Nathan Cook's Show Series BRUXISM Begins this Friday at Apop Records
RFT Music: Bruxism, by definition, is the involuntary grinding of one's teeth. Why pick that name for this concert series?
Nathan Cook: Well, because it's something that occurs subconsciously while one is sleeping and is sometimes the result of pent-up anxiety or stress. I think it makes sense in the context of the series because it relates to the intensity of the music. It also pertains to the way many of the artists in the series manifest work that is very personal and sometimes it stems from a troubling, unstable, or agitated source.
Each concert will offer either a free cassette, zine or print. How do you determine what will be given away to attendees each month?
By what the particular artist is interested in producing and sharing at the time. Wamhoda has been making many drawings and prints ranging from monsters to textural color field prints that are quite nice in a mildly disgusting kind of way. So it seemed natural to present that kind of new and spontaneous material.
The show after this one will likely feature a cassette of some kind. Ideally each published edition will showcase the best new ideas and work from those involved.
The Kingston Family Sound System, aka Chad Hickman, will be guest DJing for the night. What should one expect from a DJ set in this concert series?
Chad is an obsessive record collector (which makes for a great DJ) and has a wide spectrum of music in his collection. His record selecting is fun and unpredictable with fast and lively mixing. The DJs for the series will be selected with an emphasis that they are not just providing musical wallpaper but are thoughtfully contributing to the atmosphere of the show.
What do we have to look forward to in future months of Bruxism?
Some of the other themes will likely be performance art, Free Jazz night, and possibly a video/film exhibition. There will be a new cassette for the next show and a new zine featuring many artist interviews after that. The compilation tape Rhizomatic St. Louis Vol. 3 that I've been producing annually will be coming out in March or April so it could be a good vehicle for the release show. Look out for updates here: www.close-far.com and www.apoprecords.com.
This concert series is aimed at a certain niche in St. Louis music, so how will you determine if the shows are successful? What goals do you have in mind for Bruxism as a whole?
Tiffany Minx of Apop Records: [St. Louis] functions as such a small town sometimes that in just about every scene occasionally a gig is like a rerun: the same players, the same audience, the same everything. Nothing wrong with a gathering to celebrate the talents of friends, but who on the outside ever enjoys an inside joke? What I'd like to see with Bruxism are new connections, new collabs, surprisingly successful mixtures of performers that may not make obvious sense on paper, and attending newcomers who might then become regular supporters of the greater avant, experimental, electronic, improvisational and general weirdo scene of this city. To me, Bruxism's success will be gauged on its ability to be fresh.
RFT MUSIC'S GREATEST HITS
The 15 Most Ridiculous Band Promo Photos Ever
"Where Did My Dick Go?" The Gathering of the Juggalos' Best Overheard Quotations
I Pissed Off Megadeth This Week, My (Former) Favorite Band
The Top Ten Ways to Piss Off Your Bartender at a Music Venue