desertedvillage
Well-Known Member
"There's never any good gigs in Dublin" Chapter 3476002..............
PAUL SMYTH (SOLO PIANO).
24th March 2005 (Holy Thursday).
Goethe Institut, 37 Merrion Square, Dublin.
Doors 6:30 sharp, 6 euro.
This is Pauls first solo gig in Dublin in a year.
It's also the launch for Pauls new cdr on Deserted Village which is called "The Anesthetic" This will be on sale in Freebird Records from today and at the concert on thursday.
Note early start time. Paul Tells us that this concert will finish nice and early so folks can cram in an intimate spiritual cathartis between work and feeling uneasy in a superpub, braying loudly at eachother across the chatter, trying to drown the malaise with pints of manmade chemicals and vacous bubbles. Hey, it's the weekend
"'The Anaesthetic' documents a set of improvised piano pieces, performed in an unlit concert in the spring of 2004. Intense and accomplished, they're presented here in the order of performance, and should be considered one complete work. As painterly as any of Smyth's visual work, this is nervous-system music with a long memory and fast heart. "
PAUL SMYTH (SOLO PIANO).
24th March 2005 (Holy Thursday).
Goethe Institut, 37 Merrion Square, Dublin.
Doors 6:30 sharp, 6 euro.
This is Pauls first solo gig in Dublin in a year.
It's also the launch for Pauls new cdr on Deserted Village which is called "The Anesthetic" This will be on sale in Freebird Records from today and at the concert on thursday.
Note early start time. Paul Tells us that this concert will finish nice and early so folks can cram in an intimate spiritual cathartis between work and feeling uneasy in a superpub, braying loudly at eachother across the chatter, trying to drown the malaise with pints of manmade chemicals and vacous bubbles. Hey, it's the weekend
"'The Anaesthetic' documents a set of improvised piano pieces, performed in an unlit concert in the spring of 2004. Intense and accomplished, they're presented here in the order of performance, and should be considered one complete work. As painterly as any of Smyth's visual work, this is nervous-system music with a long memory and fast heart. "
