Lost Civilizations in DC on November 13

LOST CIVILIZATIONS (Photo credit: IntangibleArts)

On November 13, the Lost Civilizations experimental music project will appear at Adams Morgan’s Black Squirrel on a bill including Marian Fahey McLaughlin and Br’er. The performance is part of Anders Thueson ‘s Indie Adams Morgan series (

The Black Squirrel ( is located at 2427 18th Street NW Washington, D.C. 20009 (202) 232-1011. The event starts at 9 pm.

The Lost Civilizations experimental music project:
The Lost Civilizations experimental music project (; is a collaboration between Mike Sebastian (tenor sax, saxello and bass clarinet) and T. A. Zook (basscello and misc. instruments). Although essentially a duo, when schedules permit, it is joined by Jerry Busher (drums); Amanda Huron (percussion); Doug Kallmeyer (bass and electronics) and Emily Chimiak (violin). On November 13, the project will be joined by percussionist Amanda Huron (

Marian McLaughlin:
Marian McLaughlin, a musical troubadour-at-heart, creates lyrically-driven songs accompanied by arrangements on her classical guitar. Her songs are delicate, yet full of depth, as she aims to explore assonance, dissonance, extinction, and existence through a variety of lyrical subject matter, from Greek mythology to aviation attempts from the 1800s. Weaving together intricate chords often in alternate tunings, Marian is highly inspired by the fingerpicking of John Fahey, but stylistically, follows in the steps of long-gone songstresses like Dory Previn and Linda Perhacs, and appreciates the innovation of her contemporaries such as Larkin Grimm, Joanna Newsom and St. Vincent.

Br’er ( initially began as the solo recording project of Philadelphia native Benjamin Schurr as a means of completing several unfinished songs he began for another project. From these meager beginnings Br’er quickly became its own entity, growing into an ever shifting lineup of musicians (including Christian Mirande, Darian Scatton, Roger Alejandro Martinez, Gabrielle Smith, Shaina Kapeluck, Jordin Goff and Hyden Weiner-Grossman) culled from across the Philadelphia area to help bring Schurr’s dense experimental pop compositions to life. After several manic recording sessions with borrowed equipment, broken keyboards and a shifting scene of partners and cohorts, Br’er’s first album “Of Shemales and Kissaboos” was born, and finally emerging as a functional live outfit in July of 2007. Since its initial inception, Br’er has been an ever evolving project, changing shape and sound as both a live band and as a recording project.