by / February 8th, 2010 /

Skinny Wolves presents Xiu Xiu, Crayonsmith, Angkorwat

Amazing cult experimental avant pop goth noise group, XIU XIU, play Dublin to promote their new Greg Saunier produced LP “Dear God, I Hate Myself”

Skinny Wolves Presents,

**XIU XIU (Usa, Kill Rock Stars)

w/ CRAYONSMITH & ANGKORWAT**

Saturday 20th February 2010

Whelans, Wexford St, Dublin

Doors 7.30

Tickets 15e (w/ booking fee included) : from Road Records / City Discs & http://www.tickets.ie/skinnywolves

**XIU XIU**

http://www.myspace.com/xiuxiuforlife

http://www.xiuxiu.org/

ABOUT : ‘Dear God, I Hate Myself’

Read almost any piece about Xiu Xiu and you’ll see words like ‘harsh’ or ‘brutal’ ‘” the same words that appear before ‘truth’ when an unwavering eye is turned on any intimate detail of our lives. Fair descriptions of the themes central to the music, they sit incongruous to the refined, intricate, and beautiful approach taken in crafting the twelve tracks on Xiu Xiu’s new album Dear God, I Hate Myself.

Stewart is joined by new full-time band member Angela Seo on piano, synth, and drum programming; with production handled by Jamie and Deerhoof’s Greg Saunier. Together they’ve crafted a fully grown sound for Dear God, I Hate Myself with elements from goth and pop that are expertly performed by a crop of brilliant musicians. Saunier himself plays on much of the record as does Ches Smith (John Zorn, Terry Riley, Marc Ribot) who supplies timpani, conga and moog along with a broad range of other instrumentation. Deerhoof’s John Dieterich is all over a rendition of the traditional folk song ‘Cumberland Gap’ and Xiu Xiu is even joined by the Immaculata Catholic School Orchestra in Stewart’s ode to heartbreak and healing, ‘This Too Shall Pass Away (for Freddy).’ The title track, one of four songs done primarily on a Nintendo DS, explores the relationship between faith and despair with a layer of commentary provided by the bizarre sounds of the music itself.

Each new Xiu Xiu release has evolved alongside the lives of Jamie Stewart and company. On this record you’ll find more intensity and introspection than ever before, but sonically and lyrically it continues to move forward with a subtly new perspective ‘” hyper-focussed yet aware of a larger, external picture unfolding. The pace of the record grips you, the music offers layers of detail, and the themes focus on not just the past or stark present but hint towards vespers of the future as well. Dear God, I Hate Myself will challenge you and force you to look inside yourself, but only after you get lost in the music. It’s passionate, it’s energetic, and it affects you.

Dear God, I Hate Myself is a beautiful piece of humanist art. It’s an important addition to the growing body of intelligent music from Xiu Xiu. And it’s a brilliant gothic pop record that can stand next to anything.

MORE PRESS : http://www.fourpawsmedia.com/xiuxiu/

XIU XIU’s Label page : http://killrockstars.com/artists/viewartist.php?aname=xiu

PITCHFORK & XIU XIU : http://pitchfork.com/artists/4683-xiu-xiu/

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XIU XIU VIDEOS:

**CRAYONSMITH**

http://www.myspace.com/crayonsmith

Having played in various musical projects from a young age, in early 2004 Ciaran Smith began playing his own 4-track recorded songs live under the name -Crayonsmith’. Soon after, he asked close friends and local musicians Ronan Jackson and Ruadhan O’ Meara to jump on board. With them, they brought bass, synthesizers, samplers, autoharp and live percussion/drums to the mix resulting in a fuller band sound.

After touring the songs for 2 years, in 2006 Crayonsmith self-released the lo-fi debut album, Stay Loose, to critical acclaim. On hearing Stay Loose, American indie icon Mark Linkous personally asked Crayonsmith to open for Sparklehorse for 14 dates on their UK/Irish tour in October 2006.

In February ’07, Crayonsmith signed with long time friends Out On A Limb Records (who had previously released albums by givemanakick and Waiting Room) based on a mutual respect for each others work and ethos.

Directly following this signing, Ciaran did a solo Crayonsmith tour of the US West Coast and Canada playing with likes of Jason Lytle (Grandaddy), Casiotone For The Painfully Alone, Starfucker and Mt. Eerie.

On Ciaran’s return, the band reconvened and began work on the second album under the working title, White Wonder. This was to prove to be a more collaborative effort than its predecessor Stay Loose. Influenced by the US indie label Anticon, the band decided to compose their songs by combining sampled drums and sounds with live instrumentation.

White Wonder was released on April 4th on Out On A Limb records. The album features catchy, punchy songs made up of sampled beats and drum machines combined with live drums, duelling vocals and vintage synthesizers, guitars, bass, autoharp, toy piano, percussion, classic harmonies, found sounds/samplers and headphone interplay.

For now, Ciaran is writing and demoing new material and playing solo shows with a synth and sampler set up as well as some acoustic shows.

**ANGKORWAT**

http://www.myspace.com/angkorwatwat

“Mysterious, cigarette-smoke skeletons of songs shake hands with eerie banshee keening – Corcoran creates a Bateau Ivre of sound, slowly sinking and marvelling towards the abyss (…) stands, or sits cross-legged on the floor, surrounded by computers, cables and synths. Behind her, flickering images lick at a projector. Senses swirl in and out of the room, while synth loops wrap themselves around necks and hearts.” – NME

“All eerily-filtered vocals and menacing synth melodies, the overall effect of her music is an unsettling, keep-watching-over-you-shoulders sensation you mightn’t shake for days afterwards. Already earning the deserved attention of Wire magazine and producing her debut album with David Kitt, Angkorwat has more potential than you’ve had Monday morning headaches.” – TotallyDublin

“…vaguely nauseating…” – Connected.ie

“short, simple compositions bursting their seams with trapped energy and characterised by a certain ghostly, something-wrong feeling.” -Those Geese Were Stupefied

“smudged expressionist electronica that walks a tightrope between euphoria and worry.” -Asleep On The Compost Heap