May New Month Here New Music to Hear

Unfortunately I forgot to bring my camera. I was given it as a birthday present for a trip to Japan; its strange how after going without one for so long I cannot bear to have events undocumented anymore.

May’s New Month here was overall one of the best so far in the series. While it didn’t get going until ten I felt that for the most part all the people there were really supportive and a great part of the scene. Up first was Brian Feldcamp playing in the basement along with a keyboardist, who I had seen play with Greg Brown before, as well as Teaadora herself on drums. I had seen Brian a few times before and while his swampy blues covers are not really my thing I especially enjoyed this; Teaadora on the drums really helped to push the temp and make the songs more of an almost punk feel to them. A couple of times I felt like maybe Brian thought about trying to slow it all down but I’m glad he went with it, worked really well.

Moving back upstairs was Vince Aguilar who plays in local hardcore punk band Night Brigade who are pretty big around these parts and played at one of the Warp Tour dates last year. He was playing I guess what you might call folk punk, very impassioned but thankfully not really over the top.

After Vince, who I met and was a really nice guy, finished his set the keyboardist from earlier fucked around on Vince’s guitar and then played a broken Hammond organ that was sitting around. He then went back downstairs to play his keyboard. Teaadora started messing with the output on the mixer and began to rap and sing along. She then went back to the drums and laid down some pretty crazy breakdowns. By far one of the most entertaining and enjoyable sets of the night.

Back upstairs again for Fredericksburg, Virginia based Sacred Harp (Dan'l Bachman) who was making a stop on his tour with Telegraph: Solar Future. He played four songs that were pretty trippy. The first featured him with this pump accordion and a small microphone attached to his throat. Then he brought out a sitar and played that for awhile. I had never actually heard a live sitar before so that was interesting but I enjoyed the two guitar pieces that he played after it the most.

Next, in the kitchen was The Dirty Disaster or something like that which had a guy playing guitar (or was it a bass?), some dude playing random percussion, and a girl singing. The fun thing was that small percussive instruments were handed out, I was given a cowbell, and everyone got to be involved in their set. That way I wasn’t paying so much attention to their jammy music and was focused on hitting my bell.

From then it was back to the basement for Sacred Harp’s tour mate Telegraph: Solar Future (Bret Rushia) a New York based ambient/drone artist. He had a projector set up and played along to a twenty minute visual collage that focused on lots of trippy light effects. I always appreciate when artists do a little something extra. Similar to what Hastas have been doing lately with their videotape collages, it’s much more enjoyable to watch live ambient/noise/drone when there is something more to watch than just someone turning a knob. Some guy came down halfway through and proceeded to talk very loudly for the rest of it. Picked up a CDR, tape, and DVD of the video from Bret on my way out.

Finally, or at least the last set I watched before leaving at 2 AM, was an improvisational set with Kyle Riley, of Hastas, and Jeremy Ross, of Bo Knows. Completely amazing, one of the best of the night. Kyle had the keyboard he’s been playing lately attached to a ton of pedals and was making dreamy, layered noise while Jeremy attacked his guitar playing a jagged rhythmic pattern that eventually seemed to become dreamier as it went on. Similar to Hastas or when I saw My Bloody Valentine, the loudness of the music and the layering makes it all really mix to the point where you wonder if you’re making up the sounds or if they are actually occurring. Picked up a split from Jeremy with his project Bo Knows and The Rebel. Review to come at some point.

New Day Here New Music to Here

In the past few years, Bloomington-Normal has had a thriving music scene. While this may not have been apparent to the average Illinois Wesleyan student for those looking for off campus musical entertainment, a well connected DIY house show scene existed. Houses like Simple Days, The Kitchen, and Das Fun Haus put on shows nearly every weekend during the school year. Shows were actually in houses; the Kitchen gets its name because bands literally perform in the kitchen of the house. Each house had a specialty as well. Das Fun Haus would mainly have hardcore punk shows, Simple Days would host post-rock and post-hardcore groups, and The Kitchen would occasionally put together a hip hop show together.

The bands that performed were a combination of local groups along with bands from around the Midwest that toured around playing similar DIY venues. To an extent Bloomington-Normal had become part of a large Midwestern underground DIY subculture. By the end of Spring Semester 2009 many things changed: the operators of Das Fun Haus graduated from Illinois State, the guys at Simple Days moved to Chicago, and The Kitchen had already become mostly defunct after IWU student Jason Prechtel graduated early in winter 2008.

In order to regain this community spirit, local musician Teaadora Nikolova has been putting on a series of monthly concerts called New Month Here New Music to Hear. The first took place in January at Maison Fausse where eight acts performed. Many of these same artists also performed again at the second installment which took place February 1st. This show was a little different taking place during Big Jim’s Jams, a radio show on WESN 88.1 FM, regular ten to midnight show.

The newest of these concerts took place last Friday at The Kitchen, which still puts on shows to a limited degree. In order to exhibit as many local talents as possible each performer is limited to only one or two songs. Teaadora tried to change up the format for this latest show, “Unlike the last Blo-No community event, we are asking everyone to play new songs, on top of this we are attempting to bring in as many new faces as possible to play, this time things really will be new,” she said.

Teaadora Nikolova performing at The Kitchen

With the recent breakup of local indie folk act Ohtis, Teaadora Nikolova seems to be the new defacto leader of the Bloomington-Normal music scene. As she has for the last two events, Teaadora began the show playing two new songs by herself on electric guitar. Teaador’s music is of the psychedelic folk variety combining beautifully direct melodies with very droning ambient music. Though with some exceptions, acoustic folk punk duo The Night Brigade, most of the evening’s bands consisted of more noisy, ambient acts compared to the singer-songwriters of the two previous shows.

From the more ambient side was Kyle Brewer performing under the name Tents. With his guitar and an array of effects pedals, Brewer densely layered his guitar and voice to create ambient pop songs. Later Brewer, collaborated with Kyle Riley under the names Hastas and created more loop based music though incorporating some samples a la Canadian post-rock band Godspeed You! Black emperor. Illinois State sophomore Kyle Riley has played at the last two events, using similar instrumentation as the other Kyle though his more direct, emotive melodies are helping him to become a rising figure in the local music scene.

Kyle Riley playing in Hastas

The more noisy spectrum was fully realized by Chicago based The Kremlin. The group features members of Pommel, Death Factory, and William Sides Atari Party. The trio created terrifying noise soundscapes using a wide variety of equipment. Playing around the living room table the group employed the use of keyboards, numerous effects pedals and turned mysterious knobs on even more mysterious metal boxes. The most interesting box they used was an Altoids tin with two knobs.

Michael Krause of The Kremlin

As evidenced by the large turnout at last Friday’s event the biggest issue now facing the music series is the lack of a proper venue. The Kitchen is very small and difficult to fit many people in its performing space. Teaadora tried to rectify this by setting up bands in the living room and in a bedroom. For the next event, to be held sometime in March, Teaadora will need to find a venue that will help to maintain the DIY spirit while allowing a growing number to enjoy the sounds of Bloomington-Normal

We're all just having a good time

New Month Here ̀͠ ೋ́ ͡ New Music to Hear

Tomorrow Big Jim's Jams February 1st 10pm.

Schedule:


1. 10:10-10:20 - Teaadora Nikolova
2. 10:20-10:30 - Torey Kaufman
3. 10:35-10:45 - Kyle Riley
4. 10:50-11:00 - The Cul-De-Sac Kids
5. 11:05-11-15 - Peter Adriel
6. 11:20-11:30 - Christopher Pond
7. 11:35-11:45 - Lynn O'Brien

Check this shit out:
http://www.wesn.org/

Teaadora Nikolova Mansion Show

This blog is quickly becoming the Teaadora Nikolova blog. Last Friday, I attended college radio station WESN 88.1 FM’s meet and greet, which featured a performance by Teaadora Nikolova. There was a great deal of beardos there, which pleased me. I often lament the loss of Teaadora’s epic beard but I guess it wouldn’t make since for him to have a beard. Oh well.

Attendance for this event was invitation only and strictly limited to only those with the coolest beards. The show occurred in a dead lady’s mansion, which really suited Teaador’s drone atmospherics.

Someone from the station had ironically supplied a cookie cake with balloons, knock off Doritos chips, and a jug of blue drink of questionable quality. A wise decision though I spilled some blue drink in my beard that did not want to come out.

Teaadora began to play without any introduction; he started with a new one that I had not heard before. He played probably four new songs, which in contrast with his earlier material were perhaps more accessible. Certainly not a mainstream accessibility but the songs had a lot more clean guitar and was a bit more up beat and less drone.

Granted to describe Teaadora’s music as drone is certainly a misnomer, this is nothing like SunnO))), but live it has that affect. Most of his songs build on repeated motifs that are later dissected to play with the audience’s expectations. In turn, these motifs lure the listener into a subdued state of consciousness. Friday’s show also featured Bandura Rotter/ No Mas Ahora played casio organ, which the simple notes he played helped to add to the droning qualities of Teaadora’s music and further led to the listener’s increasing altered state of consciousness.

In terms of old songs, that I can remember, he played the “What’s What This Conversation” song; he just gave me some titles so I should probably learn them, and the “Don’t Expect Perfect Love” song which I love both of. The last one in particular I find to be the one that has the most prominent effect on me. Even with such sparse lyrics, what there is along with his gentle guitar can make me think about every girl I’ve ever been with and all the sadness that has been wrenched out of those sordid relationships.

As the tears streaming down my face washed the blue out of my beard I felt overjoyed that I was with my bearded brethren and getting to see Teaadora again so soon.

Rumor has it that Teaadora Nikolova, and guests, will be appearing on something called Big Jim’s Jams Februrary 1 from 10 to midnight. Listen at http://www.wesn.org/.

Teaadora Nikolova Sampler Night

Sunday January 10 2010 initiated the first of a proposed series of sampler shows of mostly central Illinois based artists. The event occurred somewhere behind the Beer Nuts factory. A Facebook invitation labeled the even as being on McClun but use of both Google Maps and Mapquest claimed no such address existed. However, there inevitably was a McClun and there was a show there.

The event was organized by Teaadora Nikolva a mysterious Russian (Bulgarian?) refugee/transient.



Teeadora has been moving around the country as of late, he does live in Boston and New York from time to time (possibly), when he does not reside in BloNo. I’ve been acquainted with him for a few years now and it is always quite the delight to see him.

After bracing myself against the below zero weather, my frail body was still deeply conquered by the cold. After some struggle to find the house on McClun, it was found. After knocking on the door and ringing the bell, we entered. After entering the house it was noted that there was no heating. After asking someone if the show was there we passed by typical transgressive art probably made by someone that lived in the rundown duplex or by some Illinois State art student.

I still envied such works of art and the hipster chic appearance of the place. Eventually, a fine fellow directed me to a small upstairs room where the show occurred. Teaadora opened the show uncharacteristically with an electric guitar. He only played one song, the event was a “sampler” after all, which was a shame. I’ve witnessed the spectacle that is Teaadora maybe five or so times now and each is more thrilling than the last. I think he played the “What’s with this Conversation” song; I’ve never known the titles so that is the best I can do. Most of Teaadora’s work is developed so it flows into each other. This song was no different and started to segue into something else before he quit to let someone else play. I enjoyed seeing him play again but this was nothing if not a cock tease. My hope is that he will play a full show whilst still in Bloomington.

Torey Kaufman and band followed. This consisted of female vocals, bassist with death metal bass, guitarist, drummer, and keyboardist. Apparently Torey used to play keyboards live but that practice was given up in favor of her sashaying to her songs. She was fairly attractive. Songs were of a country rock variety. Guitarist was pretty good. The decision to have a five piece band play in a very small room was perhaps unwise. Last song Torey proclaimed to the seated audience that they should dance. No one did.

The order is a bit hazy to me. I apologize.

Kyle Riley, sporting a nice beard, was initially very nonchalant. He produced wave after wave of hypnotic post-rock guitar riffs. He proceeded to loop these riffs into something monolithic. He then crouched down. I eagerly rose up, anxious to see what his next move would be. Kyle began to sing into the mic. The whole thing was chillwave/ glo fiesque but taken to an epic new level. The emotion he poured out was apparent. The muscles in his neck appeared they would burst at any second. They, fortunately, did not. Very good. Usually watching people make loops is incredibly boring (that’s right Bradford Cox) but this was fantastic.

Adam Pressley, of Ohtis fame, made some sarcastic comment about Kyle Riley’s fantastic performance. I did not appreciate. There was some white hair in his beard. I wonder how old he is. Ohtis’s brand of Nerd Folk/Americana is all the rage in Central Illinois right now. I tend to prefer the album Ohtis made when they were in high school rather than the newer one. Anyway he played a few songs that were enjoyable and in that similar style. Of note he began to play Gold Soundz and then segued into Range Life at the chorus. I found this particularly inspired.

After came Morgan Orion, from Chambana, who pretty much plays in that same Nerd Folk/ Americana style though he did seem a bit more earnest than Adam Pressley and took things more seriously. He did seem fairly awkward. His songs were what you would expect: cute and charming. When he managed to get the crowd involved, the group sing along in the tiny room was magical. Morgan had brought up a keytar but did not use it. This was yet another cock tease. He alluded to using Casio beats in some new songs but was just a tease. Evidenced by other groups like Seaby and the Rules, there seems to be a new breed of Post-Nerd Folk/Americana evolving that uses shitty Casio beats and keyboards found at garage sales. I support this wholeheartedly.




Lynn O’Brien played a ukulele. I do not support this.

There were two other acts. One was some blues act. I enjoyed the swampy feel of the accordion but it dragged on forever. There was some other guy that could not sing nor play his guitar. Despues de these two acts, there might have been some other guy too, Adam Pressley came back and played some Bob Dylan covers with Morgan Orion. The bearded hipsters I traveled with had grown cold and lonely and we left. The concert could still be going on for all I know.