Dave Heumann lives and works in Baltimore, Maryland, USA. He has played with The Anomoanon, Bonnie “Prince” Billy, Cass McCombs and Papa M. Arbouretum is the first band for which he is the primary songwriter, guitarist, and singer.

Heumann's idea for the band was one whose songs would evoke natural forms and movements as opposed to architectural constructions with rigid forms and linear progressions. Whilst the band's hard-to-find debut was largely an individual process with players working to articulate Heumann's vision, Rites of Uncovering is the work of a group. Long-time friend Walker David Teret is a multi-instrumentalist who had played in many of the same groups as Heumann. In those groups and in Arbouretum, he has played guitar, bass, keyboards, even the drum kit at times. Walker primarily plays the guitar in the current lineup, but plays a variety of instruments on Rites of Uncovering. Also on the album is drummer Mitchell Feldstein of Lungfish, who filled in when David Bergander (of Love Life and the Celebration) had to depart for other commitments mid-way through the recording. Bassist Corey Allender also played in bands such as STArs of the dogon, Fascist Fascist, and Cass McCombs' band before joining Arbouretum.

Arbouretum's debut, Long Live the Well-Doer, was released in 2004.

Dave Heumann also plays in Human Bell with Nathan Bell (also ex-Lungfish) & Baltimore super-group Television Hill.



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Rhyton is a band that features Dave Shuford (No Neck Blues Band), D. Charles Speer, Jimy SeiTang (Psychic Ills), and Spencer Herbst (Messages, Matta Llama) improvising their way through fields of psychedelic rock.
Rhyton pours out a sonic libation unto the liberated world. Waveforms ring out, alternately frozen and blazing, wrenched from an improvisational method. They seek to loosen the gaze so as to widen focus, taking the unity in hand, not grabbing for the micro-constituent. Using the dynamic levels of rock, Rhyton carve out an edifice of sound on their debut LP that centers upon repetition and modal excursion. Recorded and mixed by Jason Meagher at his Black Dirt Studio, this self-titled release is culled from a highly fruitful three day recording session. Seeking to capture the cutting intensity level of their live performances, the band takes the ethos of full engagement. The multiple amp setup at hand in the studio helps imbue the ear with "second hearing". The split stereo, dual amped electric leads utilized throughout the record are best experienced on tracks like "Pontian Grave" and "Teke" where phase and tremolo patterns bounce and surge from ear to ear, warping senses of both time and space. These two distinct sound sources are a manifestation of dual perspectives derived from a single emanation: this is not the fracturing of a voice, but rather its multiplying into a unified but complimentary chorale as different delay lengths and distortion levels cohere into an ensemble greater than its parts. On "Dale Odaliski" the rock trio trappings are stripped away as a booming tom tom, oscillators and delay loops evoke a kind technological primitivism that seems akin to a message from a shattered, distant future. Extreme attention to auditory detail is apparent throughout the album, as blasts of varied gain stages writhe within fields of phased cymbals and bass throbs. Taken from repose to ekstasis - as mental impulse reigns above, so the body below records.

Rhyton is a band with an organic genesis, born from late night rap sessions at a local Brooklyn watering hole. Heads of certain vibe gathered together to tap into the underlying flux form of transportational music. Dave Shuford (D. Charles Speer, No Neck Blues Band) had been knee deep in research and practice in the realm of middle eastern musics during the recording of his solo LP Arghiledes. From that album, the track "The Heavy Heart of Ando-Yeap" was used as a leaping off point for the gestation of Rhyton. Shuford brought his personal selection of varied string instruments to the table, seeking to create a heavier electric syntax for mandolin, saz and baritone guitar. Jimy SeiTang (Psychic Ills) emerged as a sonic surgeon, creating wave patterns with his bass and pulses of tape delay tales. Spencer Herbst (Messages, Matta Llama) injected his flowing, highly energetic style of percussion and brought in visual conundrums by way of videocassette. An instant near-telepathic bond was established, making improvisations seem like composed forays even to the closest confidants. With variants and heads situated as a point of departure, Rhyton explores the inner workings of the ear and seeks the latent brain bulge within the listener.

01 Stone Colored
02 Pontian Grave
03 Teké
04 Dale Odalíski
05 Shank Raids



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See also Adam Leonard & P.G. Six


Pat Gubler, a.k.a P.G. Six came on the scene in 1994, as a member of Memphis Luxure, a noise/rock band from Port Chester, NY. That band morphed into Tower Recordings, a musically omnivorous ensemble that released several albums on the Siltbreeze and Communion labels over the past decade. Pat's first solo album, "Parlor Tricks and Porch Favorites" (Amish 014) saw the light of day in 2001, followed by "The Well of Memory" (Amish 019) in 2004. "Music From the Sherman Box Series" (AMI 024), a collection of instrumentals arrived in Fall 2006. His music fuses an unlikely range of influences including 60s British folk, country rock, & experimental music. P.G. Six has shared the stage with a variety of performers including: Ghost, Slint, Yo la tengo, Michael Hurley, & The Incredible String Band. His 4th album, Slightly Sorry was released Feb 2007 on Drag City.


http://www.myspace.com/pgsixband

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