8/28
Pent Up Release and Kremwerk present
Friday August 28th, 2015
SQUALL
An early evening of punishing noise and depraved electronics
An early evening of punishing noise and depraved electronics
Cruor Incendia
R.Jencks, AZOG, ₮ Σ R M I ₦ Λ L, S6X6S, Crash Worship, Dispirit, Sutekh Hexen
Cathartech
Sonicmunitions, No Tomorrow, Masters Chemical Society
Sonicmunitions, No Tomorrow, Masters Chemical Society
Interracial Sex
Meaning Corrupted, Private Archive, Fusty Cunt
Meaning Corrupted, Private Archive, Fusty Cunt
Furniture Worship
Pent Up Release, PRISONFOOD, Masturbatory Dysfunction
Ambrosia Bartośekulva
Visual Aesthetics
resident
DJ Maire
[KSER 90.7FM The Tunnel]
Kremwerk
1809 Minor Ave #10
Seattle 6pm-9pm 21+ $5
R. Jencks
Oakland, California based experimental / industrial noise artist. Since the late 80's performing under AZOG, SIXES along with Southern California rhythm and noise outfits Crash Worship, Pure and Physics through the 90's. Also Serpents, Carrion/Elk, Burmese, Dispirit and Sutekh Hexen more recently. Numerous collaborations over the years have included Dave Ed (Neurosis), Scott Arford (Radiosonde), Joke Lanz (Sudden Infant), Gerritt Wittmer, Smegma, and Zbigniew Karkowski while catapulting and contributing to several other projects as well.
AJ Lindner, aka cathartech
Over the past decade plus, he has performed frequently his psychology-influenced “brainwave entrainment-core” project, cathartech, and has composed for film and installations. He is currently involved in developing compositions for commercial release and further soundtrack and sound design for independent film. In 2012 he completed a successful west coast tour and was accepted to receive a grant by Storefronts Seattle/Shunpike to generate a public art installation involving sound and video for the City of Seattle. In April of 2013, he was accepted into the artist-in-residence program Sonic Mmabolela, a field-recording and composing project based organized by Francisco López, held in the savannahs of South Africa. He has also participated as the Primary Field Recording tech for the Rafael Anton Irisarri orchestrated Substrata Festival in 2012 and 2013.
Interracial Sex
Confrontational power sextronics. Seething walls of passion and depravity spawn psychotic lust mongering, pill taking, and whole lot of consensual punishment. Brace yourself, lethal pheromone injection detected.
http://www.discogs.com/artist/3387842-Interracial-Sex
http://www.discogs.com/artist/3387842-Interracial-Sex
Furniture Worship
High latitude cascadian noise executioners Felicia Gaggins and Abraham Moses. Killing it, to death.
You've been very bad. Go lay down.
Ambrosia Bartośekulva
Seattle based artist utilizing every medium under the sun and moon. Her works range from the supernatural occult realm to the cosmic quasars of counter culture. Countless sculptures, paintings, and interactive human installations have been catching eyes and captivating the local and world art community. Ambrosia is also quite revered for her buzz generating audio works in projects, WRTCH, Boreas, and Stalebirth.
Stick around after SQUALL
DJ's All spinning the best in EBM, Industrial, and Goth.
ON THE DANCEFLOOR:
You, dressed in your sinful best. Show us how you sin—fetish wear highly encouraged!
$2 BEERS // $4 SHOT SPECIALS
$5 Cover
COME SIN WITH US.
New bar & patio are open and as an added bonus we will have djs on the patio from 7:00pm to 11:00pm
Press from Kyle Fleck at The Stranger:
Kremwerk’s experimental/noise-centered Squall night moves to fourth Fridays, and some A+sado-mathematicians are on tap to welcome it. Furniture Worship is the duo of Felicia Gaggins and Abraham Moses, whose towering obelisks of grit and rust seem to be aurally modeled after a sunburned Tatooine Sand Crawler. AJ Lindner, who goes by Cathartech, takes a gentler but no less frightening approach to sonic sculpting, using modular synthesizers to fashion dilated, paranoid frequencies of drone and feedback. Headliner R. Jencks has been plying his over-cooked analog negative-wave since the ’80s; his music’s a miasma of sound asthick, dark, and inescapable as a tar pit. It’s fun for the hole family. KYLE FLECK
