BERSERKTOWN 3 Featuring Psychic TV performs "Force The Hand of Chance"

BERSERKTOWN 3 Featuring Psychic TV performs "Force The Hand of Chance"

Mueran Humanos, CC Dust, First Hate, Pop 1280, Cold Showers, Inga Copeland, Rezzett, Powell, Personable, Marshtepper, Container, Yoko and the Oh No's

Fri, August 12, 2016

Doors: 4:00 pm / Show: 4:50 pm


This event is all ages

Official ID required for those who are 16 +
Anyone under the age of 16 must be accompanied by a parent or guardian.

Psychic TV performs "Force The Hand of Chance"
Psychic TV performs "Force The Hand of Chance"
Psychic TV was first born in 50 Beck Road, Hackney in 1982 following his termination of Throbbing Gristle in 1981. Six months later the duo completed the nucleus of the new unit with ex-TG'er Peter Christopherson. By that time Genesis had already conceived, named and pioneered the genre "lndustrial Music" with Throbbing Gristle. Along with the Velvet Underground, Throbbing Gristle is and remains one of the most influential rock groups of the last 30 years; if you haven't heard their music, you will certainly have listened to someone who has. In Throbbing Gristle, Genesis and company synthesized the influences and philosophies of Gen's close friends and collaborators, including Beat writer William S. Burroughs; Beat poet and painter Brion Gysin; psychedelic shaman Dr Timothy Leary; queer activist film maker Derek Jarman; and those of legendary occultist Austin Osman Spare, theorist John Cage and various seminal underground authors, thinkers, artists and film makers. The group "TG" produced some of the most unsettling and thoughtprovoking music of all time. Their pioneering "Industrial" sound and self-sufficient approach to record distribution has had a profound impact, becoming key elements of underground music production and distribution ever since.

Right from the outset, Psychic TV in turn made highly innovative and unflinchingly provocative music blending elements of psychedelia and dance with Industrial sounds (named "HYPERDELIC" by Genesis). As with TG, the details of Psychic TV's packaging, marketing and the radical lifestyle of the musicians were all treated as equally crucial components of the final aesthetic statement. For some 14 odd years, Psychic TV recorded and released dozens of live and studio albums ending up in the Guiness Book Of Records for releasing more albums in one year than any other artist (even Elvis!). Psychic TV was terminated in the mid 90's as Genesis pursued further musical goals with his spoken-word and expanded poetry/video installation project Thee Majesty.

In 2003, artist and percussionist Edley ODowd gently but persistently persuaded Genesis to rekindle her rock spirit and Psychic TV. Edley succeeded and they played their first public show that December. The reactivated ensemble led by ODowd, has been touring the world and releasing music ever since.

The full history of Genesis Breyer P-Orridge and her varied seminal musical exploits of the past three decades as well as her soclo-cultural (or should that be politico-sexual? Or all the above!) adventures would easily fill a book (and has ... Soft Skull/Shortwave Books published "Painful but Fabulous: The Lives and Art of Genesis P-Orridge" in 2003 and more recently with "Thee Psychick Bible" in hardcover in 2009 and paperback in 2010). Genesis continues to exhibit artwork around the globe (Most recently at Art Basel, Miami, The Serpentine Gallery, London and a career retrospective at The Warhol Museum, Pittsburgh).

Already living a creative further chapter of her "life" book Genesis continues to provoke and explore in her very public private life; from replacing all her healthy teeth with solid gold permanent replicas in an homage to Pierre Clemente in Luis Bunuel's "Belle De Jour." Littering the dictionary and culture with new words for new, original ideas Genesis can be said to follow the serious process and joy-filled strategy of "When there is no example imagine it, when there is no
word for it invent one."
Pop 1280
Pop 1280
New York's outfit Pop 1280 emerged with the bleak EP The Grid (Sacred Bones, 2010). What a trip that is: the gloriously stomping voodoobilly Step Into The Grid is just the appetizer, followed by Anonymous Blonde, a tribal version of the Velvet Underground's trademark distorted boogie progression. Then they dive into wild industrial music with the android hissing and rumbling of Data Dump and into feral noise-rock with the infernal, agonizing Midget, and close with the massive rant & noise of Trash Cop. The overall feeling is one of a deranged and depraved orgy.
Cold Showers
Cold Showers
Confidence isn't always born of experience, as seen by the forceful debut by Los Angeles band Cold Showers. Combining influences of late 1970s post-punk with a sonic exploration closer to something from Neu!, it is the carefully constructed spatiality of the music that gives the somewhat minimal lyrics their weight; distant and atmospheric, it lends the hazy vocals a detached, ghostly cast. Moments of aggression and transcendence transform the songs from mere sound to rich sonic narratives: within the rise of the language lies a vision under restraint, a pent up joy that is like nothing else. The resulting sound is unexpectedly tough, vital, and contemporary.
Powell established his Diagonal imprint in 2011 as an outlet for two acclaimed 12s that merged a personal fetish for No Wave, Post-Punk and EBM with a future-facing appreciation of outer dancefloor styles. He has since contributed EPs to Mute's Liberation Technologies and the Boomkat-affiliated Death of Rave. In all of his tracks, live instrumentation, destitute samples, raw synth tones and quickfire bursts of analog noise jostle around sinister, muscular grooves that drift across unconventional rhythmic structures. His DJ sets are fast, unpredictable and surprising — with few records off-limits. He prides himself in merging disparate references into something intense, coherent and unexpected.
Container is the minimal techno project of Ren Schofield of God Willing. God Willing is Ren Schofield, from Philadelphia. He also runs the label I Just Live Here and used to play drums in Dynasty. Occasionally he can be found jamming with Deep Jew.
Yoko and the Oh No's
Yoko & the Oh No's are three friends from Chicago: Max Goldstein on vocals, Max Loebman on guitar, and Stef Roti on drums, a raging trio seemingly fueled by Taco Bell, rock & roll myths, and pilfered booze.

It doesn't quite jive how kids this young (Max L. just graduated high school) managed to tap into a vibe this classic. The band's S/T full-length debut is crammed with classic rock riffs, swinging beats, and up front, the sassy, done-up style of Max G. emoting loosely and widly like a young David Johanson, possessing a crooner's voice and a taste for style. Dolled up in flashy get-ups, Max G.'s voice is a growly, beefy thing, a rangy tenor that belies his taste for soul shouters. The prevailing mood in modern indie garage rock is one of stylistic indifference, but that's not how Yoko & the Oh No's come across; these kiddos don't just care, they care a lot.

Listen to the crashing classic rock chorus of "Heart Attack," the sneering "She Knows It," and the distorted R&B groove of "Nobody Wants to Know." "Talking over radio/on the moonlit drive/We listen to VU/Jane says close your eyes," Max G. sings lovelorn until the brutal kiss-off: "Nobody wants to know if you're telling lies, 'cause I'm dead to you." Max G. sells each lyric the way only a hopped up teen could, and Max L. and Stef crank out the jams behind him like Marc Bolan or the Spiders from Mars, with a barely contained energy and strutting attitude.

Yoko & the Oh No's S/T album is their first for Autumn Tone Records, which has a knack for finding raw young bucks (turn up records by the Orwells, Twin Peaks, and Modern Vices as a testament). Yoko & the Oh No's recently went on tour with likeminded rock & roll weirdos The Growlers, blowing minds and connecting with crowds across the Midwest.
Venue Information:
The Teragram Ballroom
1234 West 7th Street
Los Angeles, CA, 90017