'Sub-chaotic...refined, and well-balanced. This is the kind of music that makes a statement as an art form rather than adhering to traditional musical boundaries. Kind of reminded me of when Bootsy Collins and Buckethead got together.' --Tim Green, on garageband.com 'Two words: noise art.' -Melissa London, Project 12:01 '...every composition on the album is overwhelming, whether pounding out huge grooves or unnerving riffs. One can only hope that Griffin and Petkus continue to stretch the sonic possibilities of lo-fi.' --Fakejazz.com Chicago. 1998. Joe Griffin and Christopher Petkus, each pushing the edge of his own minimalistic envelope, meet while working on an indie film whose non-existence, they both agree, would have been a blessing for the universe. Griffin and Petkus discover. Juxtapose opposites. ^#^voice. chaotic. ^#^hit or strum or pluck. One firm rule -- each session will begin and complete a single piece of music. One Session/One Song. Donny Who Loved Bowling is born. A full-length CD, 'tree fort,' is planned. One Session/One Song rule is discarded in favor of a more relaxed randomness. Petkus returns to Chicago from his new home in Austin for a week in 2001, The two rent an abandoned bar somewhere on the north side. Behind that bar's black door, they bring their instruments, set up their equipment and make music. Developing, pushing, playing. In seven days, 'tree fort' is done. 'tree fort' takes a day-tour through the world of laptops and loops, visiting moody ambient alleyways, raging industrial train stations, lost and found sound departments and graffiti-strewn walls of noise.
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