$15 - $17 / ALL AGES
8 PM / ALL AGES / $8 ADVANCE / $10 DAY OF SHOW
“Those who still defend the supremacy of white male hetero-patriarchy had better watch out.”—Angela Davis, inauguration-day speech, 2017.
Now that the United States has a despot instead of a president, Downtown Boys are that much more driven to use their anger and their joy to drill away at the walls of white supremacy’s brain. Based in Providence, RI, the band released their acclaimed debut album, Full Communism, in 2015, and they have been touring their powerful live show throughout North America and Europe since 2012. They bring an aggressive dissonance to make a harmonious message against the erasure of people of color, queer people, femmes, and those of us who have always been in the center of the pit whether you knew it or not.
The band is currently working with Greg Norman and Fugazi’s Guy Picciotto on their second LP, and they join the countless people filling streets and airports around the country to loudly proclaim #NoBan, #NoRegistry, #FuckWhiteSupremacy.
Late for detention
Wanna be amphibian
Fusion over fission
Door to door
Knees on the floor
Seashells by the seashore
Like most of Sneaks’ music, “Future” is in constant gyroscopic movement—thumping rhythm cutting around deep bass, spoken-word patterns somersaulting through image fragments, childhood nostalgia, and cryptic wordplay. The song is a fitting culmination for It’s a Myth, Sneaks’ second album due March 31, 2017, on Merge Records.
With little more than a bass, drum machine, and deadpan vocals, Sneaks, a.k.a. Eva Moolchan, makes minimalist music that takes up space—something she herself has made a point of doing in the male-heavy Washington, D.C., DIY punk scene that has been her home. Moolchan’s compelling songwriting, along with the fervid energy of her shows, prompted breakout D.C. label Sister Polygon to release her 2015 debut Gymnastics, which Merge reissued in September 2016.
It’s a Myth builds on Sneaks’ playfully stark approach to post-punk, which, as her hometown City Paper described it, causes listeners to go “from curious to provoked to hungry.” Hungry, in part, because the new album clocks in at just 18 minutes of 10 taut, captivating tracks (but still a feast compared to Gymnastics’ 14 minutes). It also adds Jonah Takagi and Ex Hex/Helium frontwoman Mary Timony, who recorded the album at Timony’s D.C. studio. “She’s got art in her brain,” Timony has said of Moolchan. “Her brain is making beautiful stuff.”
Though it flows from influences like Pylon and Bush Tetras, much of that beautiful stuff is hard to categorize or compare to anything else. It’s herky-jerky and fluid all at once, childlike and yet deeply perceptive. “I’m so sure what I’ve been told and I don’t need it,” she sings on “Devo” (a title that appropriately conjures another incarnation of robotic insight). “I don’t know what I’ve just learned but I won’t repeat it.” And while some songs revolve around repetition of the mundane (“Me n me n me n me n you/ You n you n you n you n me” in “With a Cherry On Top”), others are unequivocal confrontation (“You think you got a lot to say/ No you think you need a bigger stage/ You think I can’t contain my rage/ Let me see you bend your breaks” on “Hair Slick Back”).
Moolchan calls Sneaks “a character” that she’s playing, and there’s certainly an element of mystery around the persona and her riddles. But it’s also all her, born out of full solo creative control after stints in a number of D.C. bands. “When I’m writing songs, it’s actually pretty selfish, because it’s like, this is what I need to hear right now in my life,” she has said. It’s surely what others need to hear as well.
8:00 pm / ALL AGES / $10
It's very strange ("Or not strange at all! Hi!" says feminism) that most of the music we funnel into little girls' ears—even music written by former little girls—is about how women are petty, pretty garbage whose only valuable function is to hold perfectly still in men's boudoirs and wait for intercourse. "I wanted to make songs that were the opposite of 'Genie in A Bottle' or 'The Boy Is Mine,'" Sadie Dupuis says of Slugger, her new solo album under the name Sad13. "Songs that put affirmative consent at the heart of the subject matter and emphasize friendship among women and try to deescalate the toxic jealousy and ownership that are often centered in romantic pop songs." What!? Songs for women that actually champion women's autonomy, reflect women's desires, listen to women when they talk, and let women be funny and normal and cool, like women actually are?
After being born, which she totally nailed, Sadie grew up in New York City, toured internationally with a professional children's choir, then bounced around Massachusetts before eventually landing in Philadelphia "like every other feminist punk." She has an MFA in poetry from UMass Amherst, likes comics WITH AN ALL-CAPS PASSION, has written for Nylon and Spin, and is mega-beloved for her rock band Speedy Ortiz. Most recently, finding herself disillusioned with a lifetime of misogynist radio pop and yearning for the megalomaniacal autonomy of a solo project, Sadie/Sad13 churned out Slugger in a two-week fury.
Slugger is a pure solo effort. Sadie didn't just write and sing and play guitar, she recorded and produced the record herself in a subletted bedroom in Fishtown—a not insignificant act of feminist defiance. Despite millennia of evidence to the contrary, women in music are still relentlessly pigeonholed as, essentially, decorative. Sure, you can be a girl singer, or a girl tambourine player, or, once in a while (the height of novelty!), a girl drummer, but a girl producer? A girl engineer? Cool X-File, Mulder! Sadie steers Slugger with a serene sure-footedness, vaporizing that old lie better than any howling polemic ever could. The best revenge is to do your work.
Slugger's musical touchstones are vast and varied: contemporary pop à la Charli XCX, Santigold, Kelela, Grimes; folk songwriters Karen Dalton and Connie Converse; '90s trip-hop; riot grrrl (duh); plus Sad13's feminist indie and punk contemporaries like Tacocat, Waxahatchee, Mitski, and Bully. Slugger shouldn't feel like a revolution, but it does—in both content and execution. This is fun music about real shit.
Stef Chura's debut studio album Messes, is born of her years of experience playing around the Michigan underground, setting up DIY shows in the area, and moving around the state-nearly 20 times. "Right when it starts to feel like home / It's time to go," she sings literally on its opening cut, "Slow Motion," a twisty, dim-lit guitar pop song where she curls and stretches every word. There are worlds of emotion in the ways Chura pronounces phrases with twang and grit, alternatingly full of despair, playfulness, and abandon. Chura calls her music "emotional collage," eschewing start-to-finish storylines in favor of writing intuitively about feelings, drawing from experiences and references related to a certain sentiment.
Originally from Alpena, Michigan, Chura moved to the Ypsilanti area in 2009, where she began playing shows before ultimately moving to Detroit in 2012. Chura has been home-recording and self-releasing her songs for six years, playing bass in friends' bands as well. With a trove of demos and 4 -track home recordings, some of which she'd released on small runs of cassettes over the years, Chura says she wasn't sure what to do with her life before heading into the studio. "One of my best friends passed away and I thought, what do I have to do before I die? I have to at least make one record."
"Faded Heart" is an ode to that friend. "I thought I saw you standing on that little cloud / How did you get so loud," she sings. The second verse references something she heard Joni Mitchell say in a documentary- "If you hold sand too tightly in your hand, it will run through your fingers." Like Joni, Chura favors finger-picked guitar, a style she's been honing for over 10 years, drawing inspiration from other folksingers such as Leonard Cohen and Buffy Sainte Marie in addition to Cat Power and 90s feminist punk.
Later on "Thin", she sings, "Thin like the skin on a lottery ticket / Tried you on for a bit just to see if it's fitting / I forgot who I was." A song written about her old job cocktail waitressing at a strip club, she recalls "It's funny because it sounds like a folk song, but it's more about the disgusting feeling I would have when I would come home from that place. And I was just like, who am I? I am not this person, I'm just in a weird place in my life right now. I feel like everyone has done that. You try something different just to be someone else."
Messes deals with these sorts of internal anxieties: power struggles, friendships falling apart, even one song about a conflict with a landlord. "It's more about pain than anything," she says. "A lot of these songs are a cathartic release of overwhelming emotional stress. "On and Off For You," for example, deals with being gaslighted and controlled by a lover. "Putting in overtime to get my revenge on you," she sings. "When I look back on that time period I obsess about how I should have left or done better for myself or been a stronger woman. It's the emotional or mental overtime I think a lot of people endure."
She recorded the entire album with Fred Thomas (Saturday Looks Good To Me) throughout 2015. Thomas plays bass on most of the record, and a bit of guitar and drums. Drummer Ryan Clancy of Jamaican Queens and Dale Earnhardt Jr. Jr. adds the bulk of the drums. Through intricate guitar work and warm, textured production, Messes finds her trying to make sense of life's ups and downs. "It's about emotional mess, not physical mess," Chura says. "The title track is about knowing that you are going to do something the wrong way, but you're doing it anyway because you want that experience. I've had to do a lot of things the wrong way in order to figure out how to live my life."
8:00 PM / ALL AGES / $10 - $13
From the prolific cultural epicenter of Montreal, Marie Davidson has emerged as one of the foremost electronic artists working in contemporary pop today. As a long-time member of Essaie pas (DFA Records, Teenage Menopause) and DKMD (Giallo Disco Records, Fur Trade Recordings), Davidson has had the opportunity to hone her many talents. She has been participating in the city’s vibrant experimental community for much of her adult life. However, in 2012 she began to unveil compositions under her own name, revealing a solo artist who possessed the combined confidence and vulnerability required to write, produce and perform unaccompanied. Davidson’s intimate solo work is embodied through a host of synthesizers, sequencers and drum machines which coalesce in synchronized harmony, punctuated by vocals, half sung, half spoken in both French and English. She masterfully shapes the overall mood, themes, emotion, expression and intensity of her work, which gives the final result a distinctive, cinematic quality. Her live sets are energetic, built for dancing, as audiences become immersed in hypnotic rhythms, absorbed by the tightly sequenced bass lines and engaged by her vocal delivery. Not only will she will spin you a tale, her music will immerse your soul in haunting images of sweet anxiety and glamourous sensuality.
In the last two years Marie Davidson has caught the attention of the press by releasing “Perte d’identité” (Weyrd Son Records 2014) followed by “Un autre voyage” (Holodeck Records 2015). Both albums have been acknowledged for their unique blend of upbeat and ambient material. She is now about to release her first fully dance floor oriented piece of work on the distinguished label Cititrax (the division of Minimal Wave records which focuses on new contemporary music). As a solo performer Davidson has played internationally renowned festivals such as SXSW (Austin), MUTEK (Montreal), OUTLINE (Moscow), OBEY Convention (Halifax), City Of A Thousand Suns (Fort Gorgast, Germany), Phénomena (Montreal) and Pop Montreal. She has also toured Europe four times and twice in the U.S. Demain est une autre nuit, the latest release of her duo Essaie pas was nominated for the Polaris Music Prize of 2016. Marie’s forthcoming solo album, “Adieux Au Dancefloor” is coming out on Cititrax in October 2016.
FREE FOR 21+ / $5 FOR UNDER 21
8:00 PM / ALL AGES
8:00 PM / ALL AGES / $12 ADVANCE / $15 DAY OF SHOW
Austin's favorite experimental pop band, The Octopus Project, is set to return with their 6th studio album, Memory Mirror, in March 2017. The album was recorded by the band, mixed by Danny Reisch (Shearwater, White Denim) & Dave Fridmann (Tame Impala, Flaming Lips), and mastered by Greg Calbi (David Bowie, Talking Heads).
The Octopus Project has been releasing joyous party music since 2002, following a musical path that veers through blown-out rock’n’roll, vivid electronic colors, surreal pop and expansive psych landscapes. As performers they’ve earned a reputation for elaborate multimedia experiments and extremely loud, extremely fun live shows - a practice they’ve pursued over a decade of worldwide touring that has included festival stages such as Coachella, Lollapalooza and All Tomorrow’s Parties, and tours as handpicked support for artists as diverse asAesop Rock, DEVO, and Explosions in the Sky.
Also active as composers for video games and film, they were awarded the Special Jury Award for Musical Score at the 2014 Sundance Film Festival for their work on the film KUMIKO, THE TREASURE HUNTER. They are currently working on another film score to be released in 2017 -- DAMSEL (directed by Zellner Bros. // starring Robert Pattinson & Mia Wasikowska).
6:30 PM / ALL AGES / $13 - $15
ALL AGES / 8 PM / $12 - $15
Mitski warmly recalls a quote from sculptor El Anatsui, "Art grows out of each particular situation, and I believe that artists are better off working with whatever their environment throws up."
With this nerve exposed lyrically, and having dived into her new beginning, Mitski chooses her 2014 breakthrough album Bury Me at Makeout Creek to explore uncharted sonic territory, trading in large string arrangements for guitar and bass. While studying composition at SUNY Purchase's music conservatory, she previously recorded music with a full orchestra.
However as college graduation inched closer, Mitski moved away from the concert hall and into the campus' active DIY scene. Upon relocating to New York following graduation, she entered stages at Death By Audio, Silent Barn, and Bed Stuy basements, entrenching her songs of love, fear, lust, and brilliant clarity into entirely sympathetic ears.
Since releasing Bury Me at Makeout Creek, Mitski has received international acclaim for her distinct, arresting sound and profoundly reflective lyrics. Pitchfork applauded the release as "inventive and resourceful," while Rolling Stone celebrated her "deep-cutting lyrics." NME said of Bury Me, "it's a record that doesn't tug at your heart-strings as much as it mercilessly pounds at them, taking to your emotions like a lead pipe to a piñata." She has also received widespread attention for her "cathartic" live shows as dubbed by The New York Times' Jon Caramanica.
"I was so young when I behaved 25," Mitski sings on "First Love / Late Spring," "yet now I find I've grown into a tall child." This veritable thesis speaks to sentiments of the poetry and beauty of struggling up the hill to adulthood. Mitski follows El Anatsui's humbling advice, cathartically revealing snapshots from her adventures in youth, and theempowerment found in sharing these stories with others. In2015 Mitski is poised to continue delivering her particular flavor ofsoul-baring rock, and tour throughout North America and beyond.
8:00 PM / ALL AGES / $12
The story of The Besnard Lakes begins at Besnard Lake: a spectacular yet secluded water feature in rural Saskatchewan which the Montreal group’s husband and wife core, Jace Lasek and Olga Goreas, visit each summer for inspiration and escape. This year the couple’s campsite was surrounded for a worrying few days by forest flames, a literal ring of fire which informed the devil-may-care spirit of their exuberant fifth album.
“Besnard Lake is usually the place where we get the germination of ideas,” explains Jace. “We set up a small recording rig in the trailer we have up there .This time there were also helicopters with giant water tanks flying over us while we were fishing on the lake!”
Armed with demos and memories from their trip, the pair returned to the city and entered Breakglass Studios. Co-founded by Lasek a decade ago, this popular recording facility has long been a hub for Montreal’s fertile, collaborative and proudly DIY music community. Having met and fallen in love in Vancouver, where Jace was a photography-trained art student and Olga a bass-slinging star on the underground rock circuit, the pair relocated at the turn of the millennium. Vancouver had gotten too expensive. By contrast, “Montreal was super cheap because there had been the Quebec referendum in ’95 and a lot of the Anglos had left. There was a political teeter-totter happening, so there were tons of empty places. We moved out here and were able to live, rehearse and record in a loft for next to nothing.”
The predominantly French-speaking province’s economic depression birthed an ever-evolving scene that’s become internationally renowned for such disparate independent avatars as Godspeed You! Black Emperor and The Arcade Fire. Unique among their furrowed brow peers, The Besnard Lakes are unafraid to marry textured, questing headphone sonics to the honeyed pleasure of radio hits past: the rapture of My Bloody Valentine entwined with the romance of Fleetwood Mac. (Echoing prime FM they actually now have two girl/boy couplings in the line-up, keyboard player Sheenah Ko and guitarist Robbie MacArthur joining powerhouse drummer Kevin Laing and non-touring studio axe hero Richard White.) Imagine dreamy Beach House riding Led Zeppelin dynamics, with unabashedly androgynous vocal harmonies. This melodic yet mountainous soundworld was sculpted at Breakglass, their own modest Paisley Park. As the longterm sporter of a Love Symbol tattoo, Prince’s pop alchemy is especially potent for Jace.
“You look on the back of his early records and it’s produced, arranged, recorded and performed by Prince. When I realised that as a 12-year-old I was like, Oh fuck! So this kid can make a record all by himself. So then why can’t I? He was also the guy who made me realise that it was ok to sing high. Just throw caution to the wind. He’s not concerned about being super macho. Once I started getting into punk rock in high school, Prince was still there. He didn’t lose relevancy for me. Prince was still there when I started getting into prog rock, too. We’re just absorbed in music of all sorts.”
Olga, meanwhile, has been exploring a new creative outlet via her domestic interpretation of the occult, inspired by a Disinformation lecture given by comic book writer Grant Morrison. “He was talking about sigils,” remembers her adoring partner. “It was really personal for Oggy, like a meditation she would do in the morning, and also just a fun thing. She developed these 11 sigils, which you can see on the inside of the record’s jacket. For the deluxe edition she’s hand engraved them onto these little tags. The meanings are very simple: one is love, another is empathy. That leads back to this whole idea of mystery and the myth of the band.”
Channelling their obsessions with the paranormal – Jace was a teenage ghost hunter – as well as the dark arts, A Coliseum Complex Museum is populated by cryptozoological creatures (The Bray Road Beast, Golden Lion) while also luxuriating in natural phenomena and beauty (The Plain Moon, Nightingale). These themes are sincere yet good-humoured. The LP’s title jokily refers to a landmark-heavy road sign spotted on tour in Texas, the varied emotional impulses within reflected by its environmentally warped artwork.
“For a long time we were trying to keep secret that we love being out in nature,” admits Jace. “Because it’s kinda cliché. But with this record we decided to stop fighting what we love so much. So the front cover actually has a lake on it, but it’s also got this giant orb shooting light into the water, which is creating a hole that’s opening a portal to the coliseum complex museum. It’s kinda fucked.”
8 PM / $10 - $12 / ALL AGES
London's BOOZE & GLORY suffer no curiosity towards anything but their tried and true brand of hook-laden, red-brick sidewalk stompin', Skinhead Oi! Rock 'N' Roll. They have no interest in detouring into awkward metal riffs, compromising mainstream tendencies or any other fraudulent leanings. BOOZE & GLORY stick to who they are, what they know, and what they love — working class Oi! punk rock 'n' roll.
They herald their love of their favorite football team, West Ham United. They recant the tales of pub sessions with good friends and cold booze and the struggles of being a drinking man on a workingman's wage. And they tell the stories of friends gone wrong and life gone astray. Influenced by their English forefathers such as The Cockney Rejects, The Business and the 4-Skins, BOOZE & GLORY are poised to charge forward hard and far as the primary contemporary carriers of the British Oi! torch.
Having already laid their claim to the European territory through years of hard touring and strong festival appearances, BOOZE & GLORY are now ready to make themselves known in the US. Sailor's Grave Records is honored to welcome the boys to the fold.
For Fans Of: The Business, Evil Conduct, Cock Sparrer, Sham 69
8 PM / $10 / ALL AGES
Following the release of his critically-lauded 2015 album All Are Saved, songwriter/producer Fred Thomas entered a period of enormous transition. He gave notice at the writing job that had offered stability for years, got married and moved to Canada, all between multiple tours that ran the spectrum from sold out opening slots to sleeping in the car after empty gigs. At the end of yet another tour he returned to Athens, Georgia, to again work with producer Drew Vandenberg (of Montreal, Mothers, many more) on an album aiming to encapsulate the nonstop changes that had sprung out of this phase of his life. Naturally, this record is named Changer.
The unflinchingly direct lyrical approach that defined All Are Saved continues here, with themes of uncertainty and struggle coming up over and over. A working title for the record was “Hope I’m Funny,” a reference to the opening line of an especially bleak Richard Pryor routine. The comedian found himself confused at the audience’s applause before he’s even uttered a word, certain he was going to disappoint them and feeling a little set up, but still hoping for the best.
That sense of floating between dread and promise runs through the album, present in the drunk-dial desperation of live favorite “Brickwall” as much as the chopped up harp samples that propel the electronics-heavy “Echolocation.” The production here is some of the densest in Fred’s catalog, with straightforward guitar pop burners like “Voiceover” melting into synth-heavy instrumental segments like the glistening, Boards of Canada indebted “Oval Beach.” That these moments of textural ambience make sense alongside stripped-down guitar pop speaks to the overall flow and vision of the album, which was meticulously edited from an hour long first draft to the lean 33 minute final product.
Taken from start to finish, Changer slowly tells a story that is more felt than explicitly narrated. Rather than insisting on finding an answer or some greater meaning in the shifting nature of lives in motion, these songs simply offer vivid snapshots and strange scenes. Even in its darkest moments, however, there’s an underlying sense of hope, that every mundane laundromat trip, every bummer night, every empty gig, hours logged at pointless summer jobs, or even the pain of tragedy could be for something bigger and lead to the next beautiful change.
VHS NIGHT IS FREE FOR ALL AGES
Influ3nce is an organization that empowers our city by cultivating a positive culture through entertainment and giving back to our community.
This year, having Super BowlTM hosted in Houston is one of the many highlights for our great city.
Influence will host ‘The Pre Game’ scheduled on February 4th that will celebrate the big game.
Some proceeds will also benefit Elijah Rising: "Ending Sex Trafficking Through Awareness, Intervention & Aftercare." Statistics document human trafficking at its highest during major events. Texas Attorney Greg Abbott proclaimed the Super Bowl as the “single largest human trafficking incident in the United States.” Influ3nce hopes to continue to build momentum in combating human trafficking by bringing awareness to our community.
The Pre Game will be having live performances by Dj Overflow & Dj Brio as well as special guest performances by IamJustified & IICrunk4Jesus. Join Influ3nce and support the cause on February 4th at Walters Houston. Doors Open at 9PM. Must be 18 to get in.
For more information please visit www.influ3nce.org
7:00 PM / $12 ADVANCE / $15 DAY OF / $17 BOX OFFICE
You Blew It! is an American emo quintet based in Orlando, Florida. The band was formed in 2009 by Tanner Jones, Timothy Flynn, and Matt Messore. In 2012, the band released their debut LP, Grow Up, Dude under Topshelf Records. Prior to their LP, the band released two EPs: EP in 2009 and The Past in the Present in 2010.
Following Grow Up, Dude the band released a split EP in 2013 entitled Florida Doesn't Suck with fellow Floridian band, Fake Problems. Their 2014 LP, Keep Doing What You're Doing achieved the most commercial success of any of their albums, charting in the Billboard 200, the Billboard Top Heatseekers and the Independent Albums charts. Later that same year, the band released a cover EP, entitled You Blue It which features covers from Weezer's 1994 album, The Blue Album. The most recent work by the band is a three-track EP entitled Pioneer Of Nothing which came out in early 2015.
8:00 PM / ALL AGES / $20 - $24
The Deaner Album is the debut album from The Dean Ween Group. Dean Ween - aka The Deaner - recorded the album in several locations but finished it at his dedicated studio facility in Lambertville, NJ, across the river from his native New Hope, PA . The band will be celebrating the album's release with U.S. tour dates that start October 18 with their friends the Meat Puppets opening. The Deaner Album is to be released October 21, 2016 distributed by ATO Records.
On The Deaner Album, Dean brings his love of classic guitar rock to 14 original compositions (including four instrumentals) that echo everything from classic rock to cracked country to the quirky mix of soul, funk, metal and punk that defined Ween. "My tastes are very mainstream; I love Jimi Hendrix and Santana and Zeppelin, but my ears are always open," The Deaner says. "P-Funk, they're right up there with the Beatles. That's what my influences were - that and punk rock - and I wanted all that in this album."
"I got inspired about two years ago when I started this band and it hasn't dried up yet," he says. "I'm starting to realize what I want to get out of the Dean Ween Group and it's just more of all the good things I've ever liked about the records I've made. It's a solid record. I don't care if people like a record or not. If I know I put a lot of work into it, then I can live with it forever. I have no regrets musically about anything I've ever done… Ween, Moist Boyz, Chris Harford, whatever. And I got there with my record. A lot of work went into it and I hope it translates when you hear it."
"After Ween stopped, I put my guitar down for almost a year," Dean says. "I'll never do that again. I'm so into practicing and writing and being good at my craft right now. I'm back in playoff shape. I write and play and record all day, every day, and I'm going to keep it there for the rest of my life."
Once he started performing live with the Dean Ween Group, it was inevitable he'd start writing songs for his new band too. Once he started, he couldn't stop. "I never forget ideas. I can write a chorus, a melody, a rhyme, a lick, they never go away," The Deaner says. "So there are a lot of scraps on this record that became fleshed out. Most of these songs started from one of the scraps, and then there'd be nothing left of it by the time I was done with the song. I still do that, I'll always do that."
" I don't know if you're allowed to steal from yourself," he adds, "but I think you are."
Initially, The Deaner Album found Dean moving to a more ensemble approach to recording, as he enlisted the services of current bandmates as well as old friends including the Meat Puppets' Curt Kirkwood, legendary punk drummer Chuck Treece, and guitarists Mike "Kidd Funkadelic" Hampton, Scott Rednor, and Bill Fowler among others. "If I woke up in the middle of the night with an idea, I'd call a session and have the whole band come in and learn the song and play it together," The Deaner says. "That was really different for me. I could actually show some patience and not just half-ass it. If I needed a drummer, I'd get the best drummer I could to play that particular song. "
Another huge change for Dean was moving into his own studio, converted from an old chicken coop in the woods of Western New Jersey on a patch of land donated by a friend's father. "I think finally having my own studio has been a big part of why this record is as good as it is," he says. "All the gear I've acquired over the years that's been in storage and my garage and my attic, it's all in one place now. Every guitar I've ever bought, every amp, every pedal, every effect, all in one place and it's all getting used all the time. I'm there pretty much all day, every day, all night, every night, doing something - recording, practicing, mixing. It's in the country, in the woods, nobody can hear us, and I've got a sound system in there powerful enough to power a big club. And you can go outside in your underwear and smoke a cigarette or blow off a grenade and nobody's going to hear you."
The Deaner recorded three of the tracks on the album by himself, playing all of the instruments. That includes "SchwarzPete," a loving tribute to guitar hero Les Paul and the collection's oldest song, originally written years ago for a TV pilot. "I always wanted that song to be on a record," he says. "I love that style of guitar playing."
Before diving headfirst into The Deaner Album, Dean produced and engineered Moistboyz V, his fifth collaboration with punk singer Guy Heller. "My idea was to do the Moistboyz' record and my record at the same time, but I realized I needed to focus on one record at a time and shelved my record for a bit," he says. "Then when I moved into my new studio a year or so ago, I just really went all in on my record, no distractions, no side projects. I did a lot of gigging, but that just benefited the record because my playing and singing just kept getting better."
The Deaner has contributed to numerous projects helmed by his close friend Josh Homme including albums by Queens Of The Stone Age, Mark Lanegan and The Desert Sessions as well as working with Yoko Ono, Ben Vaughn and many others.
He also hosts the weekly "Invitational Jam" at the venue John & Peters in New Hope. Musicians who sign up for this perform with the house band which consists The Deaner, the instrumental backbone of Ween, Mike Hampton (Parliament-Funkadelic), Vincent Martell of Vanilla Fudge, and many others. Players fly in from all over the country to get in on the action. He also holds a captain's license and run his own charter fishing company out of Belmar, New Jersey.
For more than 30 years, Dean Ween has been best known as the guitar-slinging partner of Gene Ween in the international cult band Ween. Dean and Gene formed Ween as middle-school students in 1984 and released nine studio albums (five on Elektra Records) and six live albums before going on hiatus in 2012. The group reunited in 2016 and plans to continue performing live. The Dean Ween Group includes touring Ween members Claude Coleman Jr., Dave Dreiwitz, and Glenn McClelland as well as Bill Fowler formed about two years ago as a way for The Deaner to get back into live performance.
DOORS: 8 PM / ALL AGES
$10 / 8 PM / ALL AGES
On January 20, 2016 a man takes the highest office in the country who has spent the last year and a half vilifying many groups in this country and around the world. We, as Houston musicians who are Muslim or are from Muslim families, are standing up on this day. This man and the people he surrounds himself with say that us, our families, and many of our friends do not belong in this country and that this country does not belong to us too. He is wrong.
Come join TURNAWAYS, Giant Kitty, Ruiners, and Revels - HTX at Walter’s Downtown on Inauguration Day to add your voices to ours. All proceeds will go to the ACLU of Texas because we will surely need them.
$10 cover. All ages, though there will be mature content as we are very angry.
8 PM / $7 ADVANCE / $10 DAY OF / ALL AGES
PSALM ZERO is a new band that consists of respected avant-garde rock musician Charlie Looker (ex-Extra Life/Zs) and Andrew Hock of CASTEVET. With two such musicians coming together to work on a project together, one can only imagine the result that would culminate when their two respective musical backgrounds ultimately clash. Considering Looker (vocals/bass/synths/programming) and Hock’s (guitars/vocals) musical outputs have been unique and genre defining in their own respective scenes and repertoires, the result that ends up as PSALM ZERO sees the duo create intriguing experimental metal with pounding rhythms that complement melodic moments, Looker’s distinct vocals in dialogue with Hock’s harsh vocals, and an interesting amalgam of programmed synth and drum parts with electronic beats also finding their way into the mix.
Nov 2013 saw the duo self-release their “Force My Hand” 7”EP where people would get a taste of what PSALM ZERO had to offer, along with the duo playing a good handful of local shows in the NY area where they would begin to make an impression. With their debut album “The Drain”, which was recorded by legendary producer Martin Bisi (Swans, Jim Jarmusch, Sonic Youth, Helmet, Bill Laswell, John Zorn etc.), PSALM ZERO will be set to deliver one of the more artistically inclined and unique heavy music albums in the first half of 2014.
8 PM / $10 / ALL AGES
MORE INFO TBA...
8:00 PM / ALL AGES