2nd Shift Concert: 75 Dollar Bill
Jun
8
7:30 pm19:30

2nd Shift Concert: 75 Dollar Bill

Doors open at 7:30pm and the show begins at 8:00pm. Arrive early and enjoy a self-guided tour of the museum!

75 Dollar Bill is a duo from New York City featuring guitarist Che Chen and percussion player Rick Brown. Using an array of cheap, homemade and found instruments, they channel Mississippi drone blues and Arabic modal music in hypnotic, frequently ecstatic explorations. It’s some of the wildest, most mesmerizing music you’ll hear this year.

"It’s hard not to slip into ridiculous hyperbole when it comes to 75 Dollar Bill. Best band in New York City? Best band in the USA? Best band in the universe? Whatever conclusion you come to personally, you’re gonna love the instrumental duo of guitarist Che Chen and percussionist Rick Brown. – Tyler Wilcox, Aquarium Drunkard

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

BAND WEBSITE: 75dollarbill.bandcamp.com

VIDEOS:

 

FAQs

Are there ID or minimum age requirements to enter the event?

The event admission is all ages. For beer and wine service, you must be 21+ with valid proof of age presented upon entry to the Museum.

What are my transportation/parking options for getting to and from the event?

There is NO Museum Visitor parking at the Francis Cabot Lowell Mill facility where we are located. We ask that you use the nearby public parking facilities.

Maps and directions to both the Museum Visitor Entrance and Parking can be found here:  http://bit.ly/2d1en4D

75 DOLLAR BILL PRESS:

New York Times Profile of 75 Dollar Bill  

“They’ve definitely nailed down a thrillingly original sound, centered around Chen’s specially designed quarter-tone guitar — something about his tone cuts right to the quick, with North African riffs blending into juke-joint boogies into more avant territory. Brown’s impressively minimalist setup (he mostly plays a wooden crate) is a perfect fit, adding a hypnotic thump to the mix. The whole thing is a little hard to describe, but trust me on this: 75 Dollar Bill is amazing” –– Aquarium Drunkard

"A scorching adventure into where Rock & Roll should be. It’s unfamiliar, laden with risk and rebellion, and embodies the cross cultural collision that we should all hold as an ideal." –– Bradford Bailey, The Hum

“As Mr. Chen stood playing hypnotic guitar repetitions, moving with the stresses of the riffs, the drummer Rick Brown sat on a square wooden box, open in the back, and attacked it from above. Sometimes he used his heel to bounce on a kick-drum pedal, pointing backward toward the box; mostly he was striking the sides of the box with his hands and a homemade mallet, hard, finding different pitches in different places. He cued transitions in the music, building odd or compound rhythms, turning them around and blurring distinctions between downbeats and upbeats. On the surface, the rhythms were only secondary to the guitar lines; deeper down, they were enfolded. One couldn’t do without the other….

This band has a more specific reference point: Mauritanian music played by Moorish griots on electric guitar at weddings and special occasions. Last year, Mr. Chen, who is Taiwanese-American, studied briefly in Mauritania with one of that music’s great practitioners, the guitarist Jheich Ould Chighaly. What Mr. Chen and Mr. Brown have done since then — releasing an excellent four-song cassette on Bandcamp, and playing at bars, nonprofit spaces and on the street in Chinatown — has something to do with that Moorish tradition, but it’s also distinct by feel, temperament and material.

Musicians like Mr. Chighaly use specific ancient modes for specific functions; Mr. Chen used only a few on Saturday, on a guitar refretted like Mr. Chighaly’s to produce quarter-tones. For the rest of the set he played a regularly fretted 12-string guitar, working in scales that suggested any number of other musical traditions — including what could have passed for American blues or metal in “Water in the Lock,” which swung between an odd meter and a slow, nasty stomp.” –– Ben Ratliff, New York Times

"...[A] gloriously mind-frying, ritualistic splatter of Zen blues and Arabic and African music-influenced riff-rock repetition… –– Brad Cohan, The Observer

 


May
18
7:30 pm19:30

2nd Shift Concert: Peter Evans (solo trumpet)

Doors open at 7:30pm and the show begins at approximately 8:00pm

“With each new composition, trumpeter Evans seems to reach an even higher level, both in terms of virtuosity and imagination. He also pushes his music to levels which border on the fantastical—so accelerated are they with a flood of convoluted themes, so acrobatic in their near-impossible structures. “ –– Downbeat

His reputation among freethinking trumpet players is ironclad, a function of superhuman precision and a trailblazing technical vocabulary. –– The New York Times

We’re proud to welcome Peter Evans to the 2ndSHIFT Music Series. Evans’s astonishing technique, and unwavering commitment to breaking new ground, has established him as one of the leading jazz and improvisational musicians of his generation. His work has helped spark a resurgence of innovation and exploration among his peers, and offered listeners a fresh, adventurous perspective on where jazz may be headed. Evans’s contributions as composer, bandleader and collaborator have drawn acclaim from The New York Times, Downbeat, Rolling Stone and more.

ARTIST WEBSITE: http://pevans.squarespace.com/

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

Presentation: "Steampunk Art & Design: The Philosophy, Process and Pictures"
May
13
12:00 pm12:00

Presentation: "Steampunk Art & Design: The Philosophy, Process and Pictures"

What is Steampunk? Steampunk art and design uses the core principles of both STEAM and Victorian-era industrial style to reimagine, make, create (recreate), and infuse a vision of the Future and answers the question: "What would the past look like if the future had happened sooner?"

In this one hour presentation, Bruce Rosenbaum, who the Wall Street Journal dubbed "The Guru of Steampunk" will bring you through his inspirations and his own work to show you how he is able to create virtual time machines by fusing the past with the present and future.

May
4
7:30 pm19:30

2nd Shift Concert: Charlie Parr

Doors open at 7:30pm and the show begins at approximately 8:00pm

Charlie Parr is singer, guitarist and banjo player from Duluth, Minnesota. His playing reflects a lifelong fascination with early 20th century blues and gospel music. The depth and humanity of his playing set him apart, and his compelling performances have made him an audience favorite throughout the US and Europe.

Few modern musicians playing roots music live those roots like Parr. His heartfelt, plaintive original folk blues and traditional spirituals don’t strive for authenticity: they are authentic.  It’s the music of a self-taught musician who grew up without a TV –– but with his dad’s recordings of American greats like Charley Patton, Lightnin’ Hopkins, Memphis Minnie and Woody Guthrie. With his scraggly hair, father-time beard, thrift-store workingman’s flannel and jeans, and emphatic, throaty voice, Parr looks and sounds like he would have fit right into Harry Smith’s “Anthology of American Folk Music.”

Parr’s inspiration is drawn from the alternately fertile and frozen soil of Minnesota; his songs exude a Midwestern sensibility and humility. Parr grew up in the Hormel meatpacking city of Austin, MN (population 25,000) where the world's favorite tinned meat, Spam, is still manufactured. The combination of growing up with both of his parents working proud union jobs in an industrial meat factory and his largely rural environment had a profound impact on Parr.

"Every morning you'd hear the [factory] whistles blow, and they had the stockyards and animals there, so you were surrounded by this atmosphere," Parr says. Out the back door were soybean fields, as far as the eye could see. "As a kid I thought it was kind of boring, but now I go and visit my mom and I think it's the most beautiful landscape there is."

All of this comes to bear in Parr’s music, which is unfailingly simple, real and direct. He’s a blues player but, like all great musicians, what he does is ultimately less about genre than it is about soul. And, in the end, soul is exactly what makes Charlie Parr such a generous, compelling performer. 

Photo Credit: Peter Lee

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

Artist Website: http://www.charlieparr.com/

 

 

An Evening with Mary Gauthier
Apr
27
7:30 pm19:30

An Evening with Mary Gauthier

“…Louisiana-raised Mary Gauthier has become one of Americana music’s most admired artists—across the U.S. and in her regular tours around the world.”  ––  Wall Street Journal

Eventbrite - 2nd SHIFT Music Series Concert: Mary Gauthier

Doors open at 7:30pm and the show begins at approximately 8:00pm. Arrive early and enjoy a self-guided tour of the museum!

In a Nashville bookstore, to the tune of steam hissing from a latte machine and laptop taps of nearby browsers, she speaks in a low voice, yet communicates urgently. Her voice never rises. Her music never rattles rafters or crashes like cymbals toward the high notes in a power chorus. Her tempos shuffle and trudge more than they dash.

And her songs? They're about as idiosyncratic as anything in the wide world of "popular music." They're painfully personal, especially on Trouble and Love. Yet they somehow infiltrate the souls of her listeners, no matter how different the paths they've followed through their lives.

Those songs weren't so much written as harvested by Gauthier. Though she lives not far from the hit-making mills of Music Row, she admits to knowing nothing about how to write on command.  She says, "I have to be called to write. The call comes from somewhere I don't understand, but I know it when I hear it."

That call first came to her a long time ago. Her life to that point had led her to extremes, plenty of negatives and a few brilliant bright spots. An adopted child, who became a teenage runaway, she found her first shelter among addicts and Drag Queens. Eventually she achieved renown as a chef even while balancing the running of her restaurant with the demands of addiction to heroin.

Two more successful restaurants, an escalating addiction, and a subsequent arrest, led her into sobriety. All that was rehearsal for what to follow, when she wrote her first song in her mid-thirties.

From that point, Gauthier channeled a long line of works, almost all of them eloquent in their insight, burnished by her writing technique. A core of devotees came to await each next release. Their wait ends, for now, with Trouble and Love.

This time, Gauthier's songs rise from what she describes as an especially dark period. "I started the process in a lot of grief," she explains. "I'd lost a lot. So the first batch of songs was just too sad. It was like walking too close to the fire. I had to back off from it. The truth is that when you're in the amount of grief I was in, it's an altered state. Life is not that. You go through that. We human beings have this built-in healing mechanism that's always pushing us toward life. I didn't want to write just darkness, because that's not the truth. I had to write through the darkness to get to the truth. Writing helped me back onto my feet again. This record is about getting to a new normal. It's a transformation record."

The heart of that transformation, beating within Trouble and Love, is love. But it’s not the kind of love that's celebrated on pop charts. In those tunes, love is its own end; the story stops as the giddiness sets in, with no hint of what may follow. Gauthier knows better; she has the scars to prove it.

"For me, love has been a real challenge," she admits. "Attachment has been a challenge. This record is about losing an attachment I actually made. The loss of it was devastating because I hadn't fully attached before to anyone. The good news is that I can. The even better news is that I can, and I can lose, and live. Not only do I live, but I've got a strength that I never had before."

Trouble and Love would fall or rise on the question of whether it crystalizes Gauthier's experience and conveys it to those who want to feel it, as if the poetry of her lyric can mirror and illuminate what they too have gone through. To help make this happen, she invited a small group of singers and musicians into Nashville's Skaggs Place Studio, each one chosen because of his or her ability to find the heart of the song. No one was given a lead sheet or an advance demo or even headphones. The backup vocals were invented on the spot. The microphones were vintage, and the songs were cut live, to tape. Everyone stood together in the room, playing to what they heard in the lyric as well as from what was going on in the moment.

"I took away everything that musicians lean on to feel invulnerable," she explains.

All they had to work with was a brief rundown of each song from Gauthier in the control room, right before the tape rolled. "I wanted them to feel it in real time," she continues. "You don't want to sound real with songs like this. You want to be real. That’s what I strive for as a writer, and that's what we got in the playing."

Feeling their way through the process, these extraordinary participants -- guitarist Guthrie Trapp, keyboardist Jimmy Wallace, bassist Viktor Krauss, drummer Lynn Williams and singers Beth Nielsen Chapman, Ashley Cleveland and Darrell Scott, Siobhan Kennedy and The McCrary Sisters -- probed and then brought life to Gauthier's compositions. In their hands, and in her fearless vocals, the songs resonate like tolling bells.

We hear "a body's but a prison when the soul's a refugee" in Oh Soul. The last embers of affection flicker and die on When a Woman Goes Cold, (“Scorched earth cannot burn.”) "A million miles from our first kiss, how does love turn into this?" is just one of the bitter riddles posed in False From True. Irony colors the chorus of Worthy: "Worthy, worthy what a thing to claim. Worthy, worthy, ashes into flame."

This is deep and dangerous poetry, and Gauthier leads us through it with relentless candor. Yet tenderness is always near, enough to keep us engaged through the final track, "Another Train."

"I wrote that one in England during a long, long tour," she remembers. There was a sign at a station: There'll be another train at 14:02.' So I started working with 'another train.' The song evolved. It doesn't start the way it ends. It zigged and it zagged. I let it talk to me. It's so interesting, because when I saw 'another train,' boom, that whole story was in there -- but I had to go find it. I had to dig, like an archaeologist."

In the very last line of the song is the benedictory thought of the entire album. "Another Train" bathes all of what preceded it in a glimmer of hope. It a fantastically concise and powerful ending -- and entirely intentional--  “There’ll be another train.”

"This album reflects a total human experience. Love, loss, and a life transformed." Gauthier sums up. "It's not a random collection of songs. This record is a story. It's about trust and faith and believing that there's a plan and a flow. And the flow is where the good stuff is because there's wisdom in the flow. At the core, we're all cut from the same cloth-- the same dreams, the same brokenness, the same desire for companionship and family and home. Yeah, we all have that. And if I don't go deep enough into that, it's a problem.

"There's no such thing as going too deep."

Amen to that.

ARTIST WEBSITE: www.marygauthier.com

Eventbrite - 2nd SHIFT Music Series Concert: Mary Gauthier
Eventbrite - 2nd SHIFT Music Series Concert: Mary Gauthier

Apr
23
7:00 pm19:00

Boiler House Jazz: Eric Dahlman's Glacier Project

Doors Open at 7:00, music begins at 7:30.

On his latest album Glacier, Dahlman swings open the curtains that reveal another state of mind, where music is liberated from any stylistic and melodic shackles. –Stacey Zering, No Depression

Trumpeter Eric Dahlman’s latest album Glacier is “a vast canvas of aural paintings featuring ambient collages, chants, and sound effects, tied together by haunting meditative and often experimental jazz.” – Jeff Fitzgerald, Psychedelic Waves. 

No Depression’s Stacey Zering states: (Glacier) “is liberated from any stylistic and melodic shackles. A hallucinatory dreamscape, song craft as poetry.” 

Master drummer and Glacier contributor Rakalam Bob Moses describes the album as “a mysterious, mystical masterpiece that is spacious, otherworldly and beautiful.” 

Dahlman, who also plays electric autoharp, electronics and throat sings will be joined by guitarist and balalaika player Tim Mungenast (Tim World, Ken Lovelett), and multi-percussionist Michael Knoblach (Cul de Sac, Bob Moses). 

Dahlman has performed with the Aardvark Jazz Orchestra, Hal Russell and Sound artist Jed Speare. Tim and Eric have a new album ‘Tunnel Sessions,’ recorded in an abandoned train tunnel in Clinton, MA. Dahlman and Knoblach are members of ethnofolk/improv group Auddity and free jazz collective Little Mystery.

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

Apr
20
7:30 pm19:30

2nd Shift Concert: Lonnie Holley

Doors open at 7:30pm and the show begins at approximately 8:00pm

Lonnie Holley is a self-taught sculptor and musician from Atlanta. His sculptures, constructed from found materials, are in the collections of The Whitney Museum, The Smithsonian and The Metropolitan Museum of Art. In 2012, at age 62, Holley made his debut as a recording artist. His improvised songs defy easy categorization, but their humanity, unconventional beauty and surprising catchiness have brought Holley critical acclaim. He has released two albums on the Dust-To-Digital Label, and performed with David Byrne, Daniel Lanois and Bill Cunningham and many others.

Holley was born on February 10, 1950 in Birmingham, Alabama, at the height of the Jim Crow era. His early life was chaotic. From the age of five, Holley worked various jobs: picking up trash at a drive-in movie theatre, washing dishes, and cooking. He lived in a whiskey house, on the state fairgrounds, and in several foster homes.

Since 1979, Holley has devoted his life to the practice of improvisational creativity. His art is born of struggle, hardship and a furious curiosity which manifests itself in drawing, painting, sculpture, photography, performance, and sound.

Holley’s songs and lyrics are improvised on the spot and morph and evolve with every event, concert, and recording. No two songs, and no two shows, are ever the same. The layers of sound in his music are the result of decades of evolving experimentation.

2017 promises to be a busy year for Holley. In January, an exhibition of his art will be shown at the Atlanta Contemporary Art Center. In May, an exhibition entitled Thumbs Up for the Mothership (a two-artist show with Dawn DeDeaux) will premiere at MASS MoCA. In the summer he will be collaborating with Lee “Scratch” Perry on a project that will include visual art and performance, and that same summer, the exhibition of his art from the Souls Grown Deep Foundation will open at the Metropolitan Museum of Art. His next album will also be released in 2017.

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

ARTIST WEBSITE: http://www.soulsgrowndeep.org/artist/lonnie-holley

ARTIST VIDEO:

All Rendered Truth:

Mama’s Little Baby:

ARTIST REVIEWS:

“Both records are prismatic, with Holley contemplating consumerism and cruelty, slavery and survival over arrangements that seem at once simple and surreal. Each of Holley’s stories and songs are gentle but genuinely concerned sermons, delivered from a pulpit flooded with neon air. On stage and in the studio, he improvises all of his lyrics, depending only on some themes jotted down or plucked from the stories he’s lived or learned during the last six decades. …. There is a truly alien aspect to Holley’s music, which engenders a disconnect between the past and present through its mere existence: Holley’s voice feels old, his wisdom earned and real. But the sounds and structures his songs embrace seem somehow futuristic, devoid of a need for steady chord progressions, dramatic resolution, or the momentum of verses and choruses.” –– Grayson Currin, Pitchfork

“Haunting vocals accompanied by rudimentary keyboard effects, progressing without any traditional song structure — no choruses, chord changes or consistent melody whatsoever... a raw voice plucked from a lost world, evoking the visceral authenticity of a crackling acetate…” –– Mark Binelli, New York Times

“The music he makes sounds like it comes from some other place. It's so elemental, so stark and ripped from the ground, there should be no mystery how his first record, last year's Just Before Music, got its title: it sounds old and draws on principles that have been long forgotten…. Keeping A Record of It has a droney, nocturnal waft, and his electric keyboard playing can sound like avant-garde music made by somebody obsessed with repetition and simplicity…. His singing suggests backwoods gospel testifying from some unnamed church of the swamp… Everywhere Holley's lyrics refer to slavery, the church and universal ecology. They are mystical and emphatic.” – RJ Smith, NPR

 

Apr
19
7:00 pm19:00

Waltham Film Factory Screening: Life on the V: The Story of V66

Screening begins at 7PM. Doors open a half hour before.

Prior to the screening, there will be a special tribute to producer Matthew Nerney. Following the film will be a Q&A with director Eric Green, moderated by filmmaker Michael Bavaro.

On February 12, 1985, V66 went live on the air and created an immediate sensation. V66 was in the right place at the right time to showcase Boston's superstar acts of this era. They played a wide variety of music genres and often times they played local unsigned bands in between international superstars. Sometimes they even made their own versions of music videos as well.

The fans on the street, dancing at the clubs and calling in to win contests became as much a part of the channel as the music being played. Celebrities and rock stars would often stop by V66, sometimes unannounced.

On September 21, 1986, V66 signed off the channel 66 airwaves. While V66 wasn’t around for very long, the influence was immense. Fans never forgot it in the decades since.

Apr
13
7:30 pm19:30

2nd Shift Concert: Jolie Holland

Doors open at 7:30pm and the show begins at approximately 8:00pm

http://joliehollandmusic.com/

 

“Her songs are about love and jealousy, traveling and exhaustion, desire and loss. They’re rampant with beautiful losers... It’s her voice that broadens her work and makes it curious…when she sings she becomes a hungry museum of stray voices…. “ –– Ben Ratliff, New York Times

 

It’s nearly impossible to categorize Jolie Holland’s music. Dark, sultry and soulful, it runs the gamut, from folk and jazz to blues and rock ‘n’ roll. Her work channels the hopes, longings, strangeness and darkness that you’ll find throughout the canon of American traditional music.

Holland grew up in Texas. By her teens she had learned piano, guitar, and fiddle, and was performing as a traveling musician. In the late 1990s she traveled to Vancouver, where she played with The Be Good Tanyas. She has since gone on to release a series of solo albums, including Catalpa, which Tom Waits nominated for the Shortlist music prize.

While Holland has made a name for herself as a songwriter, her work inevitably reflects the presence, and the ghosts, of 18th and 19th century American traditional music. Maybe she’s not singing about The Roving Gambler, Pretty Polly or Frankie and Albert. But you sense they’re near, in the shadows or in a room down the hall. It’s Holland’s ability to conjure the persistent spirits of our collective past that makes her work so powerful, and so compelling.

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

 

Dark Days:

 

Waiting For The Sun:

 

 

 

Apr
9
7:00 pm19:00

Boiler House Jazz: Albino Jorge Mbie

Doors open at 7:00, music begins at 7:30.

“Albino is the next up coming guitarist and composer from Africa with fresh ideas. He needs to be heard by the whole world!”   –Lionel Loueke, Blue Note Records recording artist

Albino Mbie is an award winning Musician, Guitarist, Singer, Composer, Sound and mixing engineer born in Maputo, the capital of Mozambique, a country in southern Africa known for its rich musical and cultural heritage. Fueled by the resourcefulness and determination that have always characterized Mozambicans, he built his first guitar at 16 from a 5-liter can of oil, scrap wood, and strings made out of electrical cords.

While studying music education and Performance at Universidade Eduardo Mondlane in Mozambique, he heard about the Berklee College of Music in Boston, USA, where he could expand his musical horizons. Soon after, Mbie was one of the first students to receive a full scholarship to Berklee through the African Scholars program. In 2009, he settled in Boston, Massachusetts.

He graduated from the Berklee College of Music in Performance, production music and sound engineering and Minor in acoustics and electronics in 2013 .

Albino Mbie released his first album titled ”Mozambican Dance” in July 2013 with 12 original compositions, and musicians from 16 countries in 2014 .Album awards: First Place for ”International Song writing Competition” in the category of World Music (USA)

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

ARTIST WEBSITE: http://www.albinombie.com/

VIDEOS:

Sculpture Race Design Workshop
Apr
9
1:00 pm13:00

Sculpture Race Design Workshop

Get ready to roll! Come learn how to create an entry for the Community Sculpture Race, a 4/10 mile tour of wheeled arts and crafts on the loopy sidewalks around the soccer field at Danehy Park in Cambridge, followed by an 2-hour exhibition of everyone's projects. The race is on April 23rd, as a part of the Cambridge Science Festival, so it's time to get to work!

For anyone thinking about racing an artwork in this year's event Jeff Del Papa, chief engineer for People's Sculpture Racing, will get you off to a flying start. Learn how to construct what is normally considered a stationary art form using a minimum of tools and straightforward materials, make it able to move under your human power, complete with animated bits, and how to get it all to (hopefully) hang together until you cross the finish line.  

This is an event for families (yes, bring the kids), teachers, scouting (or similar) groups and others looking for an interesting project, one that combines art with engineering, to occupy the upcoming school vacation week. The workshop is free with museum admission.  

About the speaker:  Jeff is a Maker, card carrying NERD, and a builder of strange things.  He founded the first American team to appear on the engineering competition show "Junkyard Wars".  He teaches at the Somerville kids makerspace "Parts and Crafts" (he also runs team building events for adults), is the current president of the New England Model Engineering Society, and Chief Engineer for People's Sculpture Racing.

2nd Shift Concert: Xylouris-White
Apr
6
7:30 pm19:30

2nd Shift Concert: Xylouris-White

Doors open at 7:30pm and the show begins at approximately 8:00pm. Arrive early and enjoy a self-guided tour of the museum!

Xylouris-White is lute player George Xylouris and drummer Jim White (Dirty Three, PJ Harvey). They’re master musicians whose expansive and frequently hypnotic work is characterized by a sense of endless exploration. The duo’s use of space within its songs suggests a sense of possibility and a freedom to see, find and invent. Xylouris-White has toured relentlessly in the last few years, bringing its unmistakable music to audiences throughout Europe, Australia and North America.

“More and more, it seems the duo are inventing a new musical language, one based on deeply telepathic interplay and pure, transcendent abandon…  some of the heaviest music you’ll hear in 2016.” –– Aquarium Drunkard 

“A thrilling musical foray into avant-garde folk.” –– The Guardian

WEBSITE: www.xylouriswhite.com

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

VIDEOS:

FAQs

Are there ID or minimum age requirements to enter the event?

The event admission is all ages. For beer and wine service, you must be 21+ with valid proof of age presented upon entry to the Museum.

What are my transportation/parking options for getting to and from the event?

There is NO Museum Visitor parking at the Francis Cabot Lowell Mill facility where we are located. We ask that you use the nearby public parking facilities.

Maps and directions to both the Museum Visitor Entrance and Parking can be found here:  http://bit.ly/2d1en4D

BIO

When Xylouris White recorded their second album, this most intuitive and inquisitive of duos did what comes naturally to them: expanded their horizons. For George Xylouris, the Cretan lute player who partners here with the Dirty Three’s preternaturally fluent Australian drummer Jim White, one aim was to extend a core metaphor of their ruggedly visionary debut album, 2014’s Goats. “Like goats walking in the mountain” is Xylouris’ poetic analogy for their approach: “They may not know the place, but they can walk easily and take risks and feel comfortable. Really, the goats inspired us.”

That exploratory pitch is matched by the majestic Black Peak, named after a mountain top in Crete and, says Xylouris, “recorded everywhere”. A peak in both artists’ careers, the album testifies to their determination to stretch the scope of their instruments and forge something vigorously questing from more traditional roots. Where Goats was mostly instrumental, Black Peak gives Xylouris’s full-force baritone a lead role. And where Goats was often frisky, its tumultuous, tender and terrifically expressive follow-up drives harder and dives deeper.

“As we work together we can see the horizon is always open,” says Xylouris, “because that’s how we work. We give each other space, and that comes from the space we always try to give the bands and the people who we work with in the past.”

Partly, Black Peak pays testimony to both men’s remarkable histories. One of Crete’s best-loved artists, Xylouris is a scion of Greek musical royalty, a family from a mountain village near the Cave of Zeus. His father is revered singer / lyra player Psarandonis. A child when he began playing the lute, Xylouris would accompany his father in a backing role. Yet just as Psarandonis stretched the lyra’s range (“If music is measured in meter,” Psarandonis said, “I play in kilometre!”), so Xylouris elevated his eight-string laouto to the lead role in his Xylouris Ensemble.

Jim White has commanded international attention for more than two decades as part of Australia’s Dirty Three, storm’s-eye instrumental diviners whose emotionally choppy soundscapes brim with elemental force. Now New York-based, White is often found collaborating with alt-A-listers (including: Bonnie ‘Prince’ Billy, PJ Harvey, Nina Nastasia, Cat Power and Smog,) where his playing redeploys the rolling momentum of free-jazz to supple ends, from sensitive to seismic.

PJ Harvey has likened White’s playing to dancing. Yet if dancers need partners, Black Peak also pays testimony to a friendship forged over 25-plus years. Xylouris was touring with his Ensemble when he met White in Melbourne in the early 1990s, when the drummer was in his pre-Dirty Three avant-rock outfit Venom P Stinger. In retrospect, a cycle of influence emerges: Xylouris’s 1990s live contributions to the Dirty Three seem to set a blueprint for Xylouris White, yet the Dirty Three were themselves inspired by Xylouris and Psarandonis.

That mutual admiration shapes the way the duo operate on Black Peak, always listening, encouraging, accommodating. “Each one has different roles at the same time, accompaniment and lead role,” explains Xylouris. “It’s very fluid.”

This fluidity is clear from the rolling explosion of the title-track, where White’s thunderous rhythm seems to urge, and be urged along in turn, by Xylouris’s chugging lute-rock riff, pirouetting melody and soaring vocal. “Forging” maintains the momentum, Xylouris’s thrashing, thrilling lute melody circling the rock of White’s pulsing drum. Elsewhere, Xylouris White re-write their route map. “Hey, Musicians” is rich and sonorous. The skin-tingling crawl of “Erotokritos (Opening)” draws on romantic renaissance verse; “Short Rhapsody” is a joyous jam of slashing laouto and coiled percussion; “Pretty Kondilies” is dancing and declamatory. Finally, “The Feast” sprawls gorgeously between tradition and invention, its sombre, sighing spaces shared with guest star Psarandonis’ stunning lyra and voice.

It took until 2013 for Xylouris and White to form as a duo, a process accelerated when White played with Xylouris and Psarandonis at a Nick Cave-curated All Tomorrow’s Parties festival in Australia. Just as other parties helped unite them, so the path to Black Peak was trod with support. The producer is Fugazi’s Guy Picciotto, as on Goats (Xylouris: “His enthusiasm and aesthetic bring richness to the proceedings.”); the ghostly harmonies on “Erotokritos” come from Bonnie ‘Prince’ Billy.

“All these things together, Jim from Australia, me from Crete, Bonnie ‘Prince’ Billy from Kentucky, Psarantonis from Crete, Guy Picciotto from Washington give us the inspiration of the horizon,” says Xylouris. “Jim and I travel a great deal and we like to do so. We have been doing that together the past three years, which is what inspired us to think of the horizon.

“We’re still goats,” he adds, “now on the horizon.” On the spectacular Black Peak, Xylouris White show just how far their horizons can stretch.

“As one third of Dirty Three and on performances with Cat Power, Bill Callahan, Will Oldham and countless others, Jim White has long been known as one of the most powerful and distinctive drummers on the scene. But he outdoes himself on the title track of Xylouris White’s sophomore LP, building the song into a righteous gallop that’s thrillingly thunderous and devastatingly precise all at once. A tour de force that’ll make other drummers hang their heads in shame.

White’s partner here, George Xylouris, is no slouch either, delivering nimble lines on his eight-string laouto, and singing in the voice of an angry, old god. Xylouris comes from Greek music royalty, and the music he’s making here with White does have its roots in traditional sounds. But more and more, it seems the duo are inventing a new musical language, one based on deeply telepathic interplay and pure, transcendent abandon, whether it’s on pulsating numbers like “Forging,” or dark, slow droners like “Hey Musicians.” Xylouris White is an acoustic affair (pristinely captured by Fugazi’s Guy Picciotto), but make no mistake — this is some of the heaviest music you’ll hear in 2016.” Tyler Wilcox, Aquarium Drunkar

Waltham Food, Wine & Craft Beer Festival
Mar
30
5:30 pm17:30

Waltham Food, Wine & Craft Beer Festival

Eventbrite - Waltham Food, Wine & Craft Beer Festival 2017

The Charles River Museum of Industry & Innovation invites you to attend the 25th Annual Waltham Food & Wine Festival to be held on Thursday, March 30, 2017. 

Hosted at the luxurious Westin Waltham Hotel, hundreds of guests from the Waltham and MetroWest area will enjoy an elegant evening of food, wine, music, and surprises.

Guests will enjoy the delicious cuisine of over 30 great Waltham restaurants. 

A bounty of fine wines and craft beers, served by the sommeliers of Gordon’s Liquors, will complement the cuisine. This event brings together music, culinary arts, local celebrities, and amazing innovations. 

All proceeds from the 25th Annual Waltham Food & Wine Festival benefit the Charles River Museum of Industry & Innovation, its exhibits and educational programs. 

Eventbrite - Waltham Food, Wine & Craft Beer Festival 2017

***

The Charles River Museum of Industry & Innovation is dedicated to preserving and explaning our industrial heritage, and encouraging future innovation in America. We do this through the interpretation of our collection and the presentation of high quality educational programs that explore the historical impact of industry on American culture, and examine the dynamic process of innovation.

The Charles River Museum of Industry & Innovation is a 501(c)(3) non-profit organization.

Mar
26
7:00 pm19:00

Boiler House Jazz: Natraj Trio

Doors open at 7:00, music begins at 7:30.

http://www.natrajmusic.com/

Natraj Trio seamlessly melds the classical music of India, traditional music from West Africa, and contemporary jazz to create its own unique and infectious style. Hard-driving African grooves and graceful Indian ragas meet in the band’s expansive jazz conception. Selected as Boston’s Best Jazz Band by the Improper Bostonian and nominated Best World Music Act in the Boston Music Awards, Natraj captivates and excites audiences with exotic textures, accessible melodies, and rhythmic energy.

Natraj has delighted listeners throughout the US, Canada, India, and West Africa since 1987. Appearances include India’s JazzYatra and Prayojana International Music Festival; Ghana’s PANAFEST; the Royal Ontario Museum, Toronto; the Guelph Jazz Festival, Guelph, Canada; and The Boston Globe Jazz and Blues Festival. Natraj has performed with icons of Indian classical music including Kadri Gopalnath, Chitravina N. Ravikiran, Shashank, Ronu Majumdar, and Trichy Sankaran, as well as younger masters like Aditya Kalyanpur, Madhuvanti Bhide, and Prasanna.

Natraj has released four CDs to acclaim in the international press and airplay worldwide. Numerous radio and TV appearances include featured segments on the USA nationally syndicated program, The World (PRI/BBC/WGBH-FM); Doordarshan (Indian National TV); Maine Things Considered (Maine Public Radio, USA); South Asian Newsweek (CFMT-TV, Toronto); and Radio Mid-Day (Mumbai, India).

Natraj Trio features the raga-influenced soprano saxophone of Phil Scarff; the warm, nimble solidity of bassist Mike Rivard; and the tabla and multipercussion mastery of Jerry Leake.

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

VIDEOS:
 

 

“Natraj blends complex tempos and traditions with graceful, unforced virtuosity… a hypnotic, symbiotic tapestry. Fusion is rarely this deep and exotic yet accessible… discover a new world here.” — Boston Globe

“Technical excellence and sensitive musicianship transcend national and cultural boundaries, and there is clearly an abundance of both on this recording… Compares favorably with Shakti... Every performer displays both a melodic and technical flair… The performances on this album are everywhere excellent.” — Cadence

“[This] Boston group doesn’t simply draw on Indian influences some of the time—it specializes in a seamless blend of jazz and Indian music... [Natraj] embraces both Western and Indian instruments… delightfully unconventional.” — Jazziz

“We heard the future of jazz... we heard the future of world music... a spellbinding tapestry... a jazz hybrid of celebration and reflection.” — Times of India

“East meets West and South in the music of the Boston-based band Natraj. The quintet plays contemporary jazz with intoxicating Indian influences and entrancing African rhythms, hypnotically combining instruments from the three regions into eerie and original music.” — WBUR-FM, Boston, MA

Mar
23
7:30 pm19:30

2nd Shift Concert: Paul Rishell & Annie Raines

Doors open at 7:30pm and the show begins at approximately 8:00pm. Arrive early and enjoy a self-guided tour of the museum! 

“Deep and resonant as Robert Johnson’s crossroads… authenticity, soul, and a sense of purpose and commitment ring out in every note. –– The Boston Phoenix

When harmonica ace Annie Raines first sat in with country blues guitarist Paul Rishell in a Boston bar in 1992, few in the crowd suspected they were witnessing the beginning of a musical partnership that would span the next 24 years and counting.

Since then Paul and Annie have gone on to distinguish themselves as one of the blues world’s finest and most in-demand duos. Performing in styles ranging from the acoustic guitar wizardry of Blind Lemon Jefferson and Son House to the swinging amplified sounds of Chicago Blues, they’re masters of their respective instruments. Beyond that, they bring warmth, humor and personal chemistry to every show they play. It all adds up to something very special that’s made believers of audiences and fellow musicians on both sides of the Atlantic.

Paul Rishell and Annie Raines have appeared on Late Night with Conan O’Brien and A Prairie Home Companion, performed with John Sebastian and Susan Tedeschi, and opened shows for Ray Charles and Dr. John. They’re also the proud recipients of the prestigious W.C. Handy Award for their groundbreaking acoustic album, Moving On. Paul and Annie have logged countless miles as touring artists, and continue to play clubs, festivals and concert halls through Europe and North America.

“…Rishell is a master of country/blues styles, particularly slide played on a National steel guitar. Raines, a rare female ace blues harmonica blower, shows that she is as strong an acoustic country harp accompanist as she is a harder-edged, electrified Chicago-style lead player à la the great Little Walter…” - Billboard

"While their guitar, harmonica, and vocals are roiling, muscular, and masterful, their shows are down home- friendly and fun-loving." - The Boston Globe

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

WEBSITE: http://www.paulandannie.com/mojorodeo/paul-and-annie

 

 

Mill Talk: The Story of Marshmallow Fluff
Mar
22
6:30 pm18:30

Mill Talk: The Story of Marshmallow Fluff

Eventbrite - Mill Talk: The Story of Marshmallow Fluff

This Mill Talk by Mimi Graney, author of "Fluff: The Sticky-Sweet Story of an American Icon," will explore the history of Marshmallow Fluff and the company and people that made it. 

At the turn of the twentieth century, Boston was a booming candy town. Of all the tantalizing treats, nothing has stuck around like Marshmallow Fluff. Since that time, the small, family-run company Durkee-Mower has churned out a century of Fluff with the secretive air of Willy Wonka. Little has been made of this extraordinary legacy—until now.

To author Mimi Graney, Fluff is more than a retro ingredient. It is a story about the merits and pitfalls of adaptation and innovation.

Graney deftly brings the factory floor alive, weaving a fascinating narrative about New England’s forgotten candy industry, changing social roles for women, the advent of commercial radio and modern advertising, and the supermarket revolution. Fluff has survived two world wars, corporate attacks, nutrition battles, and the rise and fall of manufacturing towns. The world has changed around it, yet this icon remains the same.

Author and speaker Mimi Graney

Author and speaker Mimi Graney

Mimi Graney is the founder of What the Fluff?, a festival celebrating Marshmallow Fluff that draws thousands annually. Her work in neighborhood economic development takes her to communities across Massachusetts where she focuses on creative industries and food-based businesses. Her favorite way to enjoy Marshmallow Fluff is by the melting spoonful in a mug of hot chocolate.

Come to this Mill Talk and learn a great, local story that will really stick with you!

Eventbrite - Mill Talk: The Story of Marshmallow Fluff
Mar
16
7:30 pm19:30

2nd Shift Concert: Kieran Kane and Rayna Gellert

Doors open at 7:30pm and the show begins at approximately 8:00pm. Arrive early and enjoy a self-guided tour of the museum! 

Duo performance with acclaimed roots artists:

KIERAN KANE- Maverick songwriter and Americana icon Kieran Kane is best known for his hits with the acclaimed new traditionalist country duo The O’Kanes. The band scored a number of top-ten hits in its brief existence. As a solo artist and collaborator Kane continues to write spare, emotional songs rooted in tradition, but with an unmistakable personal voice. It’s no surprise their imagery gives them an almost cinematic quality –– Kane is also an accomplished visual artist.

“Kane pares back his tunes to only their most essential, suggestive elements, and the result can be compared to the most evocative short stories of Ernest Hemingway.

This is his simplest effort yet -- but there's great artistry at work…. an album that, like the best art, doesn't telegraph its message. Rather, it's suggestive enough to draw the listener in for the act of discovery.” -Erik Hage, AllMusic

RAYNA GELLERT- If Rayna Gellert seems a preternaturally gifted songwriter, it’s because she’s seen farther into the old songs than most. Growing up in a musical family, Gellert began learning Appalachian old-time music when she was a kid. In time she became a master fiddler, leading a revival of American stringband music through her work with acclaimed roots band Uncle Earl. The music is in her blood, and years of jamming and collaboration have drawn her deeper into traditional music, and fired a passion for writing. There’s a breathtaking depth, and abiding sense of connection, in Gellert’s songs; it gives them a quiet power that leaves no doubt that she’s an artist to watch.

Rayna Gellert has recorded with a host of musicians in a variety of styles – including Robyn Hitchcock, Tyler Ramsey, Sara Watkins, Loudon Wainwright III, John Paul Jones, and Abigail Washburn. With her new mini-album, Workin’s Too Hard, on StorySound Records, she pulls from tradition, but the songs are her own, and the arrangements are built on a collaboration with Nashville songwriter Kieran Kane (co-producer, mandolin, guitar, vocals). In the vein of artists like Sam Amidon and Gillian Welch, Gellert’s roots run deep, giving her songs a timeless quality that resonates with audiences wherever she plays.

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

ARTIST WEBSITES:
http://www.deadreckoners.com/artists/kieran_kane.html

http://www.raynagellert.com/

Kiernan Kane: This Dirty Little Town: 

Rayna Gellert: The Stars: 

Kiernan Kane: I Took My Power Back:

Rayna Gellert: Live, on ConcertWindow: 

Mar
9
7:30 pm19:30

2nd Shift Concert: Tashi Dorji

Doors open at 7:30pm and the show begins at approximately 8:00pm. Arrive early and enjoy a self-guided tour of the museum!

Standing in a long line of creative and improvising guitarists like John Fahey and Derek Bailey, Tashi Dorji is one of the most exciting young musicians to emerge in The US over the last few years. Dorji grew up in Bhutan, on the eastern side of the Himalayas but, after traveling to the US to pursue his college education, now calls Asheville NC his home. It makes sense – Asheville has long been both an iconic center of American traditional music and a welcome home for musicians drawn to experimentation. Dorji is in the latter category. His music alludes to tradition but reflects above all a belief in an intuitive exploration of sound that results in surprising twists, turns and tangents. Fragile, melodic and dissonant, his music is a revelation, a realm unto itself full of unexpected revelations.

“Describing Tashi Dorji’s music makes it seem pretty esoteric. The Bhutan-by-way-of-North Carolina guitarist creates improvised solo guitar pieces made up of skittering runs, buzzing strings, gamelan-like harmonics and other possibly unnameable sounds. But don’t let that scare you off. Dorji’s unusual approach translates into something positively magical — and extremely listenable.” – Tyler Wilcox, Aquarium Drunkard

Website: https://tashidorji.com/

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

TASHI DORJI ON SOUNDCLOUD: https://soundcloud.com/footfalls-records/karma-lata

TASHI DORJI ARTIST PROFILES:
“Tashi Dorji picked up a guitar for the first time in circumstances befitting any American teenager. He was playing basketball on an outdoor court close to his home when he noticed some kids hanging around nearby, idly playing tunes by The Doors and other usual rock 'n' roll suspects.

He stopped dribbling long enough for a guy to show him one chord. Though he loved listening to music, he'd previously only tinkered with hand drums. But now, he wanted to know about all of it.

That wasn't going to be as easy for Dorji as it might have been for an American teenager: Dorji lived in Thimphu, the capital city of Bhutan, the mountainous and sparsely populated country clasped like a pearl between India and China. With a population of around 100,000, Thimphu was the largest city Dorji had ever called home. His father, a government worker, had moved his family from one of the country's remote regions to another before finally settling in the capital. Even in Thimphu, there was no Internet and very little television, so Dorji would tune his shortwave radio to intercept signals from Eastern Europe and the BBC. Western culture—and, in particular, hot-blooded American music—offered the allure of pure exotica.

"You're yearning for something else. The idea was to grab hold of anything you could hear, in terms of music—pop, glam rock and metal, especially in the hills of the Himalayas," says Dorji, now 35. "If you grow up in such a remote place with a heavy culture, there's a lack of outside influence. So young people are constantly seeking other things. It's new.
Based in Asheville, where he works part-time at a food co-op, Dorji is quickly amassing a catalog of extemporaneous and highly inquisitive guitar pieces. Those recordings have earned praise in international magazines and caused another marquee musician, Six Organs of Admittance founder Ben Chasny, to start a record label for the express purpose of issuing Dorji's music. But no matter how people respond, now or in the future, the opportunity to make music at all compelled Dorji's 8,000-mile relocation.
"I play, and I'll keep playing," he says. "I have an insane amount of music that will just keep coming."

Thanks to his obsession with American bands in the late '90s, Dorji learned that, though most Bhutanese students traveled to India for further education after high school, some shipped off to the United States instead. In a college catalog, he stumbled upon an entry for Warren Wilson College, a small liberal arts school just outside of Asheville. He mailed them a hand-written, one-page letter, an earnest memo that simply explained how he loved playing music and wanted to come to college stateside. His expectations were limited, he admits, but his hope for adventure wasn't.

"Growing up, letter writing was my mode of communication. I used to write to radio in Russia and the BBC, joining writing competitions out of pure curiosity," Dorji says. So he waited. "It took four months, and after that, I got billions of letters from school. They gave me pretty much a full ride. After that, I was just here."

Asheville is only slightly smaller than the Bhutanese capital Dorji left in 2000. But new inspirations were ubiquitous. Dorji didn't even finish his education, largely because he found what he'd been looking for outside of the classroom. He lived with a few Asheville punk rock musicians, and they showed him how underground rock 'n' roll scenes could thrive in small cities. His musical world exploded: He learned of free jazz and, after purchasing his first laptop, downloaded entire discographies of artists that friends would mention. He consumed John Zorn's output several albums at a time.

Dorji had been in North Carolina for five years when he finally saw the performance that changed the way he perceived his own work forever. An acoustic guitarist and a saxophonist ripped through a series of improvisations in a small club. Dorji was in his mid-20s and still uncertain of what kind of music he should be making at all. But this is what he wanted to do.

"The thought that you could just sit there and play and improvise sounded really fun," Dorji says. "It was self-indulgent, and it sucked me really deep in. I was hearing things and playing off of them, just responding to what I was hearing."

During the past decade, a fresh wave of young acoustic instrumentalists has emerged internationally. These pickers often pull from the ragged blues and wayward experimentalism of John Fahey or the more elegant creations of his British counterparts. But Dorji's music works beyond those fashionable sounds, exploring more obviously alien terrain. As John Cage did with a piano, Dorji sometimes "prepares" his guitar, adding bits of chopsticks or foam around or beneath the strings to alter the way they vibrate and snap against the guitar's neck. And like British progenitor Derek Bailey, Dorji plays in starts and stops, hiccups and halts. His guitar doesn't sing so much as it stutters, breaking narrative flow into strands of hyperlinked thoughts.

During "Improvisation I," the stunning nine-minute opener from a 10-song cassette he issued on Asheville label Headway in 2012, Dorji climbs and descends a hidden staircase of sound with his guitar strings. He shifts from gently chiming harmonics to a frantic tussle of notes so immaculately played and placed that they seem computer-generated and digitally edited.

Like this one, his best pieces radiate the ecstasy of possibility: Every unexpected note becomes a discovery on the journey to some unknown end.

"I'm mesmerized by people in the world. I grew up imagining things, and I've never lost that kind of romantic nostalgia. It helps me create my music," he says. "This is my storytelling. I look forward to wherever it will take me." –– Grayson Haver Currin, Indyweek

“The tale of Tashi Dorji isn’t what you’d expect from an instrumental guitarist. He didn’t absorb a lifelong diet of blues, bluegrass and gospel records, and he didn’t emerge from some psychedelic rock band to become one of the great pickers of his time. John Fahey wasn’t his childhood idol.

No, Dorji grew up in the rather small South Asian country of Bhutan, moving between some of the country’s most isolated regions before arriving with his family as a teenager in the capital city. He discovered the guitar and the radio, rock ‘n’ roll and, ultimately, the prospect of attending college in America. At the age of 20, Dorji left Bhutan for Asheville, North Carolina, enrolling in the tiny liberal arts school Warren Wilson College. But in the thrall of the music scene he discovered, he soon dropped out. Still, the global move proved copacetic and educational, as Dorji became a musical piranha of sorts, devouring discographies he’d download to learn about free jazz and hardcore, American primitivism and the folk music indigenous to his new home. After two decades of seclusion, his tastes and consumption became acutely post-modern.

You’ll see some version of that backstory in most every review of Tashi Dorji, the 35-year-old guitarist’s long overdue step into the spotlight. Compelling as the tale is, it runs the risk of overrunning Dorji’s music. 

Still, it matters because Dorji’s playing suggests an incredible openness — to technique, to style, to reception — that few possess, whether in music or in art or in life at large. An improviser on both the electric and acoustic guitar, Dorji has an envious amount of tools and touchstones at his disposal. During these 43 minutes, he moves between delicacy that reflects near-mechanical control and chaos that hints there must be a madman lurking behind the guitar’s wooden body. With his heavy strums and quick string pops, Dorji certainly trends toward the Derek Bailey and Eugene Chadbourne lineage of spontaneity. But there’s blues grit and classical grace here, with mirages of pop music and the mood of punk rock drifting in and out. Within the momentum of these wonderfully restless explorations of what can be wrangled from a few familiar strings, you can hear Dorji working through what he’s heard and learned.

This six-song set [Tashi Dorji, Hat Hut Records, 2014] isn’t Dorji’s debut; he’s released nearly 10 rather short titles in the last five years, though those were largely short-run CDs and cassettes on small labels. But this album marks the first release from Hermit Hut, the new label from Six Organs of Admittance anchor Ben Chasny. It’s an auspicious introduction, then, carrying the imprimatur of one of the best guitar stylists of the last decade.

Dorji revisits that past by lifting two pieces from his great 2012 tape, Guitar Improvisations. “Improvisation I” races through a section of tiny notes that might sound like rain on a tin roof. But the restraint Dorji possesses and the deliberate placement of every note feels less than aleatoric; it is like rain on a tin roof, but sampled and fastidiously arranged by Autechre. “Improvisation II” starts slow, escalates into a tumbling twist of melodic fragments and ends in reflective melancholy, notes hanging low as they drift toward a slow comedown.

The new material finds him digging into alternate instruments and ideas. During “Few Thousand Words Without Any,” for instance, his hiccups and harmonics along the neck of an electric guitar tangle into gnarled blues, stutters shifting suddenly into the kind of red-hot licks you would expect from a roadhouse’s open door. A section of “Still III” seems to borrow the slap bass thump of a virile funk track and clusters of notes so dense he seems to be sweeping them from a mandolin. Elsewhere, during the same six-minute span, he weaves beautiful strands of airy harmonics and turns bits he seems to yank from the strings into stubborn knots. He ends with a canter that’s essentially exuberant, the dance of the bright notes decaying through the rests.

At various points during the record, when the strings slink just enough into silence, you can hear Dorji’s breath or his hands move across the instrument. Sometimes, he adjusts his body position in front of the microphone. These are incidental moments, of course, nonmusical relics within an expertly rendered album. But they’re also instant reminders of the strange journey that Dorji took to arrive at one of the year’s most winning records — and how that journey and this destination are irrevocably linked. –– Wandering Sound

 

Mar
2
7:30 pm19:30

2nd Shift Concert: Allysen Callery/Rob Noyes

Doors open at 7:30pm and the show begins at approximately 8:00pm with 30 minute set from ALLYSEN CALLERY followed by a 30 minute set from ROB NOYES beginning at approximately 8:50.

ALLYSEN CALLERY

ARTIST WEBSITE: http://allysencallerymusic.com/

Allysen Callery is a self-taught songwriter from Bristol, Rhode Island. She calls her music “ghost folk,” and it’s an apt description: steeped in 60’s English psych-folk, her songs work as charm and spell, with a quiet, attentive power. But to say her songs suggest otherworldliness is to overlook their immediacy: everything Callery does has a powerful sense of emotional engagement, which in the end is what makes her so compelling. Callery has a devoted European following, and a growing number of American fans as well. She’ll appear as an official showcase artist at South By Southwest in March

"If I was to use a single word to describe the music of Allysen Callery, it would probably be “timeless,” although a more accurate way to frame her songs is to say they exist “outside of time.” The Rhode Island based songwriter has tapped into a wellspring of creative spirit and energy that is directly linked to traditional ballads and standards, staples of the folk world. You can feel the presence of classic English poetry and Child Ballads, Child Ballads, the collection of English and Scottish broadside ballads collected and published by early folklorist Francis James Child in the nineteenth century, in Callery’s thought process. These are nearly universal stories of romance, morality, mortality, history, and drama that have stood the test of time, influencing musicians and collectors like Harry Smith, Steeleye Span, Fairport Convention, Vashti Bunyan, and even more contemporary like Anais Mitchell, Marissa Nadler, Meg Baird, and Sam Amidon.

Callery has distilled the very essence of what makes these stories ageless, forever relevant, and oftentimes still shocking, deeply meaningful, and utterly heartbreaking…. it’s an extreme compliment to Callery’s deft musicianship and inventive storytelling that she can simultaneously draw and utilize this immutable literary and musical tradition, while also putting down what she finds in her mind and imagination on paper and record. I think that Allysen Callery is writing the ballads that future folklorists will call “classic.” Only time will tell.” –– Fred Knittel, WXPN

ROB NOYES

ARTIST WEBSITE: https://www.facebook.com/robmnoyes/

Working in the great American tradition of iconoclastic, virtuosic and visionary acoustic guitarists, Rob Noyes has emerged in the last year as an artist to watch. His album Feudal Spirit landed on a number of 2016 best-of lists, including NPR’s “Top 10 Solo Guitar Records Of 2016.”

“Noyes’ dextrous 12-string clusters develop into dense thickets of ringing sound; it’s a beautiful, heady space to get lost in…. the guitarist easily shifts from earthy, familiar folk-blues moves to dizzyingly celestial flights.” – Tyler Wilcox, Aquarium Drunkard

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

ALLYSEN CALLERY ARTIST VIDEO:

Lily of The Valley: 

Katie Cruel: 

ROB NOYES SOUNDCLOUD STREAM:

Further Off: https://soundcloud.com/robnoyes/further-off

The Feudal Spirit: https://soundcloud.com/robnoyes/the-feudal-spirit-1

Mar
1
6:30 pm18:30

Waltham Film Factory Screening: Voices from the Basement

Filene's Basement: 10 Years On

SECOND SCREENING! Due to popular demand!

Eventbrite - Waltham Film Factory Screening: Voices from the Basement
In 2007, the legendary downtown store closed its doors with plans to reopen two years later after a major redevelopment.  As the economy tanked, a gaping hole in Downtown Crossing sat for five years and the project was sold off.  Filene’s Basement filed for bankruptcy, and that markdown was final. 

 

Voices from the Basement, the inspiration of executive producer Dr. Susan Edbril, and filmmaker Michael Bavaro(director of last season’s screening, Rex Trailer’s Boomtown) present their documentary film about Boston’s beloved 100-year-old icon – the original Filene’s Basement. The film is a journey back to a time when the American Dream was accessible to everyone who walked through the doors of The Basement. The Brahmins of Beacon Hill stood in line with the waitresses from Durgin Park with equal access to the same high-quality, discounted merchandise for which The Basement is best known worldwide.

The film is a collection of stories told by the people who worked and shopped in there. Celebrities, politicians, employees, and loyal shoppers share their passion for this landmark institution that has been one of Boston’s most visited tourist attractions for generations.

The history of Filene’s Basement is captured through newsreels, archival footage, vintage photographs and audio recordings. The founders, Edward and Lincoln Filene, were two of the leading retail pioneers who helped shape many of the social and economic paradigms that have made America great, from employee health care to the formation of credit unions.

Throughout the course of production, the producers were witness to history as it transpired. With the closing of the downtown store in 2007, they were there to capture it all. Sadly, this monument of commerce opened a stubborn, gaping hole in the ground, and in the hearts of millions. The film explores this social and political tragedy.

Following the screening, there will be and open discussion with the audience, led by filmmaker Michael Bavaro and executive producer Dr. Susan Edbril, an opportunity for all present to ask questions and share their personal memories and experiences of the legendary Filene's Basement.

Eventbrite - Waltham Film Factory Screening: Voices from the Basement
Feb
18
10:00 am10:00

N.E.M.E.S. Model Engineering Show

The New England Model Engineering Society's annual show returns to the Charles River Museum of Industry & Engineering. This year's happens to be their 21st Annual Show and we are very excited to have them!

What can you look forward to at a NEMES show?

OPERATING SCALE MODELS INCLUDING: 

  •  STEAM ENGINES 
  •  GASOLINE ENGINES 
  •  AIRCRAFT ENGINES 
  •  STIRLING CYCLE ENGINES 
  •  CLOCKS 
  •  MACHINIST’S TOOLS AND FIXTURES 
  •  LOCOMOTIVES 
  •  TRACTION ENGINES 
  •  MODEL BOATS – STEAM AND GAS 

AND MEET THE CRAFTSMEN WHO BUILT THEM!

Museum admission gets you in.

We look forward to seeing you at this very educational and entertaining event!

CLICK HERE to view and print a NEMES Show 2017 Informational flyer!

17th Annual New England Model Engineering Show. 16 February 2013

Waltham Film Factory Screening: Voices from the Basement
Feb
1
6:30 pm18:30

Waltham Film Factory Screening: Voices from the Basement

Filene's Basement: 10 Years On

In 2007, the legendary downtown store closed its doors with plans to reopen two years later after a major redevelopment.  As the economy tanked, a gaping hole in Downtown Crossing sat for five years and the project was sold off.  Filene’s Basement filed for bankruptcy, and that markdown was final. 

Voices from the Basement, the inspiration of executive producer Dr. Susan Edbril, and filmmaker Michael Bavaro (director of last season’s screening, Rex Trailer’s Boomtown) present their documentary film about Boston’s beloved 100-year-old icon – the original Filene’s Basement. The film is a journey back to a time when the American Dream was accessible to everyone who walked through the doors of The Basement. The Brahmins of Beacon Hill stood in line with the waitresses from Durgin Park with equal access to the same high-quality, discounted merchandise for which The Basement is best known worldwide.

The film is a collection of stories told by the people who worked and shopped in there. Celebrities, politicians, employees, and loyal shoppers share their passion for this landmark institution that has been one of Boston’s most visited tourist attractions for generations.

The history of Filene’s Basement is captured through newsreels, archival footage, vintage photographs and audio recordings. The founders, Edward and Lincoln Filene, were two of the leading retail pioneers who helped shape many of the social and economic paradigms that have made America great, from employee health care to the formation of credit unions.

Throughout the course of production, the producers were witness to history as it transpired. With the closing of the downtown store in 2007, they were there to capture it all. Sadly, this monument of commerce opened a stubborn, gaping hole in the ground, and in the hearts of millions. The film explores this social and political tragedy.

Following the screening, there will be and open discussion with the audience, led by filmmaker Michael Bavaro and executive producer Dr. Susan Edbril, an opportunity for all present to ask questions and share their personal memories and experiences of the legendary Filene's Basement.

Mass Destruction 6: Watch City Wreckage - Combat Robotics!
Jan
28
10:00 am10:00

Mass Destruction 6: Watch City Wreckage - Combat Robotics!

About MassDestruction

MassDestruction is Boston's first and only robot combat event! Founded in the fall of 2015 by long-time veterans of the sport growing tired of long trips, it brings a much more casual and yet brutal approach to the international Combat Robotics scene. With our unique pyramidal arena, The Cochran Combat Corral, and a modified Swiss tournament every competitor is guaranteed a fight until their robots are completely unrepairable!

Background on Robot competitions:

Started in the mid-90's, Combat Robotics has two (or more!) remote-controled creations smash into each other inside of a bulletproof cage for up to five minutes! With national coverage as the TV show Battlebots in 1999-2003 and in 2015-2016, the sport has seen a rise to international levels and weight classes of up to 390lbs! The amature league has stayed strong from the start though, bringing in new styles, new technology and new faces!

About this competition:

We're proud to be hosting our sixth quarterly MassDestruction at the Charles River Museum of Industry in Waltham! Featured robot weight classes will be 1lb, 3lb, 12lb non-kinetic and our second inaugural run of our 3d printed 1lb class, designed for low-cost high-destruction action! Competitors stem from local colleges like MIT, Olin, and WPI, both new and old runs of Battlebots, and even just fans of robot combat!

Want to attend?

No advance ticket purchase necessary. Standard Museum admission fees will apply: $10 for Adults, $5 for 6-17 years old, Students and Active Duty Military with ID, and Seniors. Children 5 and under and Museum Members are free!

Want to compete?

Visit MassDestruction's Facebook page for registration information: https://www.facebook.com/events/149911915489892/

Or sign up directly on Eventbrite: https://www.eventbrite.com/e/massdestruction-6-watch-city-wreckage-tickets-30749228771

2nd Shift Concert: The Huntress & Holder of Hands
Dec
15
7:00 pm19:00

2nd Shift Concert: The Huntress & Holder of Hands

Eventbrite - 2nd SHIFT Music Series Concert: The Huntress & Holder of Hands

 

MorganEve Swain is a multi-instrumental string player, vocalist and songwriter.

Widely known as half of the music duo, Brown Bird, MorganEve enjoyed international success and personal happiness while writing and touring for six years alongside her husband, David Lamb. Shortly after Lamb’s passing in 2014 at the age of 36, Swain launched The Huntress and Holder of Hands as a creative vessel for not only her grief, but her growth. Songs written and demoed originally by Swain alone, performed live employ six musicians with duties on viola, cello, upright bass, electric bass, drums and vocal harmonies.

Photo credit: Mikael Kennedy

Deeply rooted in her experience with Lamb, The Huntress and Holder of Hands pulls from the same creative and emotional place as Brown Bird. Influenced by Eastern European and Middle Eastern musics, drone metal, rock and Americana, Swain utilizes her primary instrument of 5-string viola to build intense, bass-driven pieces, which deal both musically and lyrically with love and grief; power and strength.

The Huntress and Holder of Hands self-released a three-song demo EP in November 2015 and plans to record a full-length album in the autumn of 2016.

Doors open at 7:00pm and the show begins at 8:00pm. Arrive early and enjoy a self-guided tour of the museum!

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.  

 

ARTIST WEBSITE: www.brownbird.net

ARTIST FACEBOOK PAGE: www.facebook.com/thehuntressandholderofhands

YouTube:Shake Off Your Flesh: 

Eventbrite - 2nd SHIFT Music Series Concert: The Huntress & Holder of Hands
Dec
11
11:00 am11:00

Dickens Holiday Festival

Dickens Holiday Festival

Sunday, December 11, 2016

From 11AM to 6PM.  

This year the Charles River Museum of Industry and Innovation will pay homage to the holiday spirit and Charles Dickens with its Dickens Holiday Festival on Sunday, December 11, from 11am to 6pm.  

Housed in the birthplace of the American Industrial Revolution — the site of Francis Cabot Lowell’s first manufacturing Mill — the Museum is the perfect backdrop to showcase stage readings of Charles Dickens’ “A Christmas Carol.”  Costumed actors will be reading scenes from the classic holiday tale in the Museum’s Main Gallery, which once functioned as the last boiler house for the Boston Manufacturing Company. 

The Mill’s last boiler that still stands there and the coal infused bricks are also a perfect setting for the carolers and bell ringers who will be performing in the Main Gallery in between readings.  The Very Merry Dickens Carolers and The Proper Ladies will regale audiences with songs from the age of Dickens and the industrial era that made Waltham famous.  The Merrimack Valley Ringers will delight audiences with their artistic mastery of handbells and handchimes.

The holiday merriment continues upstairs in the old engine room of the Boston Manufacturing Company.  Now a ballroom, this space will be filled with vendors hawking holiday wares for near future seasonal celebrations.  Unique or handmade items, from one-of-a-kind wrapping paper to handmade doll’s clothes to gourmet pet treats to Steampunk jewelry and so much more, will be available.  Additionally there will be yummy creations for consumption available from local shops and bakeries.

All this to be enjoyed in the decked out halls of the Museum for standard Museum admission of: $10 for Adults, $5 for Seniors (65+) and Students, Free for Kids under 5, Members, and Active Duty Military

 

Boiler House Jazz Concert: Revolutionary Snake Ensemble
Dec
4
7:00 pm19:00

Boiler House Jazz Concert: Revolutionary Snake Ensemble

Eventbrite - Boiler House Jazz Concert: Revolutionary Snake Ensemble

This Boiler House Jazz Series at the Charles River Museum of Industry & Innovation takes place in the Museum's Main Gallery, the former Boiler House of the Boston Manufacturing Company, at the Francis Cabot Lowell Mill complex, on the left bank of the Charles River in the heart of downtown Waltham, Massachusetts. 

Led by saxophonist Ken Field, curator of the Boiler House Jazz Series, Revolutionary Snake Ensemble is a costumed funk/street beat improvisational brass band performing a unique blend of original and traditional music.  "New Orleans brass band meets Sun Ra and Ornette Coleman - fiery yet booty-shaking music - it's a stone cold killer diller! ... Most bands can't get the New Orleans stuff right, but the Revolutionary Snake Ensemble is one of the few who does and then takes it in fascinating directions."--- OffBeat (New Orleans)

Doors open at 7:00pm and the show begins at approximately 7:30pm. Arrive early and enjoy a self-guided tour of the museum!

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

To learn more about Revolutionary Snake Ensemble, and to view some videos of the group,please visit their website.

Eventbrite - Boiler House Jazz Concert: Revolutionary Snake Ensemble
Factory Maids - Songs of the Mill Girls
Dec
2
7:00 pm19:00

Factory Maids - Songs of the Mill Girls

Eventbrite - Factory Maids - Songs of the Mill Girls

In the early 1800s the power loom disrupted the way fabric had always been made, and who had made it. The "mill girls" originated at Francis Cabot Lowell's Boston Manufacturing Company, which opened in Waltham in 1814, using the first American power looms. 

Diane explores the revolutionary changes millwork brought to the lives of women and men alike. We hear of the early days in Lowell and the Bread & Roses strike of 1912, which united workers who spoke dozens of languages in a common quest for decent working conditions.

Diane performs in period clothing and accompanies her crystal-clear singing on parlor guitar and lap dulcimer. As a descendant of immigrant millworkers on both sides of her family, Diane is honored to present songs that capture both despair and hope as newcomers sought a better life.

*   *   *

Diane Taraz offers unique programs that explore various eras through music. She wears period clothing she has sewn by hand from reproduction fabrics, and plays instruments of the time. Listening to songs created by people who lived through momentous events adds a compelling depth of understanding about the way ordinary folks lived, loved, and thought about themselves and their place in the world.

Diane is a songwriter and producer who has made well over a dozen recordings in a variety of styles. She directs the Lexington Historical Society Colonial Singers and performs with Vox Lucens, a Renaissance choir, and other groups. More information is at her website, www.dianetaraz.com.

*   *   *

Eventbrite - Factory Maids - Songs of the Mill Girls

Doors open at 7:00pm and the show begins at approximately 7:30pm. Arrive early and enjoy a self-guided tour of the museum!

Beverages are included in the ticket price, non-alcoholic for everyone, and beer & wine to those 21+.

2nd Shift Concert: Kris Delmhorst
Dec
1
7:00 pm19:00

2nd Shift Concert: Kris Delmhorst

Eventbrite - 2nd SHIFT Music Series Concert: Kris Delmhorst

“Moody, euphoric, and transcendent” - LA Times

Kris Delmhorst grew up in Brooklyn NY, but her musical home is in Boston MA where she cut her teeth on open mics, bar gigs, and subway busking before embarking on her life as an internationally touring songwriter. She has released six albums on respected indie label Signature Sounds. Delmhorst now lives in the hills of western Massachusetts with her husband, songwriter Jeffrey Foucault, with whom she occasionally performs as part of the collective Redbird.

In May of 2014, Delmhorst released her seventh album, BLOOD TEST (Signature Sounds) – her first of original music since 2008′s critically acclaimed album SHOTGUN SINGER. A prolific writer and constant collaborator, Delmhorst continues to share her unique perspective in this new work. The album describes a moment of reckoning and centering in the songwriter’s life, and in society as a whole. In a collection of songs which move between triumph and heartbreak, restlessness and responsibility, Delmhorst acknowledges the weary work of an intentioned life – and the new American dream of presence and perspective in a frenetic time.

Eventbrite - 2nd SHIFT Music Series Concert: Kris Delmhorst

Artist Website: http://krisdelmhorst.com/

Eventbrite - 2nd SHIFT Music Series Concert: Kris Delmhorst
Nov
19
10:00 am10:00

Waltham Film Factory Workshop: The Magic of Green Screen

Eventbrite - Waltham Film Factory Workshop: The Magic of Green Screen

This workshop is designed for small business owner/operators who want to make an inexpensive one-minute web video, and for creative individuals who want to make a holiday greeting video that surprises and delights.

Arrive with your ideas and background image worked out.  Elements cant be sent in advance to save time and limited to one background image per video. 

Waltham Film Factory members will rehearse with you before you film your video.  We will be using a live green screen app so having your script memorized is crucial.  Due to the time frame and number of workshop participants, we will allow for up to 3 takes. Once your video is completed, it will be downloaded to a flash drive that you can take with you to send via email, upload to social media, or post on your business website.

Eventbrite - Waltham Film Factory Workshop: The Magic of Green Screen

The cost of this Waltham Film Factory Workshop is just $20,.

Ticket holders will receive an email approximately three days prior to the workshop with instructions on how to prepare and what to bring in order to get the most of of this workshop experience.

2nd SHIFT Concert: Susan Alcorn
Nov
17
7:30 pm19:30

2nd SHIFT Concert: Susan Alcorn

Eventbrite - 2nd SHIFT Music Series Concert: Susan Alcorn

One of the world’s premier musical innovators on her instrument, Baltimore-based Susan Alcorn has taken the pedal steel guitar far beyond its traditional role in country and western music.

Known for her virtuosity and authenticity in a traditional context, Alcorn paid her dues in Texas hillbilly bands. She soon began expanding  the vocabulary of her instrument through her study of modern classical music (Messaien, Varèse, Penderecki), Astor Piazzola’s nuevo tango, free jazz, Indian ragas and South American song. Her pieces reveal the complexity of her instrument while never straying from direct, personal expression.

Susan Alcorn has worked with a who’s-who of contemporary music: Thurston Moore, Mary Halvorson, Fred Frith, Helena Espvall, Hank Roberts, Evan Parker, Jandek and John Tchicai, to name a few. Alcorn’s reminiscence about her years as a Texas musician (http://goo.gl/zI7GmG) was included in the DaCapo Press’s Best Music of 2006.

Artist Interview: http://goo.gl/SmJn0P

Artist Website: http://www.susanalcorn.net/#!

“Though she can still skillfully slide her way through country tunes, these days Alcorn is based in Baltimore and primarily devoted to her own innovative work, chasing new sounds through extended techniques, instrument preparation, and free improvisation both solo and with fellow artists old and new. But her music remains engaged with melody and beautiful chords. “Maybe that’s the country and western in me,” she says. “I like a song!” – New Music Box

“With clarity and precision and a gift for invoking sweeping landscapes, Alcorn is able to perform arrangements of Curtis Mayfield or Olivier Messiaen, highlighting both their structural and spiritual aspects simultaneously and then attacking the strings zen-slap-loud or hovering stained-glass mobiles of sound-clouds. Dreamy stuff, full of emotion and one of the more Universalist twists on Americana.” – Jay Babcock, Arthur Magazine

Eventbrite - 2nd SHIFT Music Series Concert: Susan Alcorn
Nov
16
6:30 pm18:30

Waltham Film Factory Screening: The Magic of Green Screen

Eventbrite - Waltham Film Factory Screening: The Magic of Green Screen

Take a tour of the world of green screen. Go anywhere in the world without leaving home!

Television news broadcasts use green screen technology constantly. 

Television news broadcasts use green screen technology constantly. 

We see green screen effects every day—in movies, on the web, and on your local weather forecasts. "Green screen" has become a common phrase today thanks to the internet and behind-the-scenes specials on popular movies. "How did they do that?" You’re going to find out in this discussion and demonstration of the magic of green screen.

Members of the Waltham Film Factory will troll the web for the best examples of green screen effects and break them down scene by scene. Green screen enthusiasts can ask the questions they’ve always wanted answered.

A live camera will be set-up to capture volunteers and see how the compositing of the effect works up close.  We will demonstrate the importance of lighting a green screen and how to get the best key.

Participants can choose from a scene in a movie, a TV commercial and much more.

This event is FREE, but registration is required. Doors open at 6:30pm. The screening begins at 7:00pm.

Eventbrite - Waltham Film Factory Screening: The Magic of Green Screen