Matmos Live at The Blue Room

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The Blue Room, Nashville, Tenn. Matmos in North America, Performing and diffusing material from their albums, Plastic Anniversary, The Consuming Flame, and Regards Boguslaw Schaeffer. Available through Thrill Jockey Records. With Jeff Carey. July 30th, 8pm, All Ages, $15/$17

Matmos Live at The Blue Room

July 30, 2022

Doors 7:00pm

Show: 8:00pm

All Ages

Tickets: $15 advanced / $17 day of show

Purchase Tickets Here: https://thirdmanstore.com/products/nashville-matmos-live-at-third-man-records

FB Event: https://fb.me/e/1npvBjwhq

Please note that all ticket sales will be available at will-call the night of the show. Please be prepared with your email ticket confirmation, your name, and some form of identification to show the door person.

*All ticket sales are final. No refunds or exchanges will be permitted*

See Matmos marry the conceptual tactics and noisy textures of object-based musique concrete to a rhythmic matrix rooted in electronic pop music.

Matmos is M.C. Schmidt and Drew Daniel, aided and abetted by many others.

(http://vague-terrain.com/people/)

Currently based in Baltimore, the duo formed in San Francisco in the mid 1990s, and self-released their debut album in 1997. Marrying the conceptual tactics and noisy textures of object-based musique concrete to a rhythmic matrix rooted in electronic pop music, the two quickly became known for their highly unusual sound sources: amplified crayfish nerve tissue, the pages of bibles turning, water hitting copper plates, liposuction surgery, cameras and VCRs, chin implant surgery, contact microphones on human hair, rat cages, tanks of helium, a cow uterus, human skulls, snails, cigarettes, cards shuffling, laser eye surgery, whoopee cushions, balloons, latex fetish clothing, rhinestones, Polish trains, insects, life support systems, inflatable blankets, rock salt, solid gold coins, the sound of a frozen stream thawing in the sun, a five gallon bucket of oatmeal. These raw materials are manipulated into surprisingly accessible forms, and often supplemented by traditional musical instruments played by them and their large circle of friends and collaborators. The result is a model of electronic composition as a relational network that connects sources and outcomes together; information about the process of creation activates the listening experience, providing the listener with entry points into sometimes densely allusive, baroque recordings.