DISTORSION > ENTREPÔT 77 :: Holy Fuck + Grim Streaker + Crasher + Petra Glynt
DISTORSION PSYCH FEST presents

DISTORSION > ENTREPÔT 77 :: Holy Fuck + Grim Streaker + Crasher + Petra Glynt

In-person Event
July 22nd 2022
5:00 pm – 10:30 pm

77 Rue Bernard E, Montreal, QC, Canada
For more information about this event, please contact DISTORSION PSYCH FEST at info@distorsionpsychfest.com.

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DISTORSION strikes back with a second concert series featuring psychedelic anthems, subversive earworms and decadent rhythms in open air! 

On July 22-24, DISTORSION invites you to Entrepôt 77, a mythical Montreal location of the Plateau Mont-Royal, neighboring Mile-End and La Petite Patrie.

- Outdoors concerts
- Bar service on site 

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DISTORSION strikes back with a second concert series featuring psychedelic anthems, subversive earworms and decadent rhythms in open air! 

On July 22-24, DISTORSION invites you to Entrepôt 77, a mythical Montreal location of the Plateau Mont-Royal, neighboring Mile-End and La Petite Patrie.

- Outdoors concerts
- Bar service on site 

Holy Fuck

Holy Fuck took the world by surprise around 2005 because there was just nothing like them—a hardcore thrift-store found-object punk band with a relentless commitment to rhythm and a sense for atmosphere better matched to a close encounter of the third kind than a simple rock concert.

Think Einstürzende Neubauten re-inspired by Fela Kuti with Brian Eno working as keyboard tech and every channel on the mixer set to max power. It was the best ride out there while it lasted, up to and including their 2010 full-length Latin, recorded largely in too-brief breaks while on the road. That album cemented Holy Fuck’s sound and reputation for unapologetic instrumental noise but at the end of yet another insane touring cycle, it was time to take a break … which turned into a hiatus … which turned into a chance to explore other projects and production work. (Like the bands Lids, Dusted and Etiquette, or production for Metz, Alvvays and Viet Cong.)

www.holyfuckmusic.com/

Grim Streaker

Grim Streaker’s energetic strain of art-punk is the only constant for the restless Brooklyn & Vancouver quartet. In light of the pandemic, singer and lyricist Amelia Bushell moved to Vancouver, Canada, which channeled a new creative process for the now pan-american band—turning fragments of work written at their Bushwick, Brooklyn studio into living, breathing, virtual collaborations. This triggered a quick departure from their previous incarnation. Amelia’s performances became more vulnerable and more playful, yet still unsettling. Dan Peskin (guitars/electronics/synths) built a genre-bending brand of punk to match. Bassist Bill Dvorak and drummer Piyal Basu locked tightly into pulsating, danceable frameworks. The result is MIND; a surreal, subversive world of four songs that reflects on the current state of mental health, laughable social constructs and the inescapable working grind. MIND is careening disco, seductive R&B, rhythmic onslaughts and pure fun with a punk edge, packed into 14 minutes.

grimstreaker.bandcamp.com/

Crasher

CRASHER are a new 3 piece electronic punk band fronted by Airick Asher Woodhead (Doldrums, errhead). CRASHER formed during COVID while ‘bubbling’ in a shared jam space, and recorded the tape ‘STREET CLEANING MACHINES OF THE WORLD’ which released in spring 2021. They performed it live at Montreal’s OXYGEN outdoor rave event series in summer 2021. CRASHERs music would be at home next to wave bands of the 80’s and reissue labels like Dark Entries and Minimal Wave. Asher’s caustic lyrics and melodic singing style bind the varied sounds of the band together.

crasherr.bandcamp.com/

Petra Glynt

Alex Mackenzie began the Petra Glynt project in 2012 with her first EP, Of This Land, inspired by the organized resistance of the Occupy Movement. Performing at pipeline protests with the community of Toronto artists that included Polaris Prize winner Lido Pimienta, her songs on This Trip rallied against racism, sexism, and environmental devastation. The themes of her latest album are no less politically charged, with lyrics about governments and corporations valuing wealth over health, such as the lack of response to Flint, Michigan’s contaminated water (“Health”), and a tongue-in-cheek retaliation to the profits driving private information collection like Facebook's data hack scandal (“Surveillance”), as she watches the watchers. “No Consequences” welcomes those who fear change or inclusivity to join her on the dancefloor, while its most powerful vision of the future arrives with “New Growth”, which she describes as a feminist anthem of empowerment in the wake of #MeToo.

As she continues to focus on a lifelong visual art practice, directing videos and creating the intricate illustrations for her album covers, Mackenzie has also moved into composing scores for films such as the cult documentary The Devil’s Trap. These overlapping efforts arrive at the intersection of unfiltered experimentation and fiercely motivated beliefs dating back to her previous musical life. M.I.A. remains a beacon of inspiration, but she approaches the process of creative expression with the ethos of Crass.