[DID NOT ATTEND: October 22, 2026] Acid Mothers Temple / Magick Potion / Tim Dahl + MV Carbon
I was looking forward to seeing Acid Mothers Temple again (for the fifth time). They usually come around in October, near my daughter’s birthday. This makes it tough for me to see them, but this time they were here on a Sunday night and I was sure I would get to see them this time.
But I wound up going to four shows last week and I was exhausted, possibly from a mild cold as well. I was bummed to miss them, but I’m fairly certain they will return next year.
Magick Potion is from the outskirts of Baltimore, consisting of founder, Dresden Boulden on Guitar and Vocals, Triston Grove on Bass, and Jason Kendall on Drums. Magick Potion is a hard hitting heavy rock trio channeling the raw energy and heavy grooves of the late 60’s and early 70’s. The band crafts a sound that fuses heavy rock’s gritty riffs with contrasting moments boarding on psychedelia. With roaring guitars, thunderous drums and hard driving bass lines Magick Potion conjures a vibe that is both nostalgic yet contemporary and original.
I really enjoyed their songs–the description is totally accurate–and was looking forward to seeing them too. So I had to have been pretty out of it to miss this show.
Tim Dahl + MV Carbon
I saw Tim Dahl play with Acid Mothers’ Makoto Kawabata at PhilaMOCA. He plays a fascinating bass style–in which it doesn’t seem like he is actually playing notes–just running his hands up and down the fretboard at random. He also uses a finger slide but in his picking hand, generating all kinds of noise. Combine this with the fact that his microphone seemed to have a very fast repeating echo on it so whatever he said or sang into the mic was repeated beyond recognition and he really seemed to dominate the room.
MV Carbon wrote about this show on her Instagram: “Looking forward to this new collaboration with Tim Dahl,”
MV Carbon (NY) is an interdisciplinary artist and educator. Her practice investigates how sound, technology, and material shape spatial perception and collective listening, with particular attention to how vibration, frequency, and resonance are materially transmitted and received. Her process draws on speculative sound, synthesis, analog technologies, and real-time frequency manipulation to investigate sound as a temporal and spatial phenomenon. Grounded in empirical data and material conditions, her work uses speculation as a method for extending and interrogating the relationships between presence, memory, and emergence. Carbon performs with handmade instruments, electric cello, reel-to-reel tape machines, voice, synthesizers, and video projection. These configurations unfold, exploring how the sonic and visual emerge and transform through material exchange.
I’m not exactly sure what their set would have been like, but I’ll bet it was wild.
Only seconds after I read your mail, this came up from 11 years ago. I think itâs much older. Anyhow, they donât seem to come back to Ireland much anymore and itâs at least five years since I saw them. Pity.
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Sent from my ZX Spectrum
That is a shame, It feels like they never settle down anywhere. When I see them next I’ll tell them to go back to Ireland