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DISTORTED PONY (US) // ANNE PEDERSDOTTER (AT)

9. November, 19:00

π——π—œπ—¦π—§π—’π—₯π—§π—˜π—— 𝗣𝗒𝗑𝗬
Before the White Stripes, the The Kills, or even Dos, Distorted Pony laid the underpinnings for the male/female rock duo, when, in 1986, a guitar wielding David U. collaborated with bass maestra Dora Jahr to lend their vision to the sagging LA underground.
One year and three drummers later, technology supplied what millions of years of evolution could not, a drummer in the form of a machine. The following months saw the addition of Theodore Jackson, augmenting the machine’s beats with rattling percussive stylings and Robert Hammer’s noise-laden guitar.
In 1990, vinyl had yet to become a nostalgic footnote, instead being used as a means of production for the release of the band’s first 7″ (Piece of Minds Records) and their follow up 12″ EP. „Work Makes Freedom“ (Bomp! Records).
The period between these two records was marked by Distorted Pony’s renewed faith in man and led to the arrival of London May (ex- Dag Nasty/Samhain), a drummer made of flesh and blood.In January 1992, the band recorded their first long player with the help of the affable Steve Albini. The following spring saw the release of their wiredrawn „Punishment Room“ LP (Bomp!) followed by an extensive tour of the US.
Distorted Pony commenced 1993 with a harrowing, blizzard driven tour of the West Coast. By mid-year they were back in Chicago recording their second full-length album, with the same frolicsome Mr. Albini at the helm. Ill will, humidity and physical confrontations resulted in the recording of what is now considered a seminal documentation of noise-era alternative rock and roll.
The collective sentiment that Distorted Pony could never again match such intensity in the recorded form, combined with a shared malaise towards one another, saw 1993 culminating with the demise of Distorted Pony. In 1994, Instant Winner (Trance Syndicate) became the band’s posthumous swansong.
In 2010 the original line up reformed to again provide a sonic noise assault to all comers.
π·π‘–π‘ π‘‘π‘œπ‘Ÿπ‘‘π‘’π‘‘ π‘ƒπ‘œπ‘›π‘¦β€™π‘  π‘π‘Žπ‘Ÿπ‘Ÿπ‘Žπ‘”π‘’ π‘œπ‘“ π‘šπ‘Žπ‘β„Žπ‘–π‘›π‘’ 𝑔𝑒𝑛 π‘π‘’π‘Ÿπ‘π‘’π‘ π‘ π‘–π‘œπ‘›, β„Žπ‘¦π‘ π‘‘π‘’π‘Ÿπ‘–π‘π‘Žπ‘™ π‘”π‘’π‘–π‘‘π‘Žπ‘Ÿπ‘  π‘Žπ‘›π‘‘ π‘œπ‘’π‘‘ π‘Žπ‘›π‘‘ π‘œπ‘’π‘‘ π‘ π‘π‘Ÿπ‘’π‘Žπ‘šπ‘–π‘›π‘” 𝑀𝑖𝑙𝑙 β„Žπ‘Žπ‘£π‘’ 𝑔𝑒𝑒𝑠𝑑𝑠 π‘”π‘Žπ‘‘β„Žπ‘’π‘Ÿπ‘–π‘›π‘” π‘‘β„Žπ‘’π‘–π‘Ÿ π‘π‘œπ‘Žπ‘‘π‘  π‘“π‘Žπ‘ π‘‘π‘’π‘Ÿ π‘‘β„Žπ‘Žπ‘› π‘¦π‘œπ‘’ π‘π‘Žπ‘› π‘ π‘Žπ‘¦ β€œπ‘‡β„Žπ‘’ π‘π‘Žπ‘π‘¦π‘ π‘–π‘‘π‘‘π‘’π‘Ÿβ€™π‘  π‘™π‘œπ‘ π‘–π‘›π‘” β„Žπ‘’π‘Ÿ π‘β„Žπ‘’π‘Ÿπ‘Ÿπ‘¦ π‘œπ‘› π‘‘β„Žπ‘’ π‘π‘œπ‘’π‘β„Žβ€β€¦..Portland Weekly
π—”π—‘π—‘π—˜ π—£π—˜π——π—˜π—₯π—¦π——π—’π—§π—§π—˜π—₯
Anne Pedersdotter drags us deep down a mind-bending vault of minimal electronics, magnetic rhythms and manipulation, with a distinct tendency to brittle and blur reality. Is it a ketamine-rush (053), an unpreventable system error (Computer), a swirling glance through the distorting mirror (Light)? Stolen voices creep in intermittently, deadpan and cinematic, punctuating β€žNoisingβ€œβ€™s steady thought provoking suspense.
The raw and obfuscating tonal ambience of A.P.’s extended experiments in repetition and processed mutations combine cold-blooded elements of German synth music with the tenaciously pulsating flows of cosmic kraut and 90s hip-hop, as well as the twitchy and throbbing elements of early industrial. A contagious compulsory exercise in electronic no-frills primitivism, trippy to the bone.
VVK: 15 / AK: 18

Details

Datum:
9. November
Zeit:
19:00
Webseite:
https://fb.me/e/1iTEYYdE0

Veranstaltungsort

Rhiz
GΓΌrtelbogen 37/38
Wien, Wien 1080 Γ–sterreich
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+43 01 409 25 05
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