9 PM / ALL AGES / $15 ADVANCE / $20 DAY OF
"Fitting in with the indie, underground, and Action Bronson set while offering hooks that could hurt radio, Chicago rapper Alex Wiley launched his career during the 2013-14 season with a series of successful mix tapes. A long time hip hop fan, Wiley began rapping in 2011, then launched his career in 2012 when he dropped a verse on Kembe X’s “Don’t Quit”. Word spread fast that Wiley was a true talent, as a year later his debut mixtape, Club Wiley, landed with guest appearances from Chance The Rapper, Freddie Gibbs, Action Bronson, and other underground stars. Featuring the hit track “Vibration” the 2014 follow up mixtape “Village Party” brought it all back home with Chicago rappers Mick Jenkins and Kembe X as the only featured artists" - David Jeffries of Apple Music
8 PM / $12 ADVANCE / $13 DAY OF BOX OFFICE
THY ANTICHRIST was founded in august 1998 in Medellin-Antioquia. At the beginning it was an Andres Vargas solo project, but then entered Ruben Restrepo, a friend, guitarist and composer whom recorded the fisrt songs between 1999 -2000, songs which stayed unpublished till 2005.
Initially, the project was called " El Anticristo", based upon the Friedrich Nietzche book "The Antichrist", but for commercial and international reasons the name was changed for : THY ANTICHRIST".
12 PM NOON TIL LATE!
Back again at Walter's Downtown // Deep End Records to present a bigger, better tournament experience. Competitors will take to the stage in four games:
Street Fighter V
The King of Fighters XIV
Guilty Gear Xrd - Revelator -
Ultimate Marvel vs. Capcom 3
Entry for each game is $10. Prizes for each game will be divided 60%/25%/15% among the top three competitors. Total prize money depends upon event participation.
We'll have Yaki Snack Attack out serving up the best food on wheels in H-Town, plus the bar will have drink specials, and the event will be streamed/recorded. Vendor and sponsor spots are available. Contact retail@insomniaVGC.com for further information.
Pre-booking online allows us to organize better, set better brackets and provide an all around better tournament experience for you! Plus SAVE $5.00 as venue fee rises to $15 on the day of the event.
You can also pre-order the event t-shirt designed by @diablomacabre available in advance on eventbrite for only $15 (t-shirt design posted in the comments/discussion below). A limited number of shirts will be available on the day of for $20.
Spectator pass- $5 at the door // no casuals
$10 at the door // includes casual play
8 PM / ALL AGES / $7 ADV / $10 DAY OF
White Mystery was born on April 20, 2008, when Miss Alex White & and her beloved brother Francis Scott Key White spotted a shiny Airheads candy wrapper on the ground. That silvery strip of reflective paper sparked an onslaught of rock genius fortified with Chicago DIY determination. The rest is White Mystery history; like clockwork, they have released new music every year on that same date.
8:00 PM / ALL AGES / $10 ADVANCE / $12 DOOR
Big Thief's music, rooted in the songs of Adrianne Lenker, paints in vivid tones "the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else's, and being okay with the inevitability of death," says Adrianne.
Masterpiece, Big Thief's debut album (Saddle Creek), is filled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne's voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake off the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they're grounded in simple things.
Adrianne met her longtime musical partner, guitarist and singer, Buck Meek, in Brooklyn a few years ago, and they quickly formed a creative bond tempered by the experience of traveling and performing for months on end in old dive bars, yards, barns, and basements together. They recorded a pair of duo albums (A-Sides and B-Sides), and Adrianne showcased her songs on a solo album, Hours Were The Birds.
Now, as a full rock and roll band, with Buck on guitar, Max Oleartchik on bass, and James Krivchenia on drums, they bring a steady wildness, giving the songs an even deeper layer of nostalgia. "These guys feel like a pack of wolves at my back," says Adrianne, "they make the songs howl and bark with a fierce tenderness that gives me courage."
After spending last July in an old house that they turned into a studio on Lake Champlain with producer Andrew Sarlo, the resulting collection soars on what Big Thief fan Sharon Van Etten calls "… a real journey, with intelligent stories and twist-and-turn melodies."
DOORS OPEN AT 8 PM. MORE INFO TBA. ALL AGES.
Doors 7, show 8, $15 ADVANCE, $20 DAY OF, $22 BOX OFFICE / ALL AGES
A defining memory to date might be their appearance at the 2008 Newport Folk Festival. A summer afternoon thunderstorm rolled in and began to douse the land. While it electrified the atmosphere, the rain had the adverse effect of cutting power to The Felice Brother's stage. After many assurances that power would be restored, they were informed it was a lost cause, and that they'd have to make due acoustic. Without hesitation the band jumped down into the crowd and began playing acoustic while stomping around barefoot in the mud that had formed on account of the ongoing downpour. What might have led some to call it a wash and leave was turned into another epic show that drew upon the familiarity and casual ease of the backyard bbq sessions that took place at their dad's porch on Sunday afternoons during their first days as a group. The audience that day, like others before and after, left utterly converted.
Titled with a phrase drawn from the pages of Mark Twain, Yonder Is The Clock is a nod to all of the American ghosts that lend their narrative and characters to the Felice Brothers' forthcoming April 7th release. Their studio was built from the remains of an abandoned chicken coop and it was there over the summer and fall of 2008 that they wrote and recorded this new collection of songs. Presented by Team Love Records, Yonder Is The Clock is teaming with tales of love, death, betrayal, baseball, train stations, phantoms, pandemics, jail cells, rolling rivers and frozen winter nights. This is music that hasn't lost sight of the history of the land from which it came, and that quality alone makes The Felice Brothers the next great American band.
6:30 PM / ALL AGES / $13 ADVANCE / $15
"We don't want people to just listen to our music on a surface level. We want people to dive into the songs and dissect them and to really feel them," states Brent Walsh, vocalist for the San Francisco Bay Area band known as I the Mighty.
I the Mighty will release Karma Never Sleeps - their new EP and Equal Vision Records debut – on March 27, 2012. "Our new material is pretty different from our previous releases. Karma Never Sleeps is a lot heavier, a bit darker, and has a moodier ambient," explains bassist Chris Hinkley.
The ambitious and captivating EP, which was produced by Erik Ron [Panic! At The Disco, VersaEmerge, Foxy Shazam], features six sweeping tracks filled with soaring vocals, catchy hooks, charging guitars and explosive instrumentations that make for a mesmerizing whirlwind of cinematic soundscapes.
Karma Never Sleeps envelops the listener into dramatic, dreamlike imagery of tales of political corruption, desperation and despair, and even words of cautionary counseling for the young and reckless. Lyrically infused with powerful and poignant storylines, some tracks take inspiration directly from Walsh's life experiences, while others are written as if they were dreams illuminated onto a screen through a stream of imagination. Seamlessly woven throughout each track is the ubiquitous theme of Karma.
Since their 2007 inception, I the Mighty has melded together effortlessly and has already compiled an impressive following of support on the west coast, seeing regular rotation on local modern rock station Live 105 and sharing stages with the likes of Hawthorne Heights, There For Tomorrow, Deftones and more.
"In a sense, heading into the recording together was really a discovery of what our band would become," explains guitarist Ian Pedigo. "The process was very organic. The first three songs actually stemmed from jam sessions we had while practicing our old sets for live shows."
I the Mighty has undoubtedly achieved their goal of creating bright, bold and memorable music on the new EP but certainly don't plan on slowing down anytime soon. Blake Dahlinger (drums) expounds, "At this point, there isn't one singular goal that would satisfy what we aim to do. We want to tour the world. We want to continuously put out records that will hopefully mean a lot to us as well as many people. We want to put our own stamp on the music scene by developing our own sound. We want to continuously set and reach goals throughout our career so that we can better ourselves as musicians and people."
Walsh concludes, "And the thing we hope for most…is that our music means something to someone, the way that other artists have meant so much to us in our lives."
DOORS: 8 pm / $7 advance / $10 door / ALL AGES
Newcastle, Australia via Los Angeles punk sweethearts The Gooch Palms have firmly planted their feet in American soil and have played over 150 shows across the USA and Canada to packed rooms and rave reviews since arriving in March 2015. They are fast becoming known as one of the most entertaining live bands in America, something audiences downunder have known for years!
Their debut album NOVO'S was released in 2013 on Australian label Anti Fade Records and has since been re-released on Burger Records in the USA and Surfin Ki Records in Europe.
Despite being extremely busy with touring in 2015 the duo still managed to squeeze in a recording session with producer Bill Skibbe (The Kills, Black Keys, Wild Belle, Protomartyr, Jacuzzi Boys) to work on their second album in Benton Harbour, MI.
Keeping true to their DIY ethos, the pair will be releasing their second album Introverted Extroverts in mid 2016 on their own label Summer Camp Records and will continue the hard work with an extensive worldwide tour to follow.
The Gooch Palms are truly a unique, refreshing and hard working band that are creating a world of buzz which is whole-heartedly deserved.
“Their sun kissed, surf-indebted garage punk is the ideal antidote to bleak times, with fuzzed-up thrills.” - NME
"The Gooch Palms Leroy Macqueen and Kat Friend are a total party band. They wear colorful, kitschy outfits and sing bubblegum-flavored garage rock songs... with absurdly catchy "wooo ooooh, waahhh AI YAH YAAAH" doo-wop melodies.” - Pitchfork
“The Gooch Palms have been carving out an impressive list of achievements… 2016 is shaping up to be yet another big year for the eccentric Aussie rockers.” - Rolling Stone
Three psychos that came to be through fate by way of necessity, B Boys offer up to the world their sonic manifesto, No Worry No Mind. A relief from the mania, an expression of duality, an extension of Dadaism.
Born in different times from alternate altered states, these B's convene on the astral plane, channeling the individual experience and wisdom from their respective points of origin into a singular entity. Abstraction takes a triangular form: vibrant guitar melodies, undulating bass lines, deep swirling grooves. Sounds that transcend a linear timeline, splintering out across multiple spectrums. Interlocking vocals skillfully bob and weave overtop, their mantras resounding. But don't be fooled, they're just like anyone else — they put their chinos on one leg at a time.
You've got something growing out your neck, my friend. Are you willing to hear its call? Open your Self to the frequencies and let the vibrations illuminate your being.
HALLOWEENING IV: ALL THAT (Deep Cuts playing 90's top 40), PUMPKIN SPICE LATTE (a siamese wet dream of infinite radness), BIKINI KITTY (Giant Kitty plays Bikini Kill), ALANIS GWARISSETTE
IT'S THE FUCKING 90s, WHAT UP SLICE! You down? I'm cutting glass! Junk these bands:
DEEP CUTS + guests play 90s top 40, dope but also fresh
SMASHING PUMPKIN SPICE LATTE
a siamese wet dream of infinite radness
GIANT KITTY plays BIKINI KILL, ain't got no more candy for you
exactly what it sounds like
Free with costume, $7 if you're lame. Weak costumes pay full bones. A hat's not a costume, Melvin!
Grindage available if you get the pasties
Prize for best costume and (TBD) most obnoxious ironic use of anachronistic slang
COME AS YOU ARE / EXPRESS YOURSELF / NO SCRUBS / THE MACARENA / whatever
8 PM / $17 ADVANCE / $20 DAY OF / ALL AGES
TEEN’s second album, 2014’s The Way and Color, was a stunning creative breakthrough. Singer and multi-instrumentalist Teeny Lieberson’s voice is starkly highlighted, but the whole record is a conversation between her; Katherine Lieberson’s crafty, minimalist drumming; Boshra AlSaadi’s lithe, sinuous bass lines; and Lizzie Lieberson’s irresistible synth hooks. Now the group is back with its strongest release to date: the third full-length of their discography, Love Yes.
Born out of a creative process that included a dismal winter workshopping in Woodstock, a writing renaissance for lead-singer Teeny Lieberson in Kentucky, and a triumphant return to home in Nova Scotia to record, Love Yes is a lush, bold new creation that builds upon the group’s previous efforts and takes off.
On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the color of vitality and pulsing life—unmistakable traits of Love Yes. It is the iconic red of Dorothy’s slippers and Eve’s apple—potent with society’s tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.
TEEN was founded in 2010 by lead-singer and multi-instrumentalist Teeny Lieberson (Here We Go Magic). She self-recorded and self-released the beguiling lo-fi Little Doods LP the following year, then formed a band that included sisters Katherine and Lizzie, and signed to Carpark for 2012’s In Limbo. Produced by Sonic Boom (Spectrum, Spacemen 3), In Limbo encompasses everything in between sprawling, ethereal ballads and trancey but kinetic pop. Rolling Stone listed its opening track “Better” as one of the “50 Best Songs of 2012.” The Carolina EP followed in 2013 and was even more varied and accomplished; the band was growing by breathtaking leaps and bounds. TEEN’s second full-length, The Way and Color, mixes the band’s melodic psych with the sound of post-millennial R&B. The LP has its share of darkness—fear, regret, and loss are all in the picture—but it’s always redeemed by the sheer soulfulness and powerful ingenuity of the music. The album is a reflection on the aggressive times we live in, one that often lacks selflessness. TEEN’s response is one that uplifts and brings a sense of happiness and joy. Love Yes continues this communication, this time exploring the disharmony and empowerment that both sexuality and spirituality can create within the modern woman’s psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.
7:00 PM / ALL AGES / $12 ADVANCE / $15 DAY OF
It's almost midnight on a Saturday in the summer, and I live in New York City. I'm still in my 30s and I don't have to get up early tomorrow. By anyone's standards, I should be heading out for the night; dancing, drinking, meeting up with old friends, making new friends, making mistakes, and feeling young in a city that allows you to remain young despite your age growing higher. I should be out there living. Instead, I just put a load of laundry in the machine in my building's basement. I'm wearing a pair of green shorts and I feel like an asshole in them. I have knobby knees and shorts don't look good on me. I am wearing a light green tshirt and the whole outfit makes me vaguely feel like a middleaged man dressed up for his first day of kindergarten. I am going nowhere tonight, and I suspect this may apply in the long term as well. This seems like the perfect time to write about Jeff Rosenstoc. Because no one I've ever met creates art that encapsulates this state of mind more than Jeff. It's music that's catchier than any other music, music you can scream along to in a joyous frenzy. But simultaneously, if you really listen to the lyrics you're shouting, they can speak to a loneliness and desperation so profound it's soul crushing. I've lost myself in joy to Jeff's songs and I've sat alone depressed to Jeff's songs, and I've felt both those things to the same song, sometimes on back to back listens. Nobody can take the exhilaration and possibilities of life and balance them with the depression of a laundry room on a Saturday night like Jeff Rosenstock. His music can be like a funeral taking place inside a bouncy house, or like a kids' birthday party taking place inside a morgue. I say that with the utmost sincerity and the intent to offer only the highest of praise. If you're reading this, you probably know the legend of Jeff Rosenstock by now. The Arrogant Sons of Bitches had Long Island's attention, and then mutated into Bomb the Music Industry, a collection of musicians that were among the first to just give their music away, that spray painted tshirts for fans, that did everything in a way that was financially illadvised and built a cult unlike any other in the process. Sometimes their shows had a dozen musicians on stage, sometimes it was Jeff and an ipod. No matter what, there was always one thing that remained the same – this band had as much integrity as Fugazi with none of the pretension but with all the emotion but with a lot more fun and also I have to reiterate none of the pretension. To me it seems like Bomb was like Fugazi if the members of Fugazi had been willing to let down their guards and laugh at fart jokes. Again, this is meant as high praise. I really like Fugazi and am not trying to talk shit, it's just an apt metaphor. When Bomb ended, Jeff was left standing in a lonely spotlight and we all wondered if he'd be ok. Instead of even giving us time to find out, he put out We Cool? and showed us all what growing up looks like. Growing up fucking sucks, but it's not for melodramatic reasons. It sucks because your joints start hurting and you know you probably aren't gonna get some of the things done that you've always promised yourself you're gonna get done and you still have a lot of guilt about dumb shit you pulled when you were like 19. We Cool? showed us that Jeff Rosenstock's version of growing up wasn't going to betray Bomb or its fans or the things people loved about them, it was going to put a magnifying glass on his own impulses and insecurities as an individual in a way that was both shockingly frank and impossibly catchy. Jeff's music, if you ask me, is for people who really and truly feel like they could change the world, if only they could muster up the strength to leave the fucking house. It's for people who get into group situations and have every instinct inside their heads scream that the world is a fucked up and terrifying place and they should crumble up into a corner and wait to die, but who instead dance like idiots because what the fuck else is there to do? It's music that makes me feel like maybe, just maybe, if I do things the right way I can help make the world a better place, while coexisting with the knowledge that I don't fucking matter and there's no reason not to give up, except maybe I shouldn't because what if deep down people are actually beautiful, giving, and kind? It's music that makes me lose myself like I used to when I was 13 and first discovered the joy of punk rock, but it's also music that makes me think way too fucking hard about why the world is how it is and if I might be someone with enough heart to throw a few punches in the effort to make shit just a tiny bit better for others for one fucking second of one fucking day. It's simple punk rock. It's also complicated and beautiful and working class and perfect. Is the above a little cheesy? Sure. But I think it's true and I think it's all worth saying. Because having become friends with Jeff over the past few years, I can say the following with great certainty – he actually is what he says he is. And because of that, all the above applies. His integrity is untouchable. We all need to take a second and appreciate how much time this guy has wasted finding all ages venues. How much money he has passed on to retain his credibility as an artist. If other artists – myself chief among them – conducted themselves with an ounce of the integrity Jeff approaches all areas of art and life with, the world would be a better place. I know this might sound silly to people who don't get it – they might say "It's just punk rock, calm down." – but fuck those people, we all know Jeff is a musical genius. If he wanted to go ghost write songs for Taylor Mars and Bruno Swift, I bet he could make millions of dollars doing so. Music is easy for him. He could write empty songs and hand them off to hollow artists and we all know he'd kill it and he wouldn't have to deal with shaking down shady promoters for a few hundred bucks or driving overnight to get to the next venue or stressing about paying bills or any of it. He continues to not do any of that easy shit and that's because he's not bullshitting about doing things not just the right way, but in a way that's more idealistic than reality actually allows for. He does that for us. The guy is a genius poet while simultaneously being the definition of a fucking goon from Long Island. There is nothing not to love. The album you are about to listen to, WORRY., only furthers and exceeds the myth of Jeff Rosenstock, he who is mythical for being the most normal dude from a boring place any of us have ever met; mythical for sticking to his guns when all logic points in the other direction; mythical for writing melodies that stick in our brains and lyrics that rip our guts out; mythical most of all for being not mythical at all. He's just Jeff. It's not that complicated. But in a world where everything is driven by branding and image and hidden agendas, being not that complicated makes him perhaps the most complicated artist I know. Enjoy this album. Enjoy it as a whole. The second half is going to blow your mind with its ambitiousness – in my opinion the second half of this album will be viewed over time as a triumph and high water mark of a cool ass career. And the singles – "Wave Goodnight to Me" s untouchable. "Blast Damage Days" will make you feel ok about the fact that the world seems to be built on a foundation of quicksand. And when you're done listening, don't forget – you probably can't change the world, but you're kind of a dick if you don't at least try. Jeff's been falling on the sword for the rest of us for years and it's on all of us to at least go down swinging. Sincerely, Chris Gethard PS – John DeDomenici ain't bad either.
8 PM / $13 ADVANCE / $15 DAY OF
Bronxville, New York lies about 15 miles north of Manhattan, a small, prosperous community largely made up of professionals, finance-workers, lawyers. Growing up here, Chris Baio’s life followed the trajectory familiar to many suburban teenagers — a progression of piano lessons, bad pop-punk bands, getting drunk in the park, one eye forever trained on the city beyond.
It was years – not until 2009, in fact, by which time Baio was 24, that he learned that the iconic American author Don DeLillo was also a resident of Bronxville. Struck by the proximity to a writer he greatly admired, by the simple knowledge that “there had been a great artist in my midst”, over the course of three months Baio set about reading all of DeLillo’s books — among them Libra, Underworld and The Names, his 1982 novel about an American living in Greece, to which Baio felt a particular connection. “And I just realized,” he says, “that if I were ever going to make a solo album I would want to call it The Names.”
Since 2006, Baio has been best known as the bass-player in Vampire Weekend, the New York-based rock band who last year won a Grammy for their third album, Modern Vampires of the City.
In his downtime between tours, however, Baio recognized in himself an increasing restlessness, a desire to explore his own individual voice away from the band.
He describes The Names as “a realization of my influences and things that I love” — a world quite distinct to that of Vampire Weekend. Those influences do of course emerge in bass-playing, and surfaced on an earlier EP, Sunburn (2012), but what is striking about Baio’s first solo collection is its marked difference to his work with the band.
Across its nine tracks, Baio wanted to return, in part, to the electronic music he had enjoyed while DJing at college, but also to investigate his own lyrical and vocal style to create something quite new and not easily categorized. “What I wanted to feel with this record was that it’s not a band record, it’s not a solo record and it’s not a producer record, but a combination of all three. I wanted to create a space where almost anything could happen,” he says.
In the making of The Names, Baio explored ideas of space — of belonging, identity and finding a place in the world. Some of this was occasioned by his own geographical shift — he and his wife relocated from New York to London in 2013, and he found himself struck by his new city’s expanse of sky, green space, globalness — elements that seem to infuse this record.
He began writing these songs at the tail end of that year, and in some ways they were a continuous point in a transient period of his life. “I would be home from the Vampire Weekend tour, I would make maybe two rough instrumentals and then I would take those instrumentals back with me on tour,” he recalls, “traveling around listening to them, trying to write melodies, trying to write lyrics.”
At that point the album was still something of a riddle to him, a conundrum of sorts. “I find working on music there’s the initial blast of inspiration and then after that it’s like solving a puzzle,” he explains. But what was certain, even in the album’s infancy, was that he wanted The Names to be a record that was compact and intense and vital, hovering around the 40 minute mark, as many of his favorite Roxy Music or Can albums were. He also wanted the songs to show something of a narrative progression, “So it starts in a darker place,” he says, “and ends with sweet love songs.”
He also wanted it to show the diversity of his tastes, to be a musically rich and variegated collection of songs. He uses, as an example, the way that the track I Was Born in a Marathon “suddenly goes from this banging techno into almost like an explosion, almost like I blew up the first two minutes of that track and then it drops down to acoustic guitar.” Or how he experimented with his vocal delivery, trying different ways to use his voice for different tracks, “like if you had a producer-led record you would have different vocalists.”
There are “straight-up love songs” here, as well as songs that nod to Dostoyevsky, Kurosawa, Iggy Pop, The Cars; there’s a track Baio describes as “a classic rock band arrangement, throwback pop song” and a “tribute to David Bowie and Bryan Ferry.”
There are more sober moments too: thoughts on political unease and depression, on military drones, and lyrics in which he finds himself “questioning what the relationship is between me and my government, on the things I might not agree with but that are being done in the name of my protection.” On the album opener, Brainwash yyrr Face (its title a nod to Exit Through the Gift Shop) Baio looks at “the connection between electronic music and substance abuse” because, he explains, “There are plenty of great fun party songs about getting fucked up, but what I wanted to do was make a banging electronic track about the darker side, the shame in getting too drunk.”
He talks with particular affection about the album’s penultimate song, Endless Rhythm, begun one “beautifully, unseasonably warm weekend last year in March” when Baio went to visit Tate Modern and found himself captivated by a Robert Delaunay painting. “I loved the color, loved the design, loved the curves of it,” he remembers. “And I probably spent 10 minutes staring at it before I noticed it was called Endless Rhythm. And I thought that’s very fucking cool: a musical title to a painting. It immediately connected with me.”
The resulting song, he says, is “a song about itself, a song about writing a song. It’s kind of about the relationship between people and art, about the process of making a record, where there’s a part in the middle where it’s really frustrating, the idea of waiting for this song to come.” And it did, he adds, take some time to come. “I would work on it, and maybe two months later I would go back to the Tate and stand in front of that painting, listening to the song with my headphones on, seeing if I could get further connected with it.”
And of course there is a further nod or two to Don DeLillo — I Was Born in a Marathon, for instance references the opening line from Underworld: “He speaks in your voice, American, and there’s a shine in his eye that’s halfway hopeful.”
But Baio has felt DeLillo’s voice winding around his own in more subtle ways, too. “There’s some things about language that I find very influenced by him,” he says. “The way that he puts certain words together, repeats phonetic sounds. The music of language has always interested me; that’s why I love two-syllable titles, because a one-syllable word is a monotone, but the quickest way to get to a melody in language is two syllables. That’s why I called it The Names, because it was strong and evocative, and it had music.”
8 PM / $14 ADVANCE / $16 DAY OF / $18 BOX OFFICE
The King Khan & BBQ Show are two guys in a band, both writing, performing and singing: Arish ‘King' Khan: guitar, vocals. His voice is the snotty one. His guitar is the lead one. Mark ‘BBQ' Sultan: drums, guitar, vocals. His voice is the smooth one. His guitar is the rhythmic one. The drums are played live with his feet. Bad News Boys is the band's fourth studio album, their latest since 2009's acclaimed Invisible Girl. The boys had previously broken up in 2010 after a taxing stretch, culminating in an invite by Lou Reed to play the Sydney Opera House. There was a public (internet) break-up and freak-out, which carried over into the week after in Asia. Words were said; brothers fought like brothers. It was the end of a stretch that had taken the band all over North America, playing festivals like Coachella, starting side projects like Almighty Defenders (with brothers Black Lips), touring the likes of Europe, Israel, Brazil, gaining legions of devoted fans internationally, and kickstarting that whole ‘doo-wop punk' bullshit movement that still goes on today. This is rock'n'roll. This is punk. This is early r&b. This is psych. This is doo-wop. This is garage. It's all this and more, without trying to be anything. A misconception of the band is that they play a bunch of instruments, which are then overdubbed to get a particular sound in the studio. The truth is that they record live. Their ‘studio' is usually an apartment or - in the case of Bad News Boys - a basement, and they're armed a 4-track cassette recorder and not much else. Their ethos is punk. Their mission is to revere rock'n'roll - the real stuff - enough, so that they are permitted to invoke its spirits and ghosts using magick, using their raw soul - for good or for bad - to evoke the smells and feelings that confuse and delight. The King Khan & BBQ Show is a real band. Sure, their sense of humor is dirty, often surreal and potentially subversive, but the seriousness of their passion for real rock'n'roll should never be taken lightly. They live a lifestyle of pure love for the genre, respecting and understanding its basic tenets, living as lifers, representatives of tradition they feel is important. They cut their teeth together in The Spaceshits, a lightning fast rock'n'roll band formed in 1995 (dead by 1998) and have toured and paid their dues since, sacrificing their mind, bodies, souls, friends, family - all for love. King Khan went on to underground hero status in many projects, shocking and impressing tastemakers in need of tangible image-icons, worldwide. Mark Sultan is heralded for his incredible voice and top-tier songwriting - rarities, today. Quite simply: they need one another, like yin and yang, to make it all happen. The band has managed to continue to release top-grade material for over ten years, without bowing to business or succumbing to what's ‘hip', without changing. They do what they want, take it or leave it. Love ‘em or hate ‘em, but never say they can't write a great rock'n'roll song - and back it up with one of the best, most magickal, energetic, crass and nonsensical free-form live shows going. They care so much that they don't give a fuck.
DOORS: 6:30 PM, SHOW: 7 PM, $10 ADVANCE, $13 DAY OF, ALL AGES
Four years without new music can be a death sentence for any artist, and when an absence like that follows the release of a debut album, circumstances can get dire. But few acts are able to amass a cult following as rapidly as South Carolina-based indie rock outfit All Get Out did with 2011’s The Season, a full-length record that has proven to have near-infinite replayability.
“I needed a break,” songwriter and vocalist Nathan Hussey says. “I needed to regroup and really think about where I was, what I was doing, and how I was doing it.”
Finally, the band is back in action in 2015, and is ready to share a brand-new EP, Movement, on April 14 via Favorite Gentlemen Recordings and Bad Timing Records.
“The EP goes in a direction that feels natural for All Get Out,” Hussey explains. “It’s heavier, and it’s kind of a sister to our last release in its rawness. The Season is neatly put together, and Movement is a little sloppy, a little less intentional. The main concept here, of course, is movement. It’s how you know things are still alive.
“I started writing the title track in 2013. The first two verses are about how changes happen in a way that people don’t understand. And I’m kind of saying, you don’t have to get it, you don’t have to understand. And as the song was being written over those two years, it called me into the idea of movement.”
Movement isn’t a reintroduction or regeneration — it’s a reaffirmation. It’s a torrent of spirit at its most raw moments, an unabashed exorcism of the things that keep us awake at night in the pursuit of a life with deserved purpose. Continuing to gravitate toward the unoccupied spaces between indie and rock, All Get Out’s return to the spotlight presents an opportunity for listeners to fall in love all over again with one of the most dynamic groups in this genre.
Dec. 2-3 at Walter's Downtown
$38 Two-Day Pass
Day 1, December 2nd.
WILL TO LIVE
Doors at 7pm
$13 pre-sale / $15 door
Day 2, December 3rd.
SENTENCED TO BURN
Doors at 2:30pm
$27 pre-sale / $30 door
Dec. 2-3 at Walter's Downtown
$38 Two-Day Pass
Day 1, December 2nd.
WILL TO LIVE
Doors at 7pm
$13 pre-sale / $15 door
Day 2, December 3rd.
SENTENCED TO BURN
Doors at 2:30pm
$27 pre-sale / $30 door
DOORS: 8 PM / ALL AGES / $10 ADVANCE / $12 DAY OF
Merchandise is a band fighting against the easy categorization reserved for abbreviated biographies. The project is equal parts punk misanthropy, maudlin balladeering, fine art, low humor, classical study, psychedelic spacecasing, mad science and pop genius.
Formed as a trio in Tampa, Florida in 2008, the band has undergone ceaseless revision and reinvention. After putting out numerous records and tapes on independent punk labels and touring the underground, the band truly hit its stride with the release of their second LP "Children of Desire" in April 2012. In addition to a very warm reception from fans, the record received praise from the likes of Pitchfork, NME, Spin, and numerous other critics and journals.
2013 saw the band releasing a new 12″ on Iowa City's excellent Night People label and touring extensively throughout America and Europe.
In 2014, Merchandise released their album 'After The End'.
RSVP HERE kicks off at 12pm NOON!
Deep End Records has survived our first year as a small business and we're throwing a party to celebrate! This will be a FREE, day-long celebration with food, live music, DJs and more!
*LIVE music by KA, Sandy Ewen and Akchamel*
*DJ sets from Stewart Anderson (a Fistful of Soul), DJ Eleelandc, CeeJ (Death Exclamations Records, Peasant) and Flash Gordon Parks*
DRINK SPECIALS and FOOD TRUCKS will be announced soon + we'll be dropping a ton of new and used stock.
Thank you all for you continued support! ♥
DOORS: 6:30, SHOW: 7:00 / $10 ADVANCE / $13 DAY OF
Lord Dying come from Portland, Oregon, a place over abundant with purveyors of the heavy riff. A region where the inhabitants are plagued with nerve and joint damage due to lack of sunlight. In a time where everyone is trying to out-sludge or out-doom each other Lord Dying gives something less than a fuck. They are a metal band with members of Black Elk , Portals, Le Force, Dark Castle, and Monarch. Who in their short, one years time as a band have shared the stage with Unsane, Red Fang, Yob, Valient Thorr, and others locally. They have toured in the US with Danava, Lecherous Gaze, Black Cobra, Gaza, Witch Mountain, Red Fang, Black Tusk, Down, and Ghost. This lead to their signing with Relapse Records where they put out their debut album "Summon the Faithless" in the Summer of '13. Upon its release the boys hit the road in the US for 5 weeks with label mates Howl. This was quickly followed by another 5 week tour of the US with Valient Thorr and Ramming Speed. After a successful headlining tour down to Austin where they took part in Phil Anselmo's Housecore Horror Film Festival the guys layed low for a couple months to write a follow up to 'Summon. In January '14 Lord Dying went to Europe for the first time as support for Red Fang and The Shrine. They followed this with a successful headlining tour of the US in February back to back with another European tour during March/April with Red Fang and The Shrine only to end with an appearance at the highly coveted Roadburn Festival in Tilburg NL. Upon their return to the US longtime drummer Jon Reid quit the band and they recruited Rob Shaffer of Dark Castle/Monarch who was happy to do it. Two weeks later the entered the studio to record their sophomore album with Joel Grind of Toxic Holocaust at the helm, that will be released shortly after. Lord Dying are here to pummel with heavy riffs and promote simpler things like Cold brew-Hot Shower.
DOORS: 7 PM / $12 ADVANCE / $14 DOOR / ALL AGES
The four piece metalcore band Kublai Khan was founded in summer 2009. In this scene, bogged down with mindless music and meaningless lyrics, the band is making its mark across North America. Combining traditional metalcore music roots with the new sounds of underground hardcore, Kublai Khan is working for something new. With hopes of continuing to play music every day to all open ears.
Being entirely DIY since the beginning, Kublai Khan released an 8 song EP titled Youth War in January 2011. Through numerous regional and national tours reaching from Washington state to Florida, the band has sold over 1200 copies of the self-released album.
$8 / 8 PM / ALL AGES
DOORS: 8 PM / $10 ADVANCE / $12 DAY OF / ALL AGES
Avi Buffalo is a guitarist and songwriter originally from Long Beach, California. He was signed to Sub Pop Records at the age of 18 and has released two critically acclaimed full-length albums with them. Drawing influences from many different musical tastes and feelings spanning through folk, jazz, rock and beyond, his songs and musicianship blend together in a beautiful way both on record and live.
Comprised of Billy Yost (vocals, guitar), Eamonn Donnelly (bass), Jonny Ifergan (guitar), and Ryan Farnham (drums), Chicago's The Kickback is a result of Billy's emigration to The Windy City from rural South Dakota in late 2009 and the subsequent Craigslist pleas seeking out band members. The group's music (with songs exploring journalists banding together in the early 1980s to battle the decline of print journalism through sheer ultra-violence to the emasculation of trying to protect the woman you love in a city you don't understand in a body you know is eventually going in the ground) have earned the group wide praise from Rolling Stone, Sound Opinions contributor Jim Derogatis, You Ain't No Picasso, the Chicago Tribune, and many more.
After a steady three years of touring and supporting acts like White Rabbits, Smith Westerns, Here We Go Magic, Telekinesis, Tokyo Police Club, The Districts, and Manic Street Preachers, the band have released their debut album, Sorry All Over The Place, produced by Spoon's Jim Eno, drawing praise from The Huffington Post, Consequence of Sound, and more. The Kickback are now back on the road in 2016, sharing their stellar and explosive performance across the country.
To document their travels, the band began recording their podcast, DISASTOUR, in December of 2010. With over 100 episodes, the show attempts to address the far-from-glamorized lives of a band on the road and the arrested development indicative of the lives they have chosen.
DOORS: 7:00 PM / ALL AGES / $12 ADVANCE / $15 DAY OF
Dee-1 honed his lyrical skills while balancing two careers, teaching middle school kids by day and performing at rap shows at night. But the New Orleans native's love for hip-hop was born in his college dorm room during a year of turmoil filled with grief and heartbreak while attending Louisiana State University.
In 2005, Dee-1's world was first rocked when his best friend was fatally shot in a car robbery following a flag football game. He experienced heartache after a five-year relationship abruptly ended with his high school sweetheart. He watched his hometown of New Orleans being ravished by the catastrophic storms of Hurricane Katrina. Then, his life flashed before his eyes when he was held up at gunpoint. In all, he saw the series of dramatic events as wake-up calls, ultimately convincing him to rededicate his life to God.
After being cut from the LSU basketball team as a walk-on, Dee-1 whose real name is David Augustine Jr. felt the need to find another hobby to fill the void of his hoop dreams. So he started to write about his tumultuous times, hoping to find therapy through writing rhymes about his collective experiences. But the hobby soon turned into something serious after Dee-1 took the stage at a talent show on LSU's campus at the popular "Showtime at the Cotillion" where he performed his New Orleans-themed song "Rep da Big Easy" and the socially conscious "Let Me be Your Voice." He didn't win the competition, but those two songs earned him a standing ovation from everyone in attendance, which helped a normally shy kid get over the nerve-wracking mental hurdle of performing in front of large crowds.
Once Dee-1 graduated from LSU in 2008, he decided to teach at a middle school in Baton Rouge as a fallback plan if rapping didn't work out. He knew his blue-collar parents, who taught him to take education seriously, would expect no less. As a teacher, he wanted to be viewed as role model for students, hoping to keep his rap identity as secret. But it didn't last long. While in class one day, a student of his asked whether he heard of Dee-1. He initially denied that he had, but reversed his decision and told the entire classroom the truth.
"I didn't really want to admit to it," said Dee-1, who spent two years as a teacher before pursuing his rap career full-time. "I didn't know how everyone was going to act toward me being a rapper. But I got a lot of positive responses from other teachers, asking if they could have an autograph. I felt like Joe Clark (the character from the 1989 film "Lean on Me"). Word spread fast once the kids in my classroom knew about me being a rapper... That's when everything took off for me."
Dee-1 is a true talent with a unique ability to deliver thought-provoking messages about overcoming life's obstacles. He's not afraid to rap about his past mistakes, supplying inspirational curse-free rhymes filled with Christian values that are backed by well-produced beats. He often preaches this motto: Be Real, Be Righteous, Be Relevant. It stems from his "Mission Vision," hoping to relay the message of "keeping God in your life, using your special talents and creating a better existence for yourself and loved ones."
His motto certainly came into effect after he released his outspoken music video, "Jay, 50, & Weezy" in 2010. The breakout single called out three of hip-hop's biggest names: Jay Z, 50 Cent and Lil Wayne, questioning their subject matter in songs. The video received positive reviews after being aired on MTV Jams and received close to a million views on YouTube. He went on to win Artist of the Year at the NOLA Underground Hip-Hop Awards during the same year, earning acceptance from politicians, college professors and teens.
Dee-1 continued to gain success and recognition from many in the music industry, touring with the likes of Macklemore, Lupe Fiasco and Lecrae. His online buzz sparked interest from various record labels including New Orleans based Cash Money Records, however Dee-1 opted to sign with RCA Inspiration in 2013.
Last year, he took part in the coveted BET Hip-Hop Awards Cypher. His verse on the cypher took social media by storm and opened the doors to additional opportunities at the network. Dee-1 headlined a BET Music Matters Showcase and was selected to perform on BET's 106 & PARK's popular segment, The Backroom. Recently, he was tapped to host the red carpet for the 2015 BET Honors—where he interviewed honorees and celebrity guests like Usher, Dr. Johnetta Betsch Cole, Anthony Anderson, Ben Vereen and more.
"I'm the rapper that wants kids to walk away from my music motivated to finish high school. Or people to say that a Dee-1 song helped me when I was contemplating suicide. I just want to play a positive role."
"3's Up" will be released on February 17, 2015.
DYLAN CAMERON (Holodeck Records), ACID JEEP, PFAFFENBERG, FUNERAL PARLOR, NEIL EBBFLO (Live Set + Visuals)
8 PM / ALL AGES / $7 ADVANCE / $10 DAY OF
Producer and Austin native Dylan Cameron has established a dedicated following thanks in part to the re-emergence of live electronic shows and underground dance culture in his hometown. Interweaving a spectrum of subgenres, Cameron seamlessly moves from ambient 2-step rhythms to screwed four on the floor and house beats with the finesse of a seasoned veteran. Dylan’s background in studio recording allows for a precise ear and an attention to detail while performing his banging, hardware-based live sets. Working as the long-time in-house producer and engineer for Holodeck Records, his contribution to Austin's electronic and experimental scene is both far reaching and highly regarded.
SIANVAR, MY IRON LUNG, SAVE US FROM THE ARCHON, CIRMSON ARROW, MANNEQUIN MISHAP, VOX VOCIS, SO SOON THE TRUTH
8 pm / $18 / all ages
Near the end of Huckleberry Finn¸ Huck announces, “But I reckon I got to light out for the Territory ahead of the rest, because Aunt Sally she's going to adopt me and sivilize me, and I can't stand it. I been there before.” Through Huck’s longing for the Territory ahead, Mark Twain transformed the ending of a story into an invitation that has come to define the American imagination. In his words we come to the conclusion of a story as one comes to the top of a mountain—to behold where we’ve been, and where we’ve yet to go.
The Show Ponies offer such vistas of the imagination on their newest EP, Run for Your Life (2014). Channeling the momentum of a few momentous years, founding ponies Andi Carder (lead vocals, banjo) and Clayton Chaney (lead vocals, bass) weave story and song with the same charm, pathos, and boldness that brought them from Texas and Arkansas to California where the Show Ponies were founded in 2011. Like so many iconic American voices over the generations, Carder grew up singing in church and performing in musical theater—musical heritage often apparent in performing what she likes to call “folk sassgrass.” Chaney’s musical upbringing compliments Carder’s sensibilities in drawing on the deep wells of country and folk. The themes of his songwriting echo his penchant for wanderlust: “Being on the road is the most exciting thing for me. I love waking up in a different place every morning.”
Along the way, they were joined by the three other ponies whose musical pedigrees are as various as the Mississippi tributaries. First to join the duo was guitarist Jason Harris, who also produced the Ponies first album Here We Are! (2012). While many modern guitarists regard themselves as emancipated from the “strictures” of classical music, Harris credits Queen for kindling his interest in Bach and Mozart. He couldn’t have predicted what came next: “I went to school for music composition and had planned on going the academic route until I heard a bluegrass guitar solo a week after I graduated and decided I didn't want to do anything else.” When he heard Carder and Chaney perform together, he became enamored of their duet Americana sound and traded his electric guitars and Brian May solos for a Martin acoustic and flatpicking lessons with Michael Daves.
Next to join the stable was Phil Glenn—a classically trained violin player whose love of folk, Celtic, and roots music eventually got the better of him and led to Mark O’Connor’s annual String Camp where he won the Daniel Pearl Memorial Violin Award. Like his bandmates, Phil’s neo-folk pioneering with the Show Ponies represents something of a departure from his earlier influences. “Folk music was something I came to pretty late,” he explains, “but it turns out I sound better and have a lot more fun playing folk music than I ever did playing classical.”
Completing the roundup, Kevin Brown joined the Show Ponies after the release of their first album with his newly minted Masters Degree in Percussion, infusing bluegrass and folk melodies with a lifetime of dedication to the rhythms of jazz, rock, and hip-hop. Steeped in the influences of Led Zeppelin and The Mars Volta, Brown delighted in with the opportunity to explore music once foreign to him. “The most exciting part of playing with the Show Ponies is combining each member’s influences into one cohesive musical package,” he says. “It doesn’t sound like anything else.”
In addition to getting radio play, the Show Ponies have collaborated with artists like Noam Pikelny (Punch Brothers) on their recent EP, Run for Your Life, and opened for Rascal Flatts at the 2014 Country Explosion in Utah. They have further forged their success with constant touring and critically acclaimed records while earning a devoted fan base. All of their studio work has been entirely crowdfunded on the strength of social media and word of mouth in the midst of zig-zagging up and down the Pacific West with forays back to Carder’s native Texas.
For the Show Ponies, the West is still wild. Their songs endeavor to preserve its wonder and our place in it. Steeped in deep tradition, the Show Ponies achieve that rare magic of transforming what is familiar into the precious and delightful. Their melodies and poetry remind us not only of the possibility of favorite artists or even favorite songs, but of favorite moments in a song. Here we find such moments, where a song-sweetened story helps discover to us the courage to light out for the territory ahead.
“There’s a lot of uncertainty in life. There’s a lot that would suggest I don’t have it together. But in that, there’s a lot of adventure and risk that some secure people don’t get to experience,” Chaney explains. “Our music expresses the hope of moving forward towards a destination that you believe exists even while the evidence may only hint at it.”
Written by Phillip and Janelle Aijian
** CANCELLED! **
DOORS: 8 PM / $12 ADVANCE / $15 DAY OF
In the late 80s, memorable group TYRUS were spreading death & evil to live venues around Australia. Led by PETER HOBBS, TYRUS quickly became a household name & a leader in Demonic Metal Direction. The band is one of the first Australian groups to perform European style Thrash Metal.
With the impressive writing skills of PETER HOBBS, the Australian Metal Scene came to light led by tunes like Marie Antoinette & Chainsaw Massacre amongst others of heavy-handed metal. The name of TYRUS... soon changed into the SLAYER-inspired "ANGEL OF DEATH" which was lengthened soon after to become the now classic name HOBBS' ANGEL OF DEATH.
HOBBS teamed up with some of the best musicians in town, who then went to Melbourne's Doug Saunders Studios and recorded their first 6-track demo simply titled "ANGEL OF DEATH". This demo was produced at extremely low costs, within only a few short hours & with sustained supreme quality. This demo achieved sales of over 1200 copies in a very short space of time and attracted the attention of international record labels. With many new compositions complete, a new demo superseded the first effort and immediately secured a record deal with SPV/Steamhammer.
HOBBS' ANGEL OF DEATH left for Berlin to HARRIS JOHNS (famous producer for VOIVOD, KREATOR, HELLOWEEN a.o.) to record their self-titled album whilst the cover-art was painted by SEBASTIAN KRUGER (who produced the covers for bands like TANKARD, DESTRUCTION and numerous other super groups).
The band released two studio albums, Hobb's Angel of Death (1988) and Inheritance (1995).
Reformed in 2002, the band releases a compilation album, Hobbs' Satan's Crusade (2003 – which are the 2 re-mastered demo’s "Virgin Metal Invasion from Down Under" & "Angel of Death"). The band played a European tour including an appearance at Wacken Open Air, and shows with German thrash group Destruction and black metallers Mayhem.
The band is back, plays numerous live shows in Australia and went on a European club- and festival tour in 2012.
The band was in European in the Summer of 2013 and in Christmas for the Blaspheme Killing for Christmas tour.
Now the world tour is ready for start, from june 2014 to november with a new lineup
and finally the band is ready for recorder the new album in july 2014.
HOBBS' ANGEL OF DEATH remains one of the most important metal phenomenon from the Oz metal scene and is one of the most influential Australian metal artist the world has ever heard.
Not many people can take something as devastating and tumultuous as a breakup and turn it into an album thick with joyous beats, infectious melodies and lyrics that spin disappointment and desolation into revelatory moments, but Ruby The RabbitFoot is not someone who sees things in simple black and white. On her third album, Divorce Party, she creates a vivid world that stretches far beyond just the songs – from videos that straddle the line of performance and art, to her fearless use of fashion, to the music itself, which serves as the thrilling, creative center to her unique universe. Produced by Andy LeMaster (Bright Eyes, Azure Ray), Divorce Party is celebration of life after loss, and the creative renewal that comes from finding light amongst the darkness.
"I want this to be a soundtrack for anyone going through a transition," says Ruby – though this album was written after a particular romantic one, she's not the kind of artist who stays stagnant, anyhow. For this record, she immersed herself deeply into pop music and hip-hop, listening constantly to everything from Beyoncé to Taylor Swift and Fiona Apple. "Having your heart broken is something that humans all experience," she ads. "It's how you learn, and how you grow.”
Beginning with "Beach Flowers," the first song she wrote for the LP and which also kicks of the album, Divorce Party is thick with unusual percussion, shimmering synth licks and ethereal orchestration courtesy of a more experimental approach to instrumentals. "I built you up into a castle in my brain," Ruby sings in her crystalline vocals, "and though it's made of sand, I like making plans just the same." For the Georgia-born artist, the idea of a "beach flower" came to represent how some experiences are as lovely as they are ephemeral – but that doesn't make them any less worthy of enjoyment. "A beach flower is something beautiful and temporary," she explains. "You wouldn't plant all your flowers on the beach unless you wanted the ocean to gobble them up."
The process of creating Divorce Party took nearly two years from start to finish – after 2014's New As Dew, she embarked on a artistic journey that took her everywhere from Georgia to California, where she met collaborator Natalie Neal, who became an instrumental partner in expressing her vision. Neal, a renowned avant-garde director and photographer who has screened her work at Sundance Film Festival, made the ideal match for Ruby. Together, they have been developing the visual palate for Divorce Party, including its stunning first video for "Beach Flowers."
Ruby’s creative expression knows no bounds and her vibrant personality and unique style have led to a host of exciting collaborations as musicians, apparel brands and various creatives have all sought her out to collaborate. One of Urban Outfitter's "Five To Watch In Athens" and hand-picked by Japanese magazine Nero, for a photo spread, Ruby delights in flirting with the fashion world and is just as creative with her image as she is with her music. Ruby made her acting debut in 2014 as Macklemore's love interest in the highly popular video for Fences' single "Arrows," featuring Macklemore and Ryan Lewis. To create Divorce Party, Ruby took the songs down to Athens, Georgia with LeMaster, working with an innovative goal in mind and a new, playful approach to composition. "I wanted more of a pop-sounding record," she says. "I'm a songwriter first and foremost, and I think in the past it's been my nature to pick up the guitar. But in my free time, I love pop music and rap music and R&B. So I had a heavier hand in the style I wanted this time. I learned how to make beats, and learned so much from working with Andy. He has the same love of pop music, and is fearless."
That love is clear in songs like "Faucet Love" and "Ancil," which both manage to be stirring and addictive, melding the stickiness of a pop record with experimentation – via unexpected horns or skittish rhythm - that could only be tackled by someone who knows no real boundaries. And then there are also moments like "Wish," with a slow-burned eighties vibe, that puts on full display the complexities within her vocal range. On “I Hate You” Ruby marries beats and an upbeat melody with some deeply cutting lyrics: “If I ever see your name in lights I think I'll melon ball my eyes out/ Mail them to you overnight with a note that says/"Surprise! Remember when you used to swim for miles and miles in these baby blues?/I wish you would have drowned, cause I hate you/Oh I do.” "That breakup was challenging, but I'm good for it," she says. "I learned so much about love, and I am writing and singing better than I ever have. So I'd like to thank my ex.” “Even though there's this connotation of disruption and heartbreak, divorce parties have a celebratory energy. Every person that we love teaches us, so when it's time to part ways I think it's beautiful to appreciate everything we've gained from the experience. I wrote these songs in a period of separation from a love. I want to release them into the world as a celebration of all that I learned during that time. It's my Divorce Party!”
8 PM / ALL AGES / $10 ADVANCE / $12 DOOR
Breakup albums mark a turning point for a band: the moment when their sound completely changes and reaches a new level of emotional clarity. All that heartbreak and malaise condensed into any single record often makes for a defining piece of work, no matter the genre. The best records explore the nooks and crannies of sadness, learning it inside and out — celebrating it.
Ceremony’s fifth studio album, The L-Shaped Man, uses singer Ross Farrar’s recent breakup as a platform to explore loneliness and emotional weariness, but it is by no means a purely sad album. Rather than look inward, Farrar uses his experience to write about what it means to go through something heavy and come out the other side a different person.
In order to tell Farrar's story, Ceremony have almost completely stripped back the propulsive hardcore of their previous records, turning every angry outburst into simmering despair. “We’ve always tried to be minimalists in writing, even if it’s loud or fast or abrasive,” says lead guitarist Anthony Anzaldo. “It’s really intense when I hear it. Not in a way where you turn everything up to ten. Things are so bare, you’re holding this one note for so long and you don’t now where it’s going—to me, that’s intensity.” That intensity is apparent on “Exit Fears,” the first full song on the record. It meticulously pairs Justin Davis’ loping bassline, which pulls the track along, with Anzaldo's icy, minimal guitar work. It brings to mind some alternate version of Joy Division that hasn’t quite lost all hope. It gets close to exploding, but instead plays the shadows, never quite rising above a nervous simmer.
“A lot of the content has to do with loss, and specifically the loss of someone who you care deeply about,” Farrar says. “There is no way for you to go through something like this artistically and not have really strong emotions of loss and pain. There’s not really any way to hide that.” Farrar, for his part, is singing with a new kind of intensity, his baritone swooping and retreating from stressed angst to unsettling near-mutter as he sings, “You told your friends you were fine/ you thought you were fine too…” and later, “nothing is ever fine/ nothing ever feels right/ you have to tell yourself you tried.” It’s the first of many lyrically direct moments, and it should be hard to listen to, but Ceremony have so effortlessly nailed the sound of sadness that it feels great to live inside for awhile.
The sound is abetted by producer John Reis, who honed his sound in seminal bands like Rocket from the Crypt, Drive Like Jehu, and Hot Snakes. Much of the gravelly aggression he experimented with in those bands is present on The L-Shaped Man.
There's a story behind the title too. “I was speaking to our driver Stephen while on tour,” Farrar says. “We were talking about men in general and what shape they are…their body type. I said, ‘I guess men are in the shape of an L. The torso is straight. Vertical. And then you have the little feet at the end.’ There’s this painter named Leslie Lerner who was living in San Francisco in the ‘70s and ‘80s and made these beautiful paintings. He died on my 21st birthday. A lot of the record is about the similarities in our ideas. In what we’re trying to make. Things that have to do with love and losing love.”
Tonight's show is CANCELLED. Unfortunately, Deerhoof were in a van accident. Luckily, no one is hurt but we have to call off the show while they're stuck in Louisiana. I know this is disappointing for everyone, including us. We did everything possible to save the show, but it just didn't work out this time. EVERYONE WHO BOUGHT TICKETS WILL BE REFUNDED. We appreciate your understanding in this unfortunate situation. Love, Walter's.
DOORS: 8 PM / $12 ADVANCE / $15 DOOR / ALL AGES
Satomi Matsuzaki plays bass and sings, Greg Saunier plays drums, John Dieterich and Ed Rodriguez play guitars.
But what is Deerhoof really? Hell if we know.
Pitchfork went so far as to label Deerhoof as "the best band in the world.” The New York Times described them as “one of the most original rock bands to have come along in the last decade.”
From their humble beginnings as an obscure San Francisco noise act, they've become one of indie music's most influential bands with their ecstatic and unruly take on pop.
Tele Novella is a fresh strain of sugar-crash dream-psych popsicle punch out of Austin, TX with members of Agent Ribbons and Voxtrot.
DOORS: 8 pm, Show: 10 pm / $7 advance / $10 Day of / ALL AGES
A Review from The Musical Junkie:
This band from Houston, Texas has nailed the lost art of 90's alternative rock and sprinkled it with a littler flavor of classic rock. Ricky Dee brings brings out a noisy tone from his guitar and sings in a mixture of their influences. Noe Kimes has excellent fills pouring out of his bass which many bassists don't succeed in. Sammy Reyna bring a very tight and organic feel to the band, he is trained in afro cuban and jazz rhythms so playing this type of rock&roll is a very enjoyable experience for him. On their Reverbnation account there's a song Three, Listen to it to understand how amazing the drummer really is. "Brief Conclusions" has a strong "Velvet Underground" influence especially in the laid back vocal melody sung in the style of Lou Reed. "Wake Up" is a noisy Mudhoney inspired jam. The song is layered completely with a loud fuzzy bass. "Kocaine" starts with a subtle bass line and then it's thrown into a fast current of a wild river. There's a solo that might melt your ears. "That Day Long" is a really catchy 80's punk rock like gem. The vocals are sung in a "Hendrix" manner. The bassist really shines on this track. "Downer" has found a way to pay tribute to their influence and make original music at the same time. They don't fall pray into sounding like a copycat band. If you feel nostalgic of the rock music of the 90's this is the band to check out. ~The Musical Junkie~
It is called "Downer" with quotations because every quote is open to interpretation, such is life.
"Though singer Josh McCaslin wrote much of Roselit Bone's debut album while living in the isolated woods outside Coos Bay, the imagery on Blacken & Curl is the stuff of a dystopian Western: dust blankets the landscape, the ravens are the size of dogs, and death comes slow and hot. The music, played by a 10-piece band augmented by trumpets, flute and pedal steel, enhances the dry, desiccated feeling, blending the cinematic sweep of Ennio Morricone with the twang of classic country and a sense of creeping malice that would make Nick Cave giddy. Bring water. You're going to feel parched." - Matt Singer, Willamette Week