A gig held at The Trinity Centre on Friday 22nd May. The event starts at 19:30.
Pull The Strings and Totality collaborate to bring you this fine night of music in association with the Trinity Centre.
Takes place upstairs in Fyfe Hall at Trinity
Enablers
Established in San Francisco, CA in 2002, Enablers' subsequent five LPs and four EPs have signaled a transcendent approach to “Spoken Word” music. The 2019 LP, Zones (Broken Clover, Lancashire&Somerset, and Exile on Mainstream) is a further example of Enablers’ push for musical expansion and growth. Zones represents a band that is increasingly more comfortable with experimentation and improvisation, while continuing to embrace all the musical elements that have established their sound for close to twenty years.
Band Members: Joe Goldring (former Swans, Toiling Midgets, Touched by a Janitor) on guitar; Kevin Robert Thomson (former Nice Strong Arm, Timco, Touched by a Janitor, now Hazel Atlas) also on guitar; poet, writer, and narrator Pete Simonelli on vocals. Rounding out the line-up is drummer Sam Ospovat (Ava Mendoza, Brendan Seabrook, Beep!, tUnE-yArDs, William Winant).
SOUND: https://enablers.bandcamp.com/
Some Enablers' Press
From Jack Chuter’s Storm Static Sleep - A Pathway Through Post-Rock:
(Enablers’) music lands between the slippery harmonic surfaces of early 90s post-rock and the softened elegance of the more modern incarnations of it, the guitars dragged like a ribbon by the elusive poetic imagery of Pete Simonelli’s spoken word.
From Jordan Mamone, writing for Noisey:
Enablers' snaking guitar telepathy is equally distinctive…Joe Goldring and Kevin Thomson (have) refined an intuitive vocabulary of filigreed arpeggios, needling leads, and grand crescendos that roil like the vast Pacific….Simonelli has accomplished that rarest of feats: enhancing slow-burning, noir-ish rock with unapologetic poetry that actually flatters rather than overshadows the songs…(Ospovat’s) improvisational arsenal of rolls, taps, and flutters allows for spontaneity without sacrificing impact.
Drowned in Sound writer Mike Diver described them as "a confrontational band, a visceral beast of eight legs and one mouth that never quits, its stream of freeform hang-loose lyricism owing a debt in style, perhaps, to literary forefathers".
NY Times best-selling author, Beth Lisick, in The SF Weekly described the band as, “visceral spoken word backed by perhaps the world’s best power trio.”
Haress consists of the core guitar duo of David Hand and Elizabeth Still, based in Bishops Castle in the Shropshire Hills.
They intertwine dark and repetitive electric guitar figures to create a hypnotic, mantra-like state, the playing working on a kind of unspoken telepathy until it’s impossible for the onlooker to work out which player is responsible for which sound amid the warm, enveloping hum of valve amps.
For their debut LP release, Haress have expanded this duo to include additional drums from David Smyth (Kling Klang, Mind Mountain), guitar and Echoplex from Chris Summerlin (Kogumaza, Grey Hairs, Hey Colossus), vocals from Thomas House (Sweet Williams, Charlottefield) and trumpet from Nathan Bell (Lungfish, Human Bell). The album was recorded with Phil Booth at JT Soar in Nottingham.
This large ensemble loses none of Haress’ intimacy and instead decorates the songs with sympathetic colour and light. The results are lovingly rendered and share a genuinely magical recording process with the listener, allowing them to experience the same moments of surprise as the band did when committing this music to tape.
The results are purposefully difficult to pigeonhole but recall Ry Cooder’s “Paris, Texas” soundtrack, latter-day Earth, Papa M or even the repetition of Sahara blues but always filtered through a warm, rural sensibility. House’s vocals are a particular revelation, his soft vowels and delivery falling somewhere between Robert Wyatt, Mark Hollis and the role of cosmic observer that Ozzy Osbourne played so well on ‘Planet Caravan’.
Put simply, this is the sound of an ensemble of close friends on top of their game, embracing accident and luck and playing with true love and joy.
SOUND : https://lancashireandsomerset.bandcamp.com/album/haress
Support comes from instrumental bad blues locals Olanza.
SOUND : https://olanza.bandcamp.com/album/bonanza
Records played in the bar by George Mackenzie (Attacked by Wolves/Headfall/Motes/Shiver)
Tickets available now -
https://my.trinitybristol.org.uk/enablers/
Laters,
Tx
Entry requirements:
Takes place upstairs in Fyfe Hall at Trinity
Enablers
Established in San Francisco, CA in 2002, Enablers' subsequent five LPs and four EPs have signaled a transcendent approach to “Spoken Word” music. The 2019 LP, Zones (Broken Clover, Lancashire&Somerset, and Exile on Mainstream) is a further example of Enablers’ push for musical expansion and growth. Zones represents a band that is increasingly more comfortable with experimentation and improvisation, while continuing to embrace all the musical elements that have established their sound for close to twenty years.
Band Members: Joe Goldring (former Swans, Toiling Midgets, Touched by a Janitor) on guitar; Kevin Robert Thomson (former Nice Strong Arm, Timco, Touched by a Janitor, now Hazel Atlas) also on guitar; poet, writer, and narrator Pete Simonelli on vocals. Rounding out the line-up is drummer Sam Ospovat (Ava Mendoza, Brendan Seabrook, Beep!, tUnE-yArDs, William Winant).
SOUND: https://enablers.bandcamp.com/
Some Enablers' Press
From Jack Chuter’s Storm Static Sleep - A Pathway Through Post-Rock:
(Enablers’) music lands between the slippery harmonic surfaces of early 90s post-rock and the softened elegance of the more modern incarnations of it, the guitars dragged like a ribbon by the elusive poetic imagery of Pete Simonelli’s spoken word.
From Jordan Mamone, writing for Noisey:
Enablers' snaking guitar telepathy is equally distinctive…Joe Goldring and Kevin Thomson (have) refined an intuitive vocabulary of filigreed arpeggios, needling leads, and grand crescendos that roil like the vast Pacific….Simonelli has accomplished that rarest of feats: enhancing slow-burning, noir-ish rock with unapologetic poetry that actually flatters rather than overshadows the songs…(Ospovat’s) improvisational arsenal of rolls, taps, and flutters allows for spontaneity without sacrificing impact.
Drowned in Sound writer Mike Diver described them as "a confrontational band, a visceral beast of eight legs and one mouth that never quits, its stream of freeform hang-loose lyricism owing a debt in style, perhaps, to literary forefathers".
NY Times best-selling author, Beth Lisick, in The SF Weekly described the band as, “visceral spoken word backed by perhaps the world’s best power trio.”
Haress consists of the core guitar duo of David Hand and Elizabeth Still, based in Bishops Castle in the Shropshire Hills.
They intertwine dark and repetitive electric guitar figures to create a hypnotic, mantra-like state, the playing working on a kind of unspoken telepathy until it’s impossible for the onlooker to work out which player is responsible for which sound amid the warm, enveloping hum of valve amps.
For their debut LP release, Haress have expanded this duo to include additional drums from David Smyth (Kling Klang, Mind Mountain), guitar and Echoplex from Chris Summerlin (Kogumaza, Grey Hairs, Hey Colossus), vocals from Thomas House (Sweet Williams, Charlottefield) and trumpet from Nathan Bell (Lungfish, Human Bell). The album was recorded with Phil Booth at JT Soar in Nottingham.
This large ensemble loses none of Haress’ intimacy and instead decorates the songs with sympathetic colour and light. The results are lovingly rendered and share a genuinely magical recording process with the listener, allowing them to experience the same moments of surprise as the band did when committing this music to tape.
The results are purposefully difficult to pigeonhole but recall Ry Cooder’s “Paris, Texas” soundtrack, latter-day Earth, Papa M or even the repetition of Sahara blues but always filtered through a warm, rural sensibility. House’s vocals are a particular revelation, his soft vowels and delivery falling somewhere between Robert Wyatt, Mark Hollis and the role of cosmic observer that Ozzy Osbourne played so well on ‘Planet Caravan’.
Put simply, this is the sound of an ensemble of close friends on top of their game, embracing accident and luck and playing with true love and joy.
SOUND : https://lancashireandsomerset.bandcamp.com/album/haress
Support comes from instrumental bad blues locals Olanza.
SOUND : https://olanza.bandcamp.com/album/bonanza
Records played in the bar by George Mackenzie (Attacked by Wolves/Headfall/Motes/Shiver)
Tickets available now -
https://my.trinitybristol.org.uk/enablers/
Laters,
Tx
Entry requirements:
Other anti-folk gigs
— The Trinity Centre
experimental
psych
psychedelic rock
experimental rock
progressive rock