THE HALLOWEENING 666: WALTER'S GOES TO HECK w/ SHEVO, VELVETTE UNDERGROUND, THINK AGAIN, PATSY CLINE INCH NAILS, STILL ANOTHER BAND WITH "GWAR" IN THE NAME!
EARLY WARNING: Oh shit, here comes the fourth or sixth annual Halloweening! You're probably still losing sleep if you missed End of the Century (Fat Tony & pals as the Ramones), or All That (Deep Cuts' tribute to 90s Top 40), or Smashing Pumpkin Spiced Latte (exactly what it sounds like), or Wild Moccasins as Madonna, or Limb as a Kate Bush, or Alanis Gwarrisette. Snap out of it, slap a costume on your filthy body, pull yourself together, and just show up to this one. You're going to be fine.
CRYPTIC EARLY LINEUP ANNOUNCEMENT
Patsy Cline Inch Nails
Still another band with "Gwar" in the name
STAY TUNED FOR MORE INFORMATION
8 PM / ALL AGES / $12 - $15
Eccentric, innovative, enigmatic, Nik is full of surprises.
From big band 'Janet Juve and the Red Hot Daddies' to soul bands 'Maurice Traveler and the Starting Handles' and 'Soulfinger'.
From circus orchestra M.D. for 'Gerry Cottle's Circus' to the esoteric mumbo jumbo jive of 'Sphynx'.
From the space jazz of 'Hawkwind', writing seminal anthems such as 'Master of the Universe', 'Brainstorm', and 'D-rider' as the driving force in the creation of the legend and mythology that created that band's success, to 60's ska 'Skastars'.
From the pomp rock of the 'Imperial Pompadours' to musical, political, satirical punk cabaret with 'Inner City Unit'.
From busking cool groovy music on the streets of Cardiff and Mexico City to Nik Turner's 'Fantastic All Stars' playing cool Latino jazz.
From equally fantastic Nik Turner's 'Galaktikos' playing big funk Latino hot grooves, to the 'Nik Turner Band' playing some of all that and more.
Guested and recorded with numerous bands, including 'Sham 69', 'The Damned','Stranglers', 'Ruts', 'Spirit' with Randy California, 'Utopians', 'Guillemots' etc.
8 PM / ALL AGES /$10
On a full moon SadGirl mysteriously surfaced out of the Pacific and staggered onto the streets of LA. Cousins Misha Lindes (guitar/vocals), Paul Caruso (drums) and Dakota Peterson (bass) don't remember much of their childhood (it was submerged at the bottom of the murky sea)
But now, the lo-fi, surf-wop trio is making waves. Proclaimed one of LA's Hardest-Working Bands by Oh My Rockness, SadGirl delivers an iconic, "DIY" package of sound and image, complete with logo and merch designs equally fashionable and punk-rock.
Like a twisted marriage between Roy Orbison and The Cramps (ordained by Link Wray) SadGirl invokes the music of a by-gone era. But don't be fooled, these aren't the tunes from Uncle Jimmy's juke box...
DOORS: 8 PM, ALL AGES, $8 - $10
Despite over a decade of existence, Japan’s self-described “catastrophic noise-metal” outfit ENDON has largely eluded the attention of the broader Western underground music community. This began to change in 2016 with the stateside release of their 2014 album MAMA and tours along the East and West Coasts. Given the West’s fascination with Japan’s permutations of punk, metal, and noise, it’s unlikely that any band that has been frequently bestowed with the designation of “the most extreme act in Tokyo” would remain under the radar for long. After all, Japan gave us the unmitigated sonic abrasions of Masonna, the nihilistic fury of GISM, and the cataclysmic lurch of Corrupted, so any band that can somehow further push the envelope is destined for notoriety.
And notoriety was certainly a factor in ENDON’s early years, when singer Taichi Nagura terrorized local audiences with stage behavior so violent and menacing that people began actively avoiding their shows out of fear for their safety. Nagura insists that the outbursts were “not intended to be against the audience at all,” but admits, “during the early days of ENDON, there was a lot of fighting between the audience and me.” ENDON no longer takes out their aggression on bystanders, but their caustic blend of power electronics, harsh noise, gale force hardcore, and dissonant metal implies a kind of violence even more foreboding than a stray punch or a whipped microphone. With their most recent album Through The Mirror, ENDON galvanizes their arsenal of ballistic sounds into a streamlined assault on the senses. Captured by Kurt Ballou at God City Studios, Through The Mirror fuses Taro Aiko and Etsuo Nagura’s dual noise barrages, Koki Miyabe’s alternately harrowing guitar work, Shin Yokota’s pummeling drums, and Taichi’s animalistic howls and shrieks into eight songs that vacillate between molten blocks of viciously constructed metal and chaotic bouts of unbridled auditory hostility.
Through The Mirror opens with “Nerve Rain”, an exercise in punishment through repetition, with a series of sustained guitar chords being ruthlessly battered beneath blizzard squalls of contact-mic distortion, piercing modular synth drones, and thundering toms. It’s a powerful build-up to the explosive fury of “Your Ghost Is Dead”, wherein the band distills the chaotic energy of ‘90s cult hardcore bands like One Eyed God Prophecy or Honeywell and supplements it with added layers of misanthropic scuzz and grit. “Born In Limbo” pits Andy Ortmann-esque sound collages and inhuman vocal manipulations against a backdrop of gothic twang and kinetic drumming. Side one closes with the double punch of “Pensum” and “Postsex” where truncated hybrids of hardcore rage and black metal velocity serve as a springboard for Taichi’s lyric-less communication of the album’s “Anti Bildungsroman (anti-building romance)” concept through guttural bellows and horrific screams. If side one serves as an exercise in propulsive unrestrained attacks, side two is a study in sustained, strategic warfare. The spacious crawl of “Perversion Till Death” allows the flanking noise artists to saturate the mix like a hail of fire and stone. Title track “Through The Mirror” builds off bedrock of primitive punk and gradually opens the scope of the song with melodic electronics and Nagura’s funeral wails. Sublime desert drones open the finale “Torch Your House” and guide the band through a nine-minute journey of exotic melodicism and triumphant stomp-and-crush riffage.
ALL AGES / DOORS: 8 PM / $10
Veteran NY psych-pop act Shana Falana just released her new LP Here Comes The Waves, her 2nd with Team Love Records. Emerging from New York’s vast drone/psych scene, Shana combines live looping of reverb-drenched vocals and guitar with tribal drums and stunning visual projections. Her live experience has often been described as transcendental.
"Psychedelic dream pop dashed on the rocks of goth defiance" -Stereogum
“If you want to zone out, Shana Falana’s alluring debut LP gives many opportunities to do so.” -Pitchfork
Chynna Rogers is rap's high priestess. Signed to Ford models at age 14 and now 22, the Philly-born artist quickly developed a relationship with the A$AP Mob while traveling to NYC for modeling gigs. She grew especially close to ASAP Yams, whom she reached out to as a teenager via Twitter seeking his A&R mentorship. Instead, he encouraged Rodgers to pursue her own music. Tattoos like the Eye of Ra, an elaborate mandala, "wanderlust" in cursive script run along her arms. The letters "blk out grl" adorn her fingers - a nod to the ASAP Mob and A$AP Yams, who died in January. "I was the only girl, so that one is for Yams," she notes.
The A$AP Mob member was right. Chynna's penchant for matching moody atmospherics paired with deadpan, often brutally honest vocals demonstrates an often startlingly disturbing nonchalance equally comparable to 21 Savage or Marie Davidson. Citing broad influences that range from Gucci Mane to Britney Spears, Rogers has also utilized her keen eye for A&R to work with UK producers Hudson Mohawke and Darq E Freaker, both known for their experimental avant garde collaborations in hip hop music.
In 2015 Chynna released the Radiohead title-inspired I'm Not Here, This Isn't Happening EP, following it up with last year's Ninety, her ode to 90 days of sobriety from opiate addiction. Rogers' ability to meld a myriad of art and culture reference points (the artwork for 'Ninety' stems from psych-heavy band Blue Oyster Cult, and multiple tracks from her prior EPs recall characters from Mean Girls) extends to her recurrent stint as a model, where she has recently worked on campaigns for both DKNY and VFILES. As a rapper she also isn't shy to speak about her religious views as an actively practicing Buddhist, with a firm belief in the concept of "being reborn to help other people."
Perhaps Chynna's biggest draw is her committal to "love your dark parts too." Recently one year sober, her music never loses its raw edge and immersive ambiance, synonymous with both a sprawling late afternoon smoke deep in Chinatown, or the beginning of the end of an afterparty, where anything is still possible, but what actually does happen becomes a story to tell. Surely, if anything does feel real, it's Chynna, whose powerful transformative ability renders her as one of the most authentic new voices in rap today.
ANOTHER COVER SHOW '17 w/ FINGERGUNS as BASEMENT, MARIANA FRIAS as BAYSIDE, RIOT ON THE RADIO as MAYDAY PARADE & MORE!
All Ages | Doors @ 4 PM | $10
Finger Guns as Basement
Mariana Frias as Bayside
Riot on the Radio as Mayday Parade
Supergroup ft members of An Author, A Poet, Talk In Theory, Four Letter Language & GODHAND as Of Mice & Men
The Brightest as Dashboard Confessional
And Then Suddenly as Underoath
Supergroup ft members of Town Destroyer & Imperial Affliction as Bullet For My Valentine
%100 of proceeds are being donated to help families affected by hurricane Harvey
Presented by The Clinic & Riot Productions
Bully burst onto the scene in 2015 with their critically acclaimed album Feels Like. Today the band announces Losing. The album was engineered and mixed by lead-singer Alicia Bognanno in Chicago at Electrical Audio.
Fronted by Alicia Bognanno, Bully was born in 2013. Bognanno was an engineer who had cut her teeth working at Electrical Audio in Chicago. Together with guitarist Clayton Parker and Reece Lazarus on bass, they made a debut album received unanimous critical acclaim and Bognanno became a point of intrigue. A rock icon in the making, with her signature scream, messy blonde hair hanging in her face, and formidable skills as both a player and a engineer who prefers recording to tape. “The coarse Cobain head-scream of Bully singer, songwriter and guitarist Alicia Bognanno is its own resuscitating jolt of protest,” said Pitchfork. “She spends much of Feels Like tearing the house down with her howl.” The success propelled the band into an exhaustive touring cycle with spots on huge festivals such as Bonnaroo, Lollapallooza, Pitchfork Music Festival and ACL and a late night appearance on Conan.
While Feels Like tumbled headlong into the precarious nature of Bognanno’s young adult life, Losing is a document of the complexity of growth: navigating breakups with sensitivity, learning not to run away from your troubles but to face them no matter how messy they may be. The debut single, “Feel The Same’ is the album opener. Like an electric-shock Bognanno is back in your face tackling the angst of a young person feeling their way through the world. The song describes the prison of a manic mind-set, being trapped in your own head. On “Seeing It” she addresses the issue of personal safety and navigating the world as a woman. On “Running” she focuses on personal relationships and the avoidance of facing the demise of a personal relationship.
Losing is an internal, carefully focused record, a universalized diary and an exorcism—not of any one specific demon, but the host of them that characterize contemporary anxieties. Bully are growing up, sure, but their fire is in no way diminishing.
$15 / 8 PM / ALL AGES
The Original Southern California Punk/Surf Power Trio, Agent Orange, is one of only a handful of bands who have been continually active since the earliest days of the West Coast Punk Scene.
A small circle of musical rebels who came together to form a movement, they took their place front and center to experience and participate in the explosion of now legendary underground music that was created during the golden era of American Punk Rock.
Being the first to combine the melodic California surf guitar sound with the frantic energy of punk, Agent Orange invented the formula that would come to define the Orange County punk sound. Highly influential to many of the bands who have followed in their path, Agent Orange have always stayed one step ahead.
Their strong connection to the Action Sports world has resulted in their music providing the soundtrack to numerous major motion pictures, video games, surf and skate films, television, and live sports events.
The last of the true independents, Agent Orange have managed to stay true to their roots, while always moving forward. Powered by a loyal following built up through years of explosive live performances all over the world, Agent Orange continue to deliver their Fullblown-Supercharged-Punk-Surf Sound on an international basis, with a never ending schedule of tours in the United States, Canada, South America, Europe, Australia, and Japan.
C’mon down front and expose yourself to Agent Orange.
Surf Curse is Nick Rattigan and Jacob Rubeck, who started their project in a basement in Reno, Nevada before going to Los Angeles to become a fixture of the DIY scene anchored by internationally-renowned venue The Smell, eventually linking up with likeminded groups like Girlpool, The Garden, and Slow Hollows. Their music is anchored with a blend of punk and pop elements heavily influenced by the pulp of 80’s, cult and arthouse cinema. Coming a few years after the boys broke out with 2013’s Buds LP and Sad Boys EP, their new album Nothing Yet marks not a return-to-form but a significant step forward from a group that has grown older, more mature, and more effective as songwriters.
DOORS: 8 PM, $10 - $12, ALL AGES
Formed in 1992, Cherubs emerged on the Austin, TX, LSD punk scene with a jackhammer of nightmarish, rhythm-driven song structures and plenty of Butthole Surfers whimsy and terror to keep things more than interesting. Fast forward 20 years later and the band has reformed with more energy and songwriting acumen then ever.
If, as the saying goes, life is less what happens to you and more how you deal with it, RED CITY RADIO have succeeded in spades, insatiable in their heart and singular focus.
Since forming in 2009 in Oklahoma City, Red City Radio have proven their punk-rock proficiency, turning in beloved albums (2011’s The Dangers of Standing Still and 2013’s Titles) and winning over fans around with the world with a sweat-soaked, raved-about live show honed by years of touring along acts like Strung Out, New Found Glory, and Anti-Flag.
But the band— Garrett Dale, guitarist Ryan Donovan, drummer Dallas Tidwell and bassist Jonathan “Jojo” Knight—are evolving, both professionally and personally: Red City Radio marks the group’s first album for Staple Records (after years spent with Paper + Plastick)
The new contrast between Dale’s gruff tenor (now the sole lead voice) and an increasingly rock-based musicality gives Red City Radio an innately fascinating dynamic. As such, songs like the power pop-leaning “Two Out Of Three Ain’t Rad” and slow-burning, country-tinged “… I’ll Catch A Ride” showcase the band’s newfound versatility and expand the definition of just what a Red City Radio song can—and should—sound like.
It’s this nuance and nimbleness that makes Red City Radio such a stirring listen. Named one of the most anticipated albums of 2015 by Fuse and VICE - hailed by outlets like PunkNews, also receiving 4 out of 5 stars from Rolling Stone, the album isn’t wholesale change, but rather the sound of a band expanding its influence and stepping outside itself to keep pushing forward. A sound once reminiscent of punk stalwarts like Hot Water Music has now swelled to include hooky rock á la Foo Fighters and Jimmy Eat World, and even Dale’s love of country.
"I play guitar and sing and dance on a stage with tamborines mounted to it."
If you've never seen Greg Rekus it is a sight to behold and a genuine pleasure.
Greg Cote & The Real Life Friends
We don't play as often as we should. But we are playing this day! Come see us do that!
The passion and electricity sorely missing in the music of many of Clay Melton’s peers is abundant in the fantastic performance of ‘Timing’s Everything,’ a new single on the upcoming 2017 album release. It’s another reason why Clay is certain to be recognized as one of this generation’s guitar heroes.” – Ritchie Adams, Editor in Chief, Red Hot Rock Magazine.
When does inspiration find any of us? For Clay Melton, it was at the tender age of eleven when he listened to Jimi Hendrix playing ‘All Along the Watchtower’ while riding in the car with his father. Clay was mesmerized by Jimi’s sound and style. So he asked his parents for a guitar, and only time would tell if music would become central to this young man’s life. Soon Clay was strapping his electric guitar and amp on his bicycle and peddling his way through the neighborhood to a family garage where he practiced with his good friend, Kyle Tomchesson. His ability with the guitar was growing faster than anyone could imagine, and after a year and a half of lessons, his teacher admitted that he couldn’t take Clay any further. Since then, Clay has taught himself, and like Hendrix and SRV, he plays by ear. By the age of thirteen, Clay was playing live in clubs all around Texas. At fifteen years old, his stage experiences as a guitarist and songwriter began to grow: The Dallas International Guitar Festival proclaimed, “Clay Melton one of the TOP 10 Guitar Players in Texas under 20 years old!” The emotional intensity of his live performances at such a young age was incredible to say the least.
DOORS OPEN: 8 PM / ALL AGES
A tear in the firmament.
Beyond the noxious haze of our national nightmare - as structures of social justice and global progress topple in our midst - there lies a faint but undeniable glow in the distance.
What is it?
Like so many before us we are drawn to the beacon. But only by the bootstraps of our indignation do we go so boldly into the dark to find it.
And so Sheer Mag has let the sparks fly since their outset, with an axe to grind against all that clouds the way. A caustic war cry, seething in solidarity with all those that suffer the brunt of ignorance and injustice in an imbalanced system.
Both brazen and discrete, loud yet precise, familiar but never quite like this - SHEER MAG crept up from Philadelphia cloaked in bold insignia to channel our social and political moment with grit and groove. Cautious but full of purpose.
What is it?
By making a music both painfully urgent and spiritually timeworn, SHEER MAG speak to a modern pain: to a people that too feel their flame on the verge of being extinguished, yet choose to burn a bit brighter in spite of that threat.
With their debut LP, the cloak has been lifted. It is time to reclaim something that has been taken from us. Here the band rolls up their sleeves, takes to the streets, and demands recompense for a tradition of inequity that’s poisoned our world. However, it is in our ability to love - our primal human right to give and receive love - that the damage of such toxicity is newly explored.
Love is a choice we make. We ought not obscure, neglect, or deny that choice. Through the tumult and the pain, the camaraderie and the cause, the band continues to burn a path into that great beyond.
But where are we headed?
On NEED TO FEEL YOUR LOVE, they makes their first full-length declaration of light seen just beyond our darkness. Spoken plainly, without shame:
It is love.
This - is SHEER MAG.
It is with much angst that I inform you I'd like to punt on the bio request. I am in the midst of several projects that are unusually stressful and interfering with my abilities to function as a normal human. The idea of starting from scratch on a bio is literally causing me to lose sleep. Nobody wants to update our press materials more than I, and normally it is a project that I like to take my time on and have a concept for (the above photo notwithstanding). I assure you that when the time comes to rollout a new and more awesome DEAD RIDER experience (very soon!), we will have a jaw dropping photo accompanied with a bio that will someday be studied as literature at future Ivy League universities. For now, I'd like to continue with the idea that the Hideout show be a laid back affair, a delightful and low pressure space, we and the audience create to reveal hidden manifestations of confidence and self actualization. -Todd, Espy, White Christmas
DOORS: 8 PM / ALL AGES
Veteran agitators Dälek have never been ones to stick within the rigid parameters of genre. A group who seemingly hold the utmost contempt for conservative expectations regarding form, instead pioneering a volatile and timeless strain of hip-hop, drawing as much from My Bloody Valentine as Public Enemy. These practitioners of noise fuelled depravity are back with a whole new album, entitled Endangered Philosophies, their follow up to last years Asphalt for Eden, scheduled to come out via Ipecac Recordings September 1 2017.
With Dälek, the flow has often been usurped by scorched textures, the product of synthetic decay, themes flitting from pungent political rage through to outright Dionysian frenzy. On Endangered Philosophies, the lyrics are more focused and at the forefront than ever before, and MC Dälek's new experiments with rhyme styles and flow makes for a vital concoction. There's no doubt about it, Endangered Philosophies is a work of guttural catharsis, it is a call to arms…
Robert Logan Reynolds III, known as Bob Log III, (born December 3, 1969) is an American slide guitar one-man band. During performances, he plays old Silvertone archtop guitars, wears a full body human cannonball suit, and a motorcycle helmet wired to a telephone receiver, which allows him to devote his hands and feet to guitar and drums. The spectacle has been described as a blues punk guitar dance party.
$10, Doors: 8 PM, ALL AGES
DIY, psychedelic, primitive, lo-fi, and indie are all words used and abused to describe the current crop of Generation Y’s transgressive music makers, the aught’s response to the singular, wholly influential path laid out by countless ’90s lone wolf, road-doggin’ bands who shaped the current independent music landscape. But how many groups actually fit this model and do it any justice in 2014?
Naomi Punk is one band that speaks to lovers of this formula, tried and true. Their music is unique. They live in Olympia, WA and record music themselves. Their aesthetic is potent, refined and considered, their web presence slight, and their hooks ultimately sugary. It’s no surprise that Television Man, their second LP for Brooklyn label Captured Tracks, finds their sound and style gaining momentum. By powerfully reconstructing their vision as a post-‘90s punk powerhouse, Naomi Punk have garnered a specific type of cult following.
On Television Man, as well as their groundbreaking 2012 debut The Feeling, NP effortlessly spin circles around melodic motifs in repetitive, shifting patterns. Their instruments intertwine then unravel. Drummer Nick Luempert starts and stops and pushes and pulls while guitarist (only two guitars here, no bass) Neil Gregerson crunches atonal shards of strings from all angles. By the time the titular “Television Man” hits — which is essentially a calculated then deconstructed, motorik, a-rhythmic Krautrock mess — it’s evident that their style is also encompassing deep substance, with a long synthesizer passage trailing off and a mind-numbing refrain which singer Travis Benjamin Coster delivers in a woozy, water-damaged yelp. Sometimes all you need is a potent three-piece band to tear the roof off, and Television Man is a record that packs a powerful punch and is truly engulfing. A great sophomore effort from an interesting trio, whose vibe is truly old school.
DOORS: 8 PM / $12 - $15 / ALL AGES
Experiencing one emotion at a time is a luxury of the past. Think back to that moment at the women’s march or the pro-science rally, when you spied a small child holding a handmade sign that read “I love naps but I stay woke” or “Boys will be boys good humans” or “May the facts be with you.” How adorable! How upsetting! How the hell are they going to make it to adulthood in this toxic environment?
Deerhoof is right there with you. They recognize that we are simultaneously living in two worlds, one a maniacal, mainstream monoculture hell-bent on driving humankind into extinction, the other a churning underground teeming with ideas and dogged optimism and the will to thrive and survive. Mountain Moves refutes the former by ecstatically celebrating the latter.
Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide open. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines. The only common thread was that each and every artist on Mountain Moves doesn’t fit into a single, neatly-defined category – and doesn’t wish to.
The results, as expected, were unexpected. Guide vocals and simple melodies were dispatched via email, only to be answered with an outpouring of alternate harmonies, suggestions for arrangements, additional instrumentation. Every file received triggered a new rush of jumbled emotions. Some guests crafted their contributions in the small hours of the dawn, toiling in hotel rooms before driving eight hours to the next tour date; others hopped on the subway and recorded with the band in-person.
Collisions and collusions abound on Mountain Moves. In addition to its bounty of originals, the program includes three covers that epitomize the album’s assemblage of disparate ideas and personalities. Reducing Bob Marley’s “Small Axe” to a beat-less fragment of hymn-like simplicity magnifies the song’s rebellious spirit and undercurrent of violence. Deerhoof vocalist Satomi Matsuzaki, a Japanese immigrant, lifts the Staple Singers’ “Freedom Highway” out of its original place and time, imbuing it with a new sense of alienation from one’s own country. Snippets of the bass recitative “For behold, darkness shall cover the earth” from Handel’s Messiah provide the foundation for a fresh take on Chilean folk hero Violeta Parra’s bittersweet masterpiece “Gracias a la Vida.”
Adventures outside the United States also informed the making of Mountain Moves. During a recent visit to Brazil, the band was astonished to see how enthusiastically audiences at concerts sang, danced, and reveled – a cultural response, they learned, to the scarcity of resources for all but the nation’s wealthiest elites. Elsewhere, the experience of confronting unfamiliar audiences of fired-up Red Hot Chili Peppers fans taught them that one of their greatest skills – the ability to recalibrate their sound nightly to suit a particular venue – wasn’t limited to basements or small clubs. The broader strokes of Mountain Moves sprang forth from lessons learned while trying to engage audiences of 20,000+ across the vast distances of Northern European sporting arenas.
If Mountain Moves were a movie, it would be a double feature, Journey to the Center of the Deerhoof and Escape from Planet Deerhoof, shown side-by-side simultaneously. The record epitomizes the band at its very best, exploring new realms between the poles of independence and invention. It also serves as a welcoming point of entry for new listeners outside Deerhoof’s traditional orbit, an opportunity to bring even more voices into the communal conversation. We’re all in this together.
Deerhoof is John Dieterich, Satomi Matsuzaki, Ed Rodriguez and Greg Saunier. The only thing they see eye-to-eye on is the freedom to not see eye-to-eye. Their guests on Mountain Moves include Awkwafina, Juana Molina, Matana Roberts, Xenia Rubinos, Lætitia Sadier, and Jenn Wasner. Together, they made this record for you. For all of us.
8:00 PM DOORS / ALL AGES / $10 - $12
Dent May - self-described hotel bar lounge singer and aspiring daytime TV talk show host - has been charming his way into the hearts of music fans since the release of his debut album The Good Feeling Music of Dent May & His Magnificent Ukulele on Animal Collective’s Paw Tracks label in 2009. The Mississippi-born, Los Angeles-based songwriter, performer, and Dolly Parton enthusiast has since released two more acclaimed records, Do Things (2012) and Warm Blanket (2013), dropped the holiday smash “I’ll Be Stoned For Christmas”, and played hundreds of shows from Shanghai to Chicago. His latest album, Across the Multiverse, is an interstellar voyage of mythic proportions.
“Don’t wanna move to Southern California / I wasn’t really meant for LA...” So sang Dent May once upon a time, now he’s eating those words with a side of avocado toast in his new Los Angeles bungalow. What made the lifelong Mississippi boy pull up stakes and head west? “No one looks at you funny if you wear a tuxedo to the supermarket.” What he means is he moved there to shake up his surroundings, clear his head, and write the most accomplished record of his young career, the magical mystery tour de force Across the Multiverse.
Following the lead of musical-polymaths-with-LA-ties before him like Brian Wilson, Van Dyke Parks, and Harry Nilsson, Dent’s style on Across the Multiverse will be familiar to fans of his previous work. Yet there’s something more refined about this collection... Stately strings mingle with boogie piano like old friends. Synths weave a celestial backdrop throughout. Every verse, bridge and chorus in its right place, giving it the unmistakable feel of a true songwriting craftsman at work. Lyrically Dent has never been sharper, musing on themes like modern romance (“Picture on a Screen”, “Face Down in the Gutter of Your Love”), existential dread (“Dream 4 Me”, “I’m Gonna Live Forever Until I’m Dead”), and the distance to the moon (“Distance to the Moon”) as he searches for meaning among the infinite scrolling feeds of our 21st century augmented reality. The title track, a duet with Frankie Cosmos, is a deep space love song about finding love beyond impossible boundaries.
Across the Multiverse was written and recorded in a sunny bedroom in LA’s Highland Park neighborhood, with Dent producing and playing nearly every instrument himself. The tracks were selected from dozens of songs written after the LA move, a gold rush of productivity inspired by late nights DJing rare disco funk cuts at local watering holes. It’s his first album for Carpark Records and will be released August 18th.