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Established in 2006, Machines with Magnets hosts experimental music performances, sound and art exhibitions and installations, performance art, film and video screenings, cultural and community events, private events, and fundraisers. Past performances include The Body, Dan Deacon, Mirah, Etran de l'Aïr, Braveyoung, Lydia Lunch, Lightning Bolt, Brown Bird, Container, and Mdou Moctar.
Upcoming Events + Tickets
All ages unless otherwise noted, 21+ with valid ID to drink
Earth + TBD
Wednesday, November 5, 2025
8:00 pm
to
Over the course of their thirty trips around the sun, Earth has remained diligent in their commitment to monolithic minimalism. The sonic vocabulary may have changed—from their early years churning out seismic drone metal on albums like Earth 2 (1993) to the dusty Morricone-tinged comeback album Hex; Or Printing in the Infernal Method (2005) to the meditative rock approach of Primitive and Deadly (2014)—but the underlying principle of austerity and restraint remains a constant. With their latest album Full Upon Her Burning Lips, Earth purges the layers of auxiliary instrumentation that embellished some of their previous records and deconstructed their dynamic to the core duo of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion. In the process, they tapped into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world.
Over the course of their thirty trips around the sun, Earth has remained diligent in their commitment to monolithic minimalism. The sonic vocabulary may have changed—from their early years churning out seismic drone metal on albums like Earth 2 (1993) to the dusty Morricone-tinged comeback album Hex; Or Printing in the Infernal Method (2005) to the meditative rock approach of Primitive and Deadly (2014)—but the underlying principle of austerity and restraint remains a constant. With their latest album Full Upon Her Burning Lips, Earth purges the layers of auxiliary instrumentation that embellished some of their previous records and deconstructed their dynamic to the core duo of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion. In the process, they tapped into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world.
Risks, Rituals, & Ruptures opens October 9 with works by Jane Hesser, Catherine LeComte Lecce, Ellen Shattuck Pierce, and Ellen Wetmore. Join us at 6 pm for viewing, cocktails, and conversation followed by performances at 7 from LIGHTS OUT, Glenna Van Nostrand, Host Ensemble, and House Red. Tickets available at the door, sliding $10-20 suggested donation. All proceeds go to Sojourner House, who envisions a world where everyone lives their life free from domestic and sexual abuse. ‘Risks, Rituals, & Ruptures’ brings together four artists who map reproduction and care—its risks, rituals, and ruptures—and the charged pause between what was and what will be. Across drawing, pattern, and photography, the works ask how we carry loss and continue to live inside the no-longer and the not-yet.
Founded in 2006 in Geneva, 90 years after Dada, by Vincent Bertholet (Hyperculte), the 12- piece Orchestre Tout Puissant Marcel Duchamp has released 5 albums on the highly influential Bongo Joe Records and played the European festival circuit for years. This will be their second attempt to conquer America – following the release of the latest album, Ventre Unique. The band’s name is an homage to some of the classic Congolese groups (Orchestre Tout Puissant Konono n°1, Orchestre Tout Puissant Polyrytmo, TPOK Jazz etc...) and to one of the greatest provocateurs of 20th century art. Their music mixes echoes of The Ex, Moondog, kraut rock, minimalism, high life, symphonic touches and punk outbursts - and yet, none of it is terribly relevant: OTPMD has managed to invent its own reality – or, if you prefer, a simulation. Their live performances are mesmerizing affairs with an almost ritualistic slant and arrangements so tight they seem to re-organize chaos itself.
