FRIDAY, AUGUST 16th 2019




(Ape Canaveral, Flaw. – BRUTALSFX)

Rubber (() Cement’s butyl mutancy and high speed electronic cardboard is a super science future that will happen, and has been will happening for a quarter-century. Reports of over-the-top exquisite and/or cheap costumery and relatedness to other subterranean acts may be accurate and also may be missing the point: Rubber (() Cement is a science future that will happen. Whether you are fresh to this, or need a refresher, compulse yourself and all your dears to ascend (the) Handbag Factory’s staircase Friday night… Recent visitations in other time zones have seen the - yes - multi-headed bass player going simulataneous ambidextrous on a  perpendicularly necked instrument while the perpetual cog twirl of the baudy mainstage computer – CIMEVOX 30084 – reliably issues proximately cryptic streams of chewed bits.


Victoria Shen literally cracks a whip to shock noise into the signal, and EVICSHEN is this Boston-based artist’s nom-de-klang. While she’s deft and adept at varied modes of ‘lectronics – pedals or modular or digital whatever – her actions are more about urgent expression, and the things she brings to channel into the sound – the shrill metallic warble of her electroacousticified band saw or hum of a picked-up bass drum. Shen transverses a staggering breadth of contemporary sonic activity, from the heady quadrants of the academia, to the dankest basements of the road. To wit, this very summer she was an artist in residence in NYC as part of Tarek Atoui’s Organ Within project, culminating with a collaborative set at the Guggenheim, and 2019 alone has seen her own high energy performances wrap around the Earth, as she clocked in at Ende Tymes X and again at Savage Weekend IX amidst a East Coast tear with Rubber (() Cement, only to follow it an astounding 20+ date solo tour of Japan, where additional actions included a live duo with Incapacitants’ T. Mikawa and collaboration with Acid Mothers Temple’s Kawabata Makoto. Her electricity finds a new instance Friday night at (the) Handbag Factory in downtown L.A.


Via visceral vibration and splattered skins, bass and drum duo Eloe Omoe unleash a unified flow of instant composition and perpetual collapse: full-on and free.


“Rick Potts and Joseph Hammer have delicately dispensed laughing-gas-balloon-animals-go-pop-music as Dinosaurs With Horns. The cryptic LAFMS-related group…works with found prerecorded cultural detritus and electronic sounds weaving a hypnogogic fever dream of audio animation. Antique instruments and current technologies are let loose to help with the mesmerizing ad hoc compositions.”  Rick draws on an array of unique and “custom” instruments – hinge-neck guitars, saws, household objects – in addition to synths and electronics. And he is, of course, is a founding member of the Los Angeles Free Music Society. In the field of found sound, Joseph Hammer is the master of survey and delay; coaxing fragments of occluded origin into sound with looped tapes and a gloved hand.

Zoned transmissions throughout the night from DJ NOON COURT aka the stalwart champion of our underground, Samur Khouja. All this in the downtown loft-as-Valhalla that is (the) Handbag Factory.