Rasputina (10:00 PM)

American Murder Song (9:15 PM)

Eliza Rickman (8:30 PM)

Tue, August 21, 2018

8:00 pm

Adv tix $17.00 / DOS tix $20.00

This event is all ages

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Rasputina - (Set time: 10:00 PM)
Pioneers in the use of cello as the sole instrument within a rock band, Rasputina has been inspiring young string players to commit a number of musical sins since 1996. The group's concept was written as a manifesto, and manifested accordingly by directress Melora Creager as a wily subterfuge for a plot to open audiences to adventure. The funny, the sad, the heavy, the tender-- it can all exist together. Employing elaborate costuming spanning a number of historical periods, Rasputina brings marginalized historical female figures and stories to light in the pop form, using archetypal characters such as Indian princesses, Hawaiian handmaidens and Medieval queens. Melora last performed in Europe with Nirvana, on their final tour in 1994. Over the years, Rasputina has performed/recorded with Marilyn Manson, Porno For Pyros, Cheap Trick, Goo Goo Dolls and many others. Hardened road-dogs, and with more than 7 albums under their belt, Rasputina continues to amaze and amuse.

About ‘UNKNOWN’- the new Rasputina album:
Melora says, “Unknown’ is 14 new songs recorded alone in a dank basement studio. I quite liked it though, that dank basement studio. I didn't feel at all alone. Using only one microphone, the whole album poured out of me in just 3 weeks- writing, recording, the whole thing. “Unknown is a CD only release- non-digital. Why? At one level, this album is about trauma, Melora’s trauma at being hacked- silently and anonymously observed through the Cloud. Conceptually, this album doesn’t exist on the Internet. It’s a real and physical thing. Anyone who purchases it is known to her.

MELORA CREAGER - voice, cello, banjo
Kansas born & raised, she moved to NYC in the 1980’s. Melora received classical music training as a child, but her performance career began with rock bands and East Village drag/performance artists. She founded the alternative/ historical cello ensemble Rasputina in 1991 as a way to meet like-minded girls- girls that wanted to rock out on the cello and wear fine costumery. The sound and visual concepts that began in Creager's Rasputina manifestos presaged and influenced movements and trends such as Modern Victorians, Steampunk, freak-folk, corsetry, and crafting. In 19 recordings, and countless public performances, Creager has led a 20 year exploration in cello amplification, recording, and performance.

LUIS MOJICA- piano, beat-boxing
Luis uses the piano to cast, wild narrative spells. His eyes are that of an androgynous monk with rainbow tentacles. Luis loops words, chants, and sounds through a loop pedal AKA beatboxing, ‘Beat-Boxing Baroque’. Luis brings his musical madness to Rasputina today.

CARPELLA PARVO- cello, voice
Cello-fingers in flight and with the voice of a bird, Carpella is from another country, but keeps it a secret which one. She played on Rasputina's debut album, Thanks for the Ether (1996), then succumbed to the very condition from which she takes her name- carpal tunnel syndrome. Having healed over 20 years, Carpella jubilantly returns to Rasputina in the 21st century.
American Murder Song - (Set time: 9:15 PM)
American Murder Song
AMERICAN MURDER SONG – a collection of original Murder Ballads from cult musical filmmakers and performers, Terrance Zdunich and Saar Hendelman. Creep into the Killing Place for “a playful and murderous odyssey through the territories of American identity, looming mortality, and divine judgment.” (Sing Out)

Murder Ballads: (n.) Songs that tell of murder… Some true, some shot, some wild, some caught, some borne, some taught, some cruel.

Murder ballads have their roots in the early history of America. These songs, passed down from one generation to the next, tell the raw stories of life and death, punishment and retribution. American Murder Song stalks along the path of this folk tradition.
As alter egos MESSRS. STORM AND TENDER, Saar and Terrance present tales of lovers, outcasts and killers who bear THE MARK, an American Mark of Cain.

Murder Ballads of 1816
“The Year Without a Summer”

American Murder Song’s debut ballads are set during the strange and unseasonable storm of 1816 that devastated New England and hastened the country’s violent Westward Expansion. Through a collection of gritty tunes and sepia-tinged videos, Messrs. Storm and Tender relate a dark history lesson, populated with the likes of America’s first female serial killer, PRETTY LAVINIA FISHER, brought to life by a rogues’ gallery of cult music stars, including Alissa White-Gluz, Aurelio Voltaire and Chibi from The Birthday Massacre.

Murder Ballads of 1846
“The Donner Party”

Continuing their exploration of American history, Messrs. Storm and Tender step into the snowy footprints of real-life-misadventurers, The Donner Party, for a ravenous round of Murder Ballads. By way of a dark, grindhouse soundtrack and Twilight Zone-like videos, the Messrs. board THE BLACK WAGON and pitch a fire at the infamous cannibal crime scene of 1846, where THE DEVIL IN CAMP, Lewis Keseberg, feasted on his fellow pioneers.

Murder Ballads Live
During the fall of 2016, Messrs. Storm and Tender traveled across these United States to present “The Year Without a Summer” on THE AMERICAN WAKE TOUR. Every night the Messrs. performed a live, historical Wake, recounting the sordid and murderous tales of 1816 in a dead man’s parlor to a rapt audience of veiled mourners.
The following year, Messrs. Storm and Tender took to the road once more to stage 2017’s THE DONNER PARTY REUNION TOUR. Saddling from town to town, they presented a fictional TV show called “The Black Wagon,” where they invited audiences to participate in a murderous reenactment of the lives and deaths of history’s “The Donner Party.”

Murder Artifacts
Messrs. Storm and Tender’s collection not only contains the tales and ballads of American Murder, but also rare and accursed Artifacts of crime lore. Among them: THE TRAV’LERS DECK, a hand-drawn card game of American killers known to conjure the dead, THE BLOOD TRAVELERS’ COMPASS, a musical box set unlike any other, and THE DONNER PARTY BOARD GAME, an artful presentation of The Donner Party experience replete with Fingers and Fingers of Meat.

The Creators
As history is central to American Murder Song, no chronicle would be complete without recounting some of Saar and Terrance’s pre-Messers. Storm and Tender adventures.
Before creating American Murder Song, the two first collaborated on the musical film THE DEVIL’S CARNIVAL, directed by Saw series helmer Darren Lynn Bousman and starring Emilie Autumn, Sean Patrick Flannery and Paul Sorvino. Terrance himself played the titular Devil, who recites Aesop fables and doles out punishment in an amusement park for sinners.

The sequel ALLELUIA! THE DEVIL’S CARNIVAL followed, expanding the underworld, and adding rapper Tech N9ne, David Hasselhoff, and Broadway legends Ted Neeley and Adam Pascal, among others, to the mix. This film saw a war brewing between Heaven and Hell, with more Aesop fables, and a big-band era score performed by members of Big Bad Voodoo Daddy.

Before that, Terrance was the mastermind and co-creator of REPO! THE GENETIC OPERA – a midnight movie favorite in which he starred alongside Sarah Brightman, Paris Hilton and Anthony Stewart Head. It was hailed as “this generation’s Rocky Horror Picture Show” (Hollywood Reporter) and counted amongst The 25 Best Cult Movies Of All Time by a Rolling Stone Readers’ poll. At the same time, Saar was busy at work recording and producing music, including his album “Bleed On Your Dress,” while performing and writing music for film and TV.

There’s Killing In Us Yet
This year Terrance and Saar have their most ambitious plans yet. So get yourself ready for more music, more videos, and lots more American murder. Be sure to follow our social media by clicking on the links below and subscribe to our newsletter to be kept in the bloody loop.
Eliza Rickman - (Set time: 8:30 PM)
Eliza Rickman
There is always a hint of menace and reservoirs of force haunting the corners of Eliza Rickman’s voice, whatever register it occupies. Her presence on stage- whether she wears flowers in her hair, or stuffed birds; whether she plays a toy piano or a grand piano- is an enveloping, soft darkness, impossible to ignore. It has been three years between Rickman’s first album, O, You Sinners, and her newest effort, Footnotes for the Spring. In those intervening three years, Rickman added the autoharp to her repertoire, fought illness and heartbreak (and won), and turned 30. But mostly, she toured. She is a frequent featured musical act for the live rendition of the popular podcast Welcome to Night Vale, she joined the band Rasputina for a handful of dates, and she organized her own successful solo European tour.

During those three years, Rickman’s vocal delivery has also developed a new breathlessness. She wrote all the string arrangements on her debut. But friend Jason Webley produced and orchestrated Footnotes. Here, Rickman’s voice casts its shadow against Webley’s shimmering strings and a Phil Spector style wall of sound, flecked with melancholy and nostalgia. This clutch of songs comprises, among others, “Lark of my Heart”, written to commemorate the wedding day of Margaret Rucker, an unknown poet whose scrapbook was found in a dumpster many years after her death; “Now and Then”, whose opening lines encapsulate the juxtaposition at the heart of the album- “Oh, to be young again/blood is on my hands”- and “Wax Nostalgic”, whose title speaks for itself. But this is nostalgia without sentimentality. Rickman’s voice has the power to hold the smallest grain of sadness, an intimation that the longed-for innocence depicted in her lyrics has slipped just below the glow of the orchestra and out of sight.
Venue Information:
9081 Santa Monica Blvd
Los Angeles, CA, 90069

All lineups and times subject to change