Sweet Magic London & McIntosh Gallery present...
at the El Sistema Studio & Gardens at The Aeolian
(former Forest City Gallery location)
795 Dundas Street
A WEIRD AND WONDERFUL SELECTION OF
RARE VINTAGE ANIMATIONS FROM POLAND,
GERMANY, JAPAN, & CANADA (8PM)
A (Jan Lenica; Poland/West Germany, 1965) 10 minutes
- a writer is besieged by an unwelcome alphabet.
THE CONCERT OF MR. & MRS. KABAL (Walerian Borowczyk; Poland/France, 1962) 6 minutes
- an abstract depiction of a feuding couple's descent into absurdity during a piano recital.
MASCHINE (Wolfgang Urchs; West Germany, 1966) 11 minutes
- a richly animated allegory of mechanical invention, progress, greed and destruction.
LA VILLE (Jean-Thomas Bedard; Canada, 1970) 4 minutes
- a hodge-podge collage of cut-out imagery and consumer culture.
AU FOU ! (Yoji Kuri; Japan, 1967) 10 minutes
- a crudely drawn and darkly humorous series of characters meeting their untimely ends.
*** a very special thanks to Martin Heath for providing the prints being screened this evening ***
LONDON ONTARIO CANADA'S
NIHILIST SPASM BAND (9PM)
The NSB was formed in 1965 by a group of people who enjoyed music and wanted to play in a band. There was no desire to learn to play traditional instruments so kazoos were bought and assorted noise makers modified or built from scratch. The band started playing regularly every Monday night in 1966 and has just carried on. The personal has stayed the same. John Boyle (artist) kazoo and drums, John Clement (MD) guitar and drums, Bill Exley (geezer/latinist) vocals, Murray Favro (artist) guitar, Hugh McIntyre (curmudgeon/polymath) bass and Art Pratten (pensioner/gentleman of leisure) Pratt-a-various and Waterpipe. Greg Curnoe (deceased) and Archie Leitch (permanently retired) play less often.
They are revered by the likes of Merzbow, Nurse with Wound, and Thurston Moore (to name a few).
"Canada’s elder statesmen of ear-tickling anti-traditionalism have been a national treasure for nigh on five decades. Deriving their name and modus operandi from the found object street orchestras of New Orleans, the NSB has been tirelessly jamming (almost) every Monday since the late 1960s on a motley selection of modified noise makers. Nothing Is Forever proves definitely that they’ve dipped into the fountain of youth, as this four-song slab from Wintage finds the band sounding as mirthful as ever. The immortal foghorn of Bill Exley booms down from the pulpit, once again setting the stage for Art Pratten’s free-squealing “Pratt-A-Various” and the Sharrockified moves of guitarist Murray Favro. John Clement slides in on his fretless, three-string bass passed down by the late, great Hugh McIntyre, while John Boyle tosses in a kitchen drawer of percussion and well-timed cymbal splashes. Longtime adoptee Aya Onishi gets her time to shine on the instrumental title track, letting loose with a deluge of extraterrestrial squiggles on oversized kazoo. In the end, Exley sums it all up with a plainspoken credo: “Music is hard work. You must practice day after day, week after week, month after month, year after year.” - Weird Canada (on their latest release)
"Taking their cue from the "spasm bands" of early New Orleans, essentially motley collections of musicians performing on found objects, London, Ontario's Nihilist Spasm Band are a fine example of both music and paradox at its most extreme. NSB were founded by local artist Greg Curnoe as a kazoo chorus for an experimental film, and since 1965, this collective have unleashed some of the most abrasive improvised cacophony while remaining comfortably ensconced in one of the more reserved places in the English-speaking world. They played their first gig in 1966, and have performed in mostly the same place every Monday night for 36 years, managing to hold down rather prosaic day jobs like teacher (vocalist Bill Exley), doctor (guitarist John Clement) and librarian (bass player Hugh McIntyre, now deceased).
Now revered by the likes of Merzbow, Nurse with Wound, and Thurston Moore, to name but a few, NSB released their debut No Record on the tiny Allied label to little fanfare way back in 1968. From the opening shrieks on 'Destroy the Nations' ("England is dead! / Destroy America!.../ Sheuggghhhh on Canada!"), you realize that No Record is going to be one hell of a challenging listen. 'When in London' and 'The Byron Bog' reveal the band's free jazz influences, with skronking and screeching horns battling it out, the whole mess carrying on for eleven minutes or so. The somewhat more laconic 'Oh Brian Dibb' (though that may be overstating things a bit here) nudges John Boyles' amplified kazoo into the limelight before devolving into the usual bedlam of homemade instruments. What's even more surprising is that No Record beat out Captain Beefheart's Trout Mask Replica by a full year, and amazingly makes the latter seem like top 40 radio - no mean feat, that." - Canuckistan Music (on their debut recording)
AFTER PARTY AT 758 DUNDAS STREET
& SMS CREW (10PM)
“The aptitude he displays in crafting glitch-oriented, sample rich music suggests that in all likelihood he is in the midst of a meteoric rise from obscurity. His strong suit is his willingness to play relentlessly with rhythm and texture without losing sight of melody […] Blazevic is a name to watch, as his output promises only to improve with each passing release.”
- Stephan Sherman | The Silent Ballet
“Listening to [Dreamsploitation] is like turning a corner from a street lined with protesters complaining about the destruction of beauty to a brilliant little cul de sac of people consciously creating beautiful, light filled breezy works that reposition a person towards the world as a wonderful place.”
- Innerversitysound | Cyclic Defrost
or pay what you can