Doors at 7PM
Advance $20 | At the Door $25
Hunter Hunt-Hendrix, founder of the controversial band Liturgy, provides a live hybrid chamber/metal ensemble score to his directorial debut, the video opera Origin of the Alimonies, starring Angelina Dreem.
The piece, composed in transcendental black metal style, tells the story of a traumatic explosion of love and loss that underlies our world of time and form. It follows OIOION and SHEYMN, a pair of divine beings whose thwarted passion tears a wound from which civilization is generated, producing the Four Alimonies of the intelligible universe and the task of collective emancipation.
Incorporating narrative, image, and symbol into a musical language that is a fusion between underground metal, minimalism, trap music, and 19th–century romanticism, the piece deliberately fosters productive discord between the ethical and political commitments that implicitly accompany these genres, while addressing the unanswerable and often foreclosed question of the origin of all things.
This screening marks the inchoate and retroactive consolidation of an ongoing multimedia operatic cycle titled OIOION. A quasi-mythic account of world history, from the beginning of time through the present day into a prometheo-messianic future, OIOION operates both within a dramatic frame and directly as an agent in the outer narrative fabric of social space. Its goal is to empower political and creative activity with a heightened sense of what is genuinely possible, an amplification of vulnerable sincerity, and an affirmation of intellectual difficulty, in part by delineating the normative-ethical categories “hyperborean” and “transcendental”.
Forcing the antinomy between the two poles of total art born during modernity — Wagnerian Gesamtkunstwerk and Fluxus intermedia — OIOION is one aspect of an experimental trinitarian practice called Perichoresis, which disrupts the boundaries between art, religion, and politics by means of a precise and dynamic synthesis of music, drama and philosophy. Perichoresis maintains a reflexive stance towards cultural transmission and persona while attempting to sustain pathways between transgressive new forms and the traditional canon so that their conjunction might foster something other than the inadvertent expansion of Capital’s reach: namely, the Kingdom of Heaven, whose name is HAELEGEN.
The performance, which features members of Liturgy alongside acclaimed experimental and chamber musicians including Eve Essex, Leila Bordreuil, and Nate Wooley, incorporates an arrangement of French mystic composer Olivier Messiaen’s 1932 organ piece Apparition de l’église éternelle together with a short philosophical lecture delivered by Hunt-Hendrix. The lecture outlines the System of Transcendental Qabala, which weaves psychoanalysis, dogmatic theology, historical materialism, and cognitive science into an “apocalyptic humanism” envisioning a new post-capitalist mode of production at the limits of imagination: the concrete victory of love over death, the birth of God, staged as human nature’s self-transformation into music.
Opening the evening will be a live saxophone performance by Paul, aka Angelina Dreem