ian approach to pop music. The first releases as Timmy's Organism came in the form of a string of 7" singles, including a self-titled double 7" on Sacred Bones. By 2009, Vulgar had brought in bassist Jeff Fournier and drummer Colin Sick to back him up, and Timmy's Organism expanded into a touring three-piece, existing in tandem with Vulgar's other highly active vehicle, Human Eye. More 7"s followed, the band leaning toward slightly comedic punk with song titles like "I'm a Nice Guy Now" and "Cold Pizza." The band released its first album, Rise of the Green Gorilla, on Sacred Bones in 2010 and followed in 2012 with Raw Sewage Roq on In the Red Records. In 2014, Chicago indie HoZac Records issued a double-LP collection of Vulgar's various singles and rarities under the Timmy's Organism banner, appropriately titled Singles & Unreleased Tracks. Switching labels again, the trio found a new home with Jack White's Third Man Records, which issued their third LP, Heartless Heathen, in late 2015. ~ Fred Thomas, Rovi
The Flying Luttenbachers
A product of the fertile music scene centered around Chicago's Wicker Park area, the free jazz ensemble the Flying Luttenbachers was formed in 1990 by multi-instrumentalist Weasel Walter, a veteran of area punk bands whose love of the music of avant-saxophonist Hal Russell inspired him to form a jazz group of his own.
Walter soon teamed with bassist Bill Pisarri and others to found the Sound Improvisation Collective, who on a flyer for their March 8, 1991, debut performance described themselves as "the eczema of dada, Ornette, no wave, Partch, punk, Ayler, Company, and Beefheart." After just one other performance, the group disbanded. That summer, Walter met his hero, Russell, and soon began taking sax lessons from him. Their rapport was instant, and in late 1991 they formed the Flying Luttenbachers with saxophonist Chad Organ.
A live date recorded at the Northwestern University radio station provided the material for the Luttenbachers' debut LP, Live at WNUR 2-6-92, issued on Walter's own ugEXPLODE label. However, Russell soon began focusing more and more of his attention on his other band, the NRG Ensemble; with a recording date imminent, Walter quickly replaced him with saxophonist Ken Vandermark, and without benefit of a single rehearsal date, the Luttenbachers cut the 546 Seconds of Noise EP in mid-1992. Russell died that following September, but the group forged on, in 1993 recording the 1389 Seconds of Noise EP, which heralded an increasing turn toward a so-called "punk-jazz" sound. Bassist Jeb Bishop joined soon after, followed a short time later by the addition of guitarist Dylan Posa; sessions for the Constructive Destruction album commenced in late 1993.
Vandermark exited the Luttenbachers in April 1994, although he briefly returned in order to record the LP Destroy All Music. An East Coast tour followed, but during the return trip, Walter announced he was dissolving the group, disgusted by the creative complacency of the other members. He recorded the next few Flying Luttenbachers singles as a solo act before recruiting his longtime pal, Bill Pisarri, and guitarist Chuck Falzone, a friend since back in kindergarten. As a trio, the group cut 1996's Revenge of the Flying Luttenbachers, followed later that year by Gods of Chaos, a conceptual work exploring the possible destruction of humanity. Retrospektiw III, a collection of out-of-print singles tracks and unreleased material, appeared in 1998. The Flying Luttenbachers, with an oft-changing lineup and Walter as the only constant, continued to release an album a year, including 1999's The Truth Is a Fucking Lie, 2002's Infection and Decline, 2004's The Void, and 2006's Cataclysm. ~ Jason Ankeny, Rovi