Pedestrian Deposit - The Hideout1354 W. Wabansia Ave Chicago,IL
04/19/2019 9:00 PM - 04/19/2019 11:00 PM
The collaborative work of Jonathan Borges and Shannon Kennedy of Pedestrian Deposit could be described as highly composed, often abstract sound textures combined to create dynamic experimental music that draws on the duo’s widely contrasting auditory obsessions. Borges’ use of crude yet disciplined electronics, tape loops, field recordings, and controlled feedback manipulation contrasts against Shannon’s use of self-designed stringed instruments, bowing techniques and amplified wood and metal, resulting in music that is both raw and refined. Pedestrian Deposit bears elements of electro-acoustic sound, musique concrete, classical, industrial and harsh noise, but cannot be confined to any one genre.
Jonathan Borges began Pedestrian Deposit in the Winter of 2000, with the concept of combining layers of electronic sound with no pre-determined relation to one another until mixed. The project slowly evolved to incorporate elements and hybrids of harsh noise, tape collage, field recordings and ambient music with a focus on extreme contrast, resulting in a prolific few years of rich and dynamic compositions on such labels as Hospital Productions, Hanson Records, and Borges’ own Monorail Trespassing label, to name a few.
After a two-year hiatus, PD returned in the fall of 2008 with the addition of multi-instrumentalist and visual artist Shannon Kennedy; and her elements of cello, violin and amplified, bowed and manipulated objects. They have consistently toured the United States nearly every year since, placing an emphasis on the development and evolution of physical, psychological and organic live performance.
PD has appeared at such events as the 2009 No Fun Fest in Brooklyn, New York; the 2010 ’Activating The Medium’ festival in San Francisco, CA; the 2013 Milwaukee Noise Festival in Milwaukee, Wisconsin; the 2014 and 2015 Ende Tymes festivals in Brooklyn, NY; the 2015 LUFF festival in Lausanne, Switzerland; and the 2016 Click Festival in Helsingør, Denmark — in addition to innumerable venues, galleries, halls, bars and makeshift spaces in the U.S., Canada and Europe.
Pedestrian Deposit uses and endorses QSC speakers, Mogami and Monster cables, and Mackie audio mixers.
Webster Dictionary defines spook as a ghost or a spectre, and ONO's brutal, daunting new LP is teeming with them. But spook is also a racial epithet, and this double-meaning informs the album from start to finish. The spectre of race, of course, has defined our nation's history from its inception--it's the "long shadow," in Obama's words, that's with us always. Spooks, as bandleader P. Michael puts it with typical bluntness, is America--past, present and future.
It's hardly the first time the almighty ONO have brought their vision to bear on the dilemma of black life in the 'New World', but Spooks is ONO going deeper, darker and denser than they ever have before. Joined by a slew of guest performers and fellow travelers, including Ministry's Al Jourgensen, Lamont Thomas of Cleveland's Obnox, Hilal Omar Al Jamal of Night Auditor, and longtime collaborator Shannon Rose Riley, the core band is at its most punishing, their Afro-industrial rhythms driving and ruthless. Singer travis, meanwhile, has never sounded so terrifying, or prophetic, as he conjures up, in his many voices, the "bleeding haints" of (pan)-American life: cotton gins, sugar plantations, CIA coups; "Brownsville" slumlords, South Side arrest rides, drive-thru funeral homes. "I try not to think about Spooks," he explains. "Spooks burns my loins. Spooks buries my unborn children. Spooks illuminate the (US) American landscape."
Spooks is no history lesson, or dry polemic. Its ghosts are still rattling their chains, their haunting perpetual and highly personal. It's hard to imagine where they can possibly go after as grueling (and brilliant) an album as this, but after heating up for some 35 years ONO is positively aflame--whatever they thrown down next might literally melt the wax."
Mallory Rose Butler and Mitchell Buller