BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Find Local//findlocal.community//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:America/Chicago BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:19700308T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=2SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:19701101T020000 RRULE:FREQ=YEARLY;BYMONTH=11;BYDAY=1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:1fb0b7a6-0ef3-41d9-bb76-2784cbbf3f76@findlocal.community DTSTAMP:20261015T203642Z DTSTART;TZID=America/Chicago:20261025T190000 DTEND;TZID=America/Chicago:20261025T210000 SUMMARY:Ghost Woman DESCRIPTION:GHOSTWOMAN – WELCOME TO THE CIVILIZED WORLD There is no reaso n for GHOSTWOMAN’s fourth album to exist. Welcome to the Civilized World is born to a broken world\; a corrupt inheritance – Evan Uschenko and I lle van Dessel are under no illusions about its futility – and yet\, thi s thing is alive. It’s an allergic reaction to the times we are living i n: a welt that screams to be itched\, the purging of a modern sickness t hey could no longer stomach. Beyond rationality\, this record came from a place of gut feeling and a lack of any other option. Hell may have cra cked wide open – but GHOSTWOMAN will not go quietly. GHOSTWOMAN itself o nly exists because Uschenko and van Dessel were the ones “stupid enough to commit to it”. Conceived by Uschenko after cutting his teeth as a tou ring multi-instrumentalist\, the project was brought to life in an aband oned farmhouse in Diamond City\, Alberta. There\, for two months\, he wo uld make the self-released\, self-titled debut album which was produced and dubbed directly to custom-made cassette tapes. The music has always been beautifully inhospitable\, earned only by those curious enough to s eek it out. Expanded by friends on the Edmonton circuit\, Uschenko took the project over the pond where he would meet drummer Ille van Dessel. D rawn to her talent and sheer excitement to make music which had been unt ouched by ego or cynicism\, the two became inseparable. A new life had b egun. And then there were two. GHOSTWOMAN became a head-on collision bet ween the switchblade rust of his guitars and her caustic drum beats whic h march them on toward a shared oblivion. Welcome to the Civilized World is an album to be a pure distillation of their shared vision. From its earliest sketch to its final form\, the only people to touch it were GHO STWOMAN themselves. The meaning of the album is inseparable from its mea ninglessness. As Uschenko puts it: “The album is inspired by the absurdi ty of human behaviour and the circus that is life: sometimes feels like being in a room with no floor – that’s where a lot of these songs come f rom.” After losing friends to suicide over the past year\, the suspensio n of disbelief required to wade through the everyday had dissipated. If there is any meaning at all to Welcome to the Civilized World\, it is si mply to keep going: there is no other choice. Musically\, GHOSTWOMAN are a sharper beast than ever: hypnotic spells of psych-grunge\, decaying A mericana and instrumental locked-horns. Uschenko\, who presides over the vocals\, insists they are not important. Much of the lyrics are nonsens e\, not written as much as abstractly sketched to feel out the shape of the music itself – but even in Uschenko’s dream grammar\, the force and feeling are no less potent. The band’s process is intuitive rather than calculated\; sounds are made in a chain reaction to one another. “5 Gold Pieces”\, with its filthy guitars and snarling\, livewire vocals was re corded as a test after they bought a tape machine. The first shot is oft en the best\, and that test is what you hear today. Everything they used to record is gone. “We buy old equipment or instruments which have a bu nch of life and soul in it until we’ve used it all up\, and then sell it again so we can buy something else\,” explains Van Dessel. True to the band’s origins\, Welcome to the Civilized World is the story of Canada a nd Belgium across the span of two years. The tape machine seemed to pick up different shades wherever they recorded\, whether that was in the ho me of a close friend of Uschenko’s\, for example\, surrounded by creatur e comforts including the dog he loves\, [Levon - named after the late gr eat Levon Helm] after whom the album track was christened. Or in a cotta ge in Ardennes\, Belgium during an interminable winter surrounded by bla nkets of snow\; an hour’s walk away from anything civilized. “Alive”\, t he record’s lead single\, was written on a particularly perfect day in r ural Belgium. In an earlier iteration\, the track was called “Pondi” – n amed after a hedgehog they had discovered at the pond in the garden\, wh ich they felt to be a good omen. The writing of it was frictionless and instinctive\; another “line-check-turned-complete-song”. In van Dessel’s mind\, “Alive” is like a moment captured as a photograph – something ep hemeral that existed once\, and will never be replicated again. And that \, in its essence\, is a GHOSTWOMAN record. Welcome to the Civilized Wor ld is not concerned with making music for an audience\, not for the musi c industry and not for any particular point other than the thrill of it. Nothing matters\, we are all doomed\, the sun will swallow the earth an d our efforts turn to dust anyway. The band will continue to play as the ship goes down.\n\nTickets: https://www.deepellumart.co/shows/ghost-wom an-25-oct#tickets\n\nhttps://findlocal.community/event/1fb0b7a6-0ef3-41d 9-bb76-2784cbbf3f76 LOCATION:Deep Ellum Art Company\, Dallas\, TX URL:https://findlocal.community/event/1fb0b7a6-0ef3-41d9-bb76-2784cbbf3f7 6 STATUS:CONFIRMED SEQUENCE:0 END:VEVENT END:VCALENDAR