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Resound Presents: HOMESHAKE in Austin, Texas at Mohawk on November 14th, 2024.


It’s the early 2000’s. A music video plays on a nearby loop on the Much Music TV channel. A
man stands in a room, the background is nothing, non existent, as if in a void. The camera rolls
and does not stop. He is shirtless. Sparse guitars begin as the camera sways effortlessly
through the abyss, never taking its omnipotent gaze off the man. He is shirtless, cut from stonelike a statue from antiquity. Flawless in all regards, but we have not seen everything yet. Themusic ungulates towards an apex as the camera begins to lower its gaze. Revealed are twolines few have seen before. Angular muscles beginning at the navel and ending at the thighs. Anew style of music video is formed, a unique take of R&B is created, the artistry of D’angelo isnow truly whole.

Peter sits at home transfixed to the screen. He is amazed as his perception of what is possible
in music has changed. Peter is now on the precipice of a new dawn.
Morning has broken.

“Wake up, grandma why don’t you put on a little makeup.” Or so he thought the lyrics went to
the new music video playing. Chop Suey by System of a Down. Peter is flabbergasted again.More new styles of music, more new guitar riffs! He sits, mouth open, with a copy of GuitarWorld magazine open to the tablature of Chop Suey. Reading the fine print with a magnifyingglass he is now completely stunned, knocked flat onto his back, when he learns a guitar can betuned much lower than he had expected! Drop C in fact. A tuning he uses to this day.

“Time to go to school young man. This essay isn’t going to read itself,” he thinks to himself
clutching his homework. At school a classmate of Peter reads his essay aloud for marks. They
stumble through the quote “Be careful when staring into the abyss because the abyss will stareback into you.” After class, amazed at his friend’s penmanship, Peter does a secret handshake with the author to celebrate the success of the essay. A ‘home-shake.’ That was the moment he Realized how to unite his new inspirations. An artist is born.

-written by an interested third party


Green-House is Olive Ardizoni and Michael Flanagan’s ambient electronic music project that acts as a love letter toJapanese environmental music, 70's library records, and early synth-based composers.

Drawing on the works of Lynn Margulis and our burgeoning understanding of the evolutionary role of biologicalmutualism, their latest LP, A Host For All Kinds of Life, is a deeply entrenched and politically grounded song suite.

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