Friday, March 14   10:30 p.m.
Maggie Mae's Gibson Room   (512 Trinity St)

If I started this bio with talks of time travel, of controlled gravitational fields and black holes, of tachyon theory and negative en-
ergy density, you might think I’m off my rocker. I could tell you that all my scientist colleagues scorned me as well, but they are limited
by their imaginations and you, you’re just not used to thinking in four dimensions, having spent your whole life soaking things up in
only three.
60 Watt Kid make music for that fourth dimension, that realm of theoretical sonics and mad science.
What if you could watch Little Richard c. 1957, electrifying audiences with performances the likes of which they’d never seen,
practically starting riots, and yet you could see fifty years ahead to an old queen in layers of pan-
cake make-up and bowling shoes, on television commercials, the only way he could get on TV
these days, a parody of himself. What if these two Little Richards existed at once and strings
connected them through the fifty years and when one pushed, the other pulled and strings ex-
isted between every rock icon and casualty in between and between the teenager spinning his
45 and the teenager (or senior) downloading his MP3. 60 Watt Kid ride these strings like the
magical Ley lines of old Mason magic, P2P connections between moments (and melodies) in
time.
The San Francisco trio simultaneously pays homage to the culture of stripped-down
rock n roll while abusing it irreverently, tweaking it with wacked out of time beats and infinite re-
verb. They blend psychedelic experimental pop with electronic glitches and old rock n roll chops.
Is this transcendence by way of the gospel or jacking into the ether and losing yourself in cyber-
space? If the path is improvised, does it matter? Will you ascend to heaven on a staircase, will
you be beamed in via teleporter or have you always been there? Is it genre A colored by genre
B and laced with elements of genre C? We’re back to three dimensions and that is not where this band dwells.
If you do want to be there for the jump to 4D, hit one of their incredible live shows. Singer Kevin Litrow proselytizes like a
feverish preacher from parts unknown, converting San Francisco crowds by the dozens, in just a year and a half, packing them into
the Hemlock, Café Du Nord and the more adventurous warehouse parties. Caught mid-meltdown between the colliding energy of the
city and the panoramic Northern California Coast, 60 Watt Kid deliver their unique blend of experimental applications, intertwining fin-
ger picking, pulsing rhythms and sci fi fascinations. The shows are an A/V rodeo combining homemade 8 mm films, guest vj's and a
variety of imploding efforts and sentiments: melodic pop, free
form improvisation and textured ambient soundscapes. Once
you’re there, you won’t get lost on the outside, only on the in-
side. Or the Other Side. An anachronism or the vanguard?
Or something else? You’re the writer and you’ve got the
record. Go on…
60 Watt Kid is Kevin Litrow (voice, guitar, fuckery), Derek
Thomas (guitars, keys, samples and electronics) and Garrett
Pierce (tom drum, percussion and xylophone). Their self-titled
debut will be released on Absolutely Kosher Records on Oct 5.
Some influences include: Brian Eno, Andy Kauffman, Faust,
Buddy Holly, Animal Collective, Sensation Fixx, David Lynch,
Neu, Mice Parade, Leonard Cohen, N.W.A, Deerhoof, Leo
Kottke, Alice Coltrane, Talking Heads, Gang Gang Dance.