20.09.23 — 20H ~ NOTNOIS 1 ~ 
live performances: VOMITATRIX + GUIP0

Vomitatrix conjures up something you might call ACID-GRIND. It’s vaguely based on traditional hardcore/grindcore archetypes, but the result is explosive hallucinatory madness, uniquely alchemical to the four personalities which make up the band. The “songs” are inexplicable structures that take perhaps one tiny grain from the idiom and flesh them out into a vortex of bizarre energy and noise. It’s structured, but anything can and does happen. 

Hailing from Providence, RI.  Gyna came up in confrontational rock groups like Tinsel Teeth (Load Records), SIRE, and In Heat, recording and touring constantly for years. Her performance art persona began to emerge out of frustration with the limitations of the typical “band” format. Not to be ignored her performances are known to be extreme, controversial, sometimes shockingly self-injurious, and cathartic physical public aktions. 

RICK EYE (guitar)
Hailing from Denton, Texas, Rick Eye is a local staple and member of Texas classic bands Flesh Narc, Bukkake Moms, Gay Cum Daddies as well as many other collaborations. He has also shared stages with Wolf Eyes and Black Bananas. He is known in the south for his ultra unorthodox guitar style and is the true wildcard of Vomitatrix.

TIM DAHL (bass guitar, vocals)
Tim Dahl has been touring the world profusely for 25 years covering North and South America, Europe, Asia and Australia.  He is most known for playing with Lydia Lunch Retrovirus, Child Abuse, GRID, and Pulverize the Sound. He has also collaborated with Yusef Lateef, Archie Shepp, Tatsuya Yoshida(Ruins), Peter Evans, Tyshawn Sorey, Mary Halvorson, Jandek, Kool Keith, Rhys Chatham, Eugene Chadbourne, and Von LMO. To name a few.

Internationally known as the mind behind the three-decade long reign of the punk jazz/no wave/brutal prog hoarde The Flying Luttenbachers, Weasel Walter an undeniable figure in the avant garde world. Prescient in his adoption of bona fide Black/Death/Grind drumming techniques into the idiom of free jazz  during the early ‘90s, his percussive insanity has only become more severe and ridiculous over time.