Kikagaku Moyo with Wand and Teton

August 9, 2018 - 9:00pm

Check ou the new KM single:

https://www.stereogum.com/2008046/kikagaku-moyo-gatherings-masana-temples/premiere/

Art by Dorothy Siemens:

https://www.instagram.com/deedeeoho/?hl=en

On Thursday, August 9, the Community Center for the Performing Arts and University of Oregon Campus Radio 88.1 FM KWVA proudly welcome Japan’s Kikagaku Moyo to the WOW Hall along with special guests Wand and Teton.

Kikagaku Moyo/幾何学模様 (Japanese for Geometric Patterns) is the musical union between five free spirits.  Go Kurosawa (drums, vocals) and Tomo Katsurada (guitar, vocals) formed the band in 2012 as a free artist’s collective.  They met Kotsuguy (bass) while he was recording noise from vending machines and Akira (guitar) through their university.  Ryu Kurosawa had been studying sitar in India, upon returning home he found the perfect outlet for his practice.

The band recorded their first EP in a day and posted it to Bandcamp.  On the other side of the world, a small label from Greece was listening and offered to press a limited run of LPs.  Interest picked up through the blogging community and the band found a tight group of dedicated fans around the globe. 

Since 2013 Kikagaku Moyo has released two full lengths, an EP, and several singles. They have toured Australia, the United States, Europe and Japan extensively.  The band members love to connect with people through performing, whether they are playing in a barn deep in a Swedish forest, on a desolate Mediterranean beach, or beside a sleepy river at 2014’s Levitation Fest -- they bring out the magic in everyone present. 

KM’s latest release House in the Tall Grass (Guruguru Brain) was recorded in the winter of 2015/16 in Tokyo.  Their delicate use of melody and soft vocal harmonies contrast seamlessly with fuzzed out sitar riffs and feedback.  To Kikagaku Moyo, a song is like a breath of wind through the leaves or a fish jumping from the water.  Their music is a conversation — sometimes delicate and tender, other times explosive, but always human and always changing.

 

WAND

 

Plum is Wand’s fourth LP since the band formed in late 2013 but their first new album in two years.  After a whirlwind initial phase of writing, recording and touring at a frenetic clip, their newest document marks a period of relative patience; a refocusing and a push toward a new democratization of both process and musical surface.

In late winter of 2016, the band expanded their core membership of Evan Burrows, Cory Hanson and Lee Landey to include two new members — Robbie Cody on guitar and Sofia Arreguin on keys and vocals.  From the outset, the new ensemble moved naturally toward a changed working method, as they learned how to listen to each other and trust in this new format. The songwriting process was consciously relocated to the practice space, where for several months, the band spent hours a day freely improvising, while recording as much of the activity as they could manage.

Previously, Wand songs had generally been brought to the group setting substantially formed by singer and guitarist Cory Hanson; now seedling songs were harvested from a growing cloudbank of archived material, then fleshed out and negotiated collectively as the band shifted rhythmically between the permissive space of jamming and the obsessive space of critique. 

This new process demanded more honest communication, more vulnerability, better boundaries, more mercy and persistence during a year that meanwhile delivered a heaping serving of romantic, familial and political heartbreak for everyone involved.  They learned more about their instruments and their perceived limitations.  Much else fell apart in their personal lives, in their bodies, and the bodies of those near to them.

In this way, Plum lengthened like a shadow underneath a dusking Orange; or rather “Weird Orange”, an affectionate name given to the color of a roulette-chosen, tour-rushed batch of Golem vinyl…an idiom, an inside joke, a talisman, a bookmark, a mood ring… and meanwhile all the shifting weather, the wireless signals, the helicopters overhead.  Weird Orange softened, darkened delicately, and rouged itself to a Plum.

The music of Plum focuses teeming, dense, at times wildly multichromatic sounds into Wand’s most deliberate statement to date, with a long evening’s shadow of loss and longing hovering above the proceedings.  Plum delicately locates the band’s tangent of escape from the warm and comfortable shallows of genre anachronism, an eyes-closed, mouth-open leap toward a more free-associative and contemporary pastiche logic of that more honestly reflects the ravenous musical omnivorousness of the five people who wrote and played it.

           TETON

Teton is the brain-child of Elizabeth Lovell and Sam Klickner, both raised in small, rural towns in Southern Illinois. Klickner, a music school drop-out, primarily self-taught performer and improviser, has recorded four records as the drummer of Chicago’s Wei Zhongle, while Lovell, a classically-trained pianist, fronted various outfits in the midwestern DIY universe, eventually cutting her teeth in composition while working on a research facility in Antarctica. Soon after their romantic collision, the duo relocated to Portland, Oregon to join bassist and fellow, former-Illinoisan Jef Hill. Following a year of intense rehearsals, the band recorded their debut with long-time friend and collaborator David Allen (of International Anthem) and began touring the West Coast. 

The band’s debut, Candy Spelling, is a six song collection of contrapuntal art-pop that synthesizes the disparate traditions of 80’s icons like Kate Bush and Prefab Sprout with the dualistic prog of bands such as Magma and Henry Cow, while taking notes from medieval music and contemporary chamber music. Across lyrical themes of companionship, labor, birth, and the manifestation of intent, Teton delivers a specific sort of abstraction; one which is physically embodied in the album’s artwork (designed by Klickner), with it’s surrealist figurative and architectural forms, painted in dark gradients of burgundies and purples. 

Candy Spelling is a flowing Dalinian songscape, salted with intertwining melodicism that is rarely found in a power trio. Throughout, it's hard to believe that the sounds are being made live by only three people, as the music delivers five musical voices. Lovell delivers vocal lines polyrhythmically against her own quilted, double synth accompaniment. Klickner and Hill provide an erected, powerful back bone — a detailed trellis of rhythm and counter melodies. Of course, there are momentary guest features on the album from Portland luminary Andrew Auble and Wei Zhongle clarinetist John McCowen. 

Teton’s intensely personal sound is perhaps partly the result of the couple’s lifestyle as artist polymaths: Lovell is a clothing and fiber artist; Klickner, a filmmaker and visual artist. Their combined aesthetic across forms is uncanny, dreamlike, and mystifying, with rich dichotomies at play. The songs are both masculine and feminine; delicate and aggressive; welcoming and merciless. Within these 25 minutes of music resides a fantasy world, sustained on dream-logic and chaotic symbolism. Teton embodies their mountainous namesake —a bold and towering ecosystem of taught, woven voices charged with an emotional richness found only in the intimacy of lovers.

Tickets are $12 in advance, $15 day of show.  Doors open at 8:00 pm and showtime is 9:00.

 

Door Time: 
August 9, 2018 - 8:00pm
Cost: 
$12 Advance, $15 Day of Show