After logging several years of experience with sludge metal icons Cavity and doom prognosticators Acid King, among other bands, New York-based vocalist and guitarist Jason Landrian and L.A.-based drummer Rafael Martinez began working in 2001 on a new project that would ultimately become known as Black Cobra. An eponymous EP eventually saw the light of day in 2004, followed by the full-length Bestial in 2006 and mini-album Feather and Stone in 2007, by which time the duo had developed into a vicious, super-distorted heavy metal machine reminiscent of Mastodon and High on Fire. ~ Eduardo Rivadavia
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Featuring the crystalline vocals of Stacy King, Sucré write the kind of dreamlike pop songs that get lodged into your head before the very first chorus even kicks in. Rounded out by Stacy's husband, Darren King, on drums, and multi-instrumentalist Jeremy Larson, the trio's debut album, "A Minor Bird," is an enchanting blend of '60s psychedelia and the intimacy of '70s singer/songwriters. Stacy's voice proves to be at times a whisper of mist, and at others a tumultuous ocean that flawlessly weaves across infinite landscapes of strings, horns, and percussion on each of the album's 11 tracks.
Upon hearing something as deliberate and intricate as Sucre's music, it is hard to believe that the three began working together without any intention of actually becoming a band. "During my first holiday visit to Darren's family in Missouri, we went to Jeremy's studio and just for fun, recorded a cover of "Silver Springs" my favorite song by Stevie Nicks. After that I began sending Jeremy unfinished demos and he started turning them into these beautiful pop symphonies. About three songs in I realized we had something special and that we had to make a record of it." Spinner calls it "pop music of the highest order."
There's a certain whimsical feeling to the way Stacy's vocals mesh with Darren and Jeremy's instrumentation. Stacy explains her songwriting process: "I suppose I don't have a standard way of writing, but a lot of times the songs start with me writing a few chords, a melody, and then little hints of lyrics. Sometimes Jeremy will send me a piece of music and I'll record myself as I'm writing the melody on top of the music, and then I'll listen back to it right away to see if I liked anything. Sometimes Darren gives me a beat and I get so excited and inspired. I love running with whatever each of them gives me to work with."
Featuring the irresistible lead single "When We Were Young," and orchestral delights "Hiding Out" and "Troubled Waters," "A Minor Bird" will surely appeal to fans of forward-thinking pop. "Incredible music... Stacy's honeyed vocals are tough to ignore," gushed MTV.com about the album. "We had the time of our lives making this record because we were just trying to make music that we loved and nothing else. We just wanted to make something beautiful. Coincidentally, every single song on the record is about love and romance", tells Stacy.
Larson, true to form, appears as a one man philharmonic, seamlessly layering an orchestra's worth of instruments to sound as if they were played by 100 individuals each with their own soul and mastery of their craft. While multi-tracking a plethora of instruments is common practice for artists these days, few artists are as good as Larson as orchestrating them so cohesively and seamlessly. Darren, following suit, would be better defined as a percussionist than a drummer on this one, creating layers that would require the precision of many limbs working together to replicate in real time. Fans of his will not be disappointed.
Stacy isn't worried about pulling off their lush material in a live setting: "Well, the record was made solely by Darren, Jeremy and I. But we didn't want to limit ourselves. We wanted to go as far as we could and push our limits and give the record a lot of color. And I'm so glad that we didn't scale back due to what we thought we could pull off live. Darren and Jeremy are wonderful producers as well as live producers, so I feel confident in their abilities to plan a show that we're all proud of." Like Stacy, Darren is also a road warrior, manning the drum kit for MuteMath since their formation in 2002.
When asked about plans for the future, Stacy responded with certainty, "We want to make beautiful music and share it with people... the more we do that, the better."
Sucré is Stacy King, Darren King and Jeremy Larson.
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Atlanta's beloved sons the Black Lips entered last year through a screaming cloud of sweat, smoke, blood, and beer mist, in front of a dangerously packed hall in New Orleans' French Quarter. If a band's bipolarity runs on a touring vs. recording-an-album spectrum, then the previous year was the mother of all manic spells. After a spring and summer running the usual festival circuit in North America and Europe, the Lips embarked on a two-month fall tour of the Middle East. They were tailed by Georgia rock-doc royalty Bill Cody, of Athens, GA - Inside/ Out fame, who filmed the band playing for kids in Tunis and Cairo who had just overthrown their government, kids in Iraq who barely have a government, and
kids in Dubai whose government is richer than God (and might control a genie).
As Cody assembled his footage into the feature Kids Like You and Me, the band returned home from the New Year's maelstrom and began settling into album mode. Songs had piled up in the two years since 2011's Arabia Mountain. "We went into the studio with about 80% of the record written," says
bassist Jared Swilley. "which is a little more than usual for us. Joe (Bradley,
drums) usually puts together all the parts for his songs on his own, and Ian (St.
Pe, guitar) writes a lot of his music. I like to make mine a little more collaborative, like Cole (Alexander, also guitar)."Recording for Underneath the Rainbow ("We were going to call it The Dark
Side of the Rainbow, then we googled it and realized that's what they call that thing where you watch The Wizard of Oz while listening to Pink Floyd and it syncs up") was split between New York with Thomas Brenneck, who was recommended by Arabia Mountain producer Mark Ronson, and Nashville with the the Black Keys' Patrick Carney, who offered to help produce in a Mexico city hotel room just before dawn. "It was one of those super-late-night/super-early-
morning drunktalk sort of situations, so we weren't sure if he meant it," explains
Jared. "People do that all the time."
Early internet conjecture, based around on the album's lead single ("Boys in the Woods"), Carney's choice of a country studio in Nashville, and an offhand reference to "roots music," pegged Underneath the Rainbow's sound as a blend of southern rock with throwback C&W and blues. Which is a weird description for a record containing the first Black Lips' song with a prominent
synth ("Funny"), and even less apt for an overall album that owes just as much to
the kiwi pop of New Zealand's South Island and the Chicago South Side's Crucial
Conflict as it does the standard American South. "They got it all wrong," says
Jared, "they were asking 'Is there a "radical departure" or "new direction" on this album?' so I said, no it's still roots music, which is what we've been doing from
the start and which all rock and pop music derives from.""Although ["Funny"] is a new direction as far as it having more of a commercial sound," adds Cole.
"Honestly, that synth getting in there was a fluke."
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Since its inception in 2009, the Archnemesis sound has been in a constant state of evolution. With musical beginnings firmly established through a strict regimen of classical training on the cello and piano, eventually jazz theory and composition crept in, and more instruments like bass, drums and guitar were discovered and learned. The culmination of this vast musical knowledge ultimately shaped the Archnemesis sound before propelling it through a variety of analog stratospheres and into the digital realm of electronic music production. With a sound based primarily in, but not limited to, "electro hip-hop soul", Archnemesis continues to evolve musically and socially by encompassing all styles and genres of music while simultaneously welcoming in all the fans that follow those genres.
Through extensive national touring, Archnemesis has created a steadily growing fan base aptly dubbed the "Nemesis Army", and strives to create an un-biased community both online and at live shows where anyone can express themselves without discrimination. Also, by using music as a platform for outreach, Archnemesis is constantly generating new and innovative ideas to foster a community and encourage change.
When not touring, Archnemesis has managed to compile an extensive catalogue of EP's, LP's remixes and collaborations. Beginning with the 2010 release of the EP Diamonds and Glass, the full-length albums People's Radio and Every Man For Himself were both well received by fans and critics alike. The remixes of Kendrick Lamar's "Backseat Freestyle" and The xx's "Do You Mind" both charted on The Hype Machine and saw extensive play from DJ's across the country. A fourth EP, Follow Me, was released in July of 2013, and it took an even bigger step towards truly defining the Archnemesis sound.
With an unequaled afro and amazing light show, every Archnemesis encounter is a full sensory experience, one that is highly charged and delicious. This energetic live approach has been brought to such acclaimed festivals as The Hangout Music Festival, Lights All Night, Camp Bisco, Electric Forest and SnowGlobe, as well as theatres and clubs across the country. With momentum building and no signs of slowing down, Archnemesis continues to create an amazing live experience at clubs and festivals while steadily growing the ever-faithful "Nemesis Army" and working towards positive change.
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The fourth album from San Diego-bred five- piece Delta Spirit, Into the Wide was born in a flood-ruined, cave-like, rat-colonized room in the band's new hometown of Brooklyn. After spending more than a year writing together in the windowless studio they rebuilt after Hurricane Sandy wreaked its havoc, the group resurfaced with a batch of demos and headed to Georgia to team up with Ben Allen (a producer/engineer known for his work with artists like Animal Collective and Deerhunter). Recorded near an old shipping yard in Atlanta, Into the Wide intimately captures the claustrophobia of Delta Spirit's creative space, turning that tension into a moody meditation on the restlessness of city life, growing older, and longing for escape. With its lyrics largely inspired by the murder ballads of Bob Dylan and Johnny Cash, Into
the Wide proves more darkly charged than anything the band's ever offered up before but—thanks to their command of both indelible melody and sprawling, atmospheric arrangements—ultimately emerges as Delta Spirit's most gloriously heavy album so far.
For Delta Spirit (vocalist/guitarist Matt Vasquez, multi-instrumentalist/vocalist Kelly Winrich, guitarist Will McLaren, bassist Jon Jameson, and drummer Brandon Young), the raw, nervy energy running throughout Into the Wide stems partly from the band's return to the more free-and-easy approach they embraced in making their debut album, 2008's Ode to Sunshine. "On that first record we had no idea what kind of music we were going to make—we just went up to a cabin and pressed record and went for it without any fear," says Young, who sparked the founding of Delta Spirit back in 2005, when he spotted Vasquez busking in the streets of downtown San Diego. So while Into the Wide continues to push forward in exploring new sonic territory (as on 2010's History From Below and the band's self-titled 2012 release), Delta Spirit have also restored a sense of kinetic flow to their communal songwriting process. "When we were writing there were these songs that we really labored over and tried to polish," says McLaren. "But in the end, those songs didn't belong to us. The tracks that make up the album were the ones that happened quickly and naturally and just instantly felt good to us."
Despite that lack of polish, each of the songs on Into the Wide is driven by lavishly textured arrangements and a deeply heady emotionalism. Hazy and hymnlike, "Push It" opens the album by personifying the U.S.A. as a beat-down, reluctantly indestructible woman and musing on the rival forces of decay and idealism that define American life today. From there Into the Wide gives way to the triple-threat of the triumphant, guitar-fueled "From Now On," the frenetic and punch-drunk "Live On" (an ode to surviving bully brutality, inspired by Vasquez's Texas childhood), and the groove-powered yet anthemic "Take Shelter" (Winrich's celebration of being hopelessly lost but still finding your way to the light). The album then leads into "Hold My End Up," a haunting and howling epic that builds to blistering intensity in its lament of "school shootings and movie-theater shootings and that darkness that lives in us and the loneliness of the inner monologue," as Vasquez explains.
Into the Wide sustains that forward-charging momentum as songs journey from Middle America to Georgia to Reseda to the California wilderness, the possibly mythical locale serenaded on its dreamy, gauzy-guitar-laced title track. On the deceptively soaring "Patriarch," Vasquez twists his own past experience with evangelical group The International House of Prayer into a story of a cult-stolen girl who believes that God has called on her to kill herself. ("I've always been fascinated by that whole element of American music," says Vasquez of the song's murder-ballad-esque approach to storytelling, "and I love the idea of trying to carry it into the 21st
century and writing songs that have a simple theme but take you on a journey in just three minutes.") The album's second half also features such standouts as "Language of the Dead," a stomping piece of psych-pop that name-checks both Bob Dylan and Robert E. Lee in its send-up of hero worship ("Throw your idols into the sea/Dreamers, get your own dream"). And on "The Wreck," Into the Wide comes to a close with a gorgeously stark piano ballad that's equal parts lovely and aching in Vasquez's tribute to his wife's enduring faith ("They all warned you ‘bout me/Don't give your heart to a wreck").
As Delta Spirit's most sonically expansive album yet, Into the Wide somewhat paradoxically owes its broadened sound to the band's holing up in what McLaren calls their "dreary, EPA Superfund of a practice space" for months on end. "We're lucky to have it, but being stuck in this room with no windows and dreaming about getting back out into the world and into nature and seeing the country again seemed to pull something deeper out of us," notes Jameson. Adds Winrich: "That sense of feeling trapped in our studio and in the city definitely gave the album more of a weight than our previous records, and played a big part in this being our moodiest record yet." But when it came time to record, relocating to Maze Studios in Atlanta helped breathe new life and brighter energy into the songs selected for Into the Wide. "One of the most of the important things was getting back to all of us being in a room together for every single song and recording everything live," Young points out. "I think Ben even lied and said the AC was broken so we'd all be in there sweating like we do when we're onstage."
Keeping an eye toward the live experience is always essential to Delta Spirit, who name playing 293 dates in 2009 as one of their top points of pride. "We just want the songs to be as epic and meaningful as possible when we play them in front of people, which is the be-all and end-all for us as a band," says Vasquez. In moving toward creating music that's transcendent for their live audience, Delta Spirit strive to stay focused on the singular benefits of communal songwriting. "There's something sort of magic about getting five incredibly distinct personalities to get behind something they can each claim as their own, instead of having the music be the product of one person's specific vision," Jameson says. What's more, Vasquez adds, that commitment to collaboration ends up being infinitely rewarding once the band takes the stage. "To be able to play something and think ‘I created this' is one thing," he says. "But to have five different people standing together onstage and all of us feeling the vibration of that at once, that's kind of amazing."
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Nashville's Kopecky Family Band isn't a family in the specific sense, but a close community of friends who generate a kind of diversely instrumented and melodic folk-pop together. Founded by Kelsey Kopecky and Gabe Simon in 2007 after a dorm room jam, the group eventually stabilized with a lineup of Kopecky (vocals, keyboards, and bass), Simon (vocals, guitar, and horns), Steven Holmes (guitar, lap steel guitar), David Krohn (drums), Markus Midkiff (cello, guitar, and keyboards), and Corey Oxendine (bass, guitar, and horns), and it's a versatile group, with members often switching to different instruments, all of which gives the Kopecky Family Band a broad sonic palette. The band released three EPs, Embraces (2008) and The Disaster and Of Epic Proportions (both in 2010), before signing with ATO Records and issuing a debut full-length album, Kids Raising Kids, in the spring of 2013. ~ Steve Leggett
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Noah Lennox adopted the name Panda Bear in the late '90s, when he drew a picture of a panda on one of his first bedroom studio recordings. He grew up in Pennsylvania, went to college at the Boston University, and eventually found his way to New York City, where he met his future Animal Collective bandmates Avey Tare, Geologist, and Deakin. In addition to his work with Animal Collective, Jane, and Together, Lennox has released several solo albums. Young Prayer, an album largely influenced by the death of his father, was released in 2004, and Person Pitch, Lennox's second album on the Paw Tracks label, followed three years later. For his next solo album, Lennox made the decision to move away from samplers towards a more guitar-heavy sound. Working with producer Sonic Boom, Lennox released his fourth solo album, Tomboy, in 2011. ~ Margaret Reges
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Firebrand alt-country singer Lydia Loveless combines the honky tonk sound and style of classic country stars like Loretta Lynn and Patsy Cline with the no-quarter attitude and spunk of punk rock divas such as Exene Cervenka and Carla Bozulich. Lydia Loveless was born in Coschocton, Ohio in 1990; she was raised on a farm, but her father was also a music fan who booked bands at a local bar, and Lydia became accustomed early on to seeing bands play and discovering an out-of-town act asleep on the living-room floor in the morning. By the time Loveless was 13, she had taken up songwriting and was doing shows with local bands, playing a combination of rootsy country and punk-influenced rock & roll. After relocating to Columbus, Ohio, Loveless fronted a pop/rock band with her sisters called Carson Drew, but the combo broke up not long after the release of their 2006 album, Under the Table, and Loveless began concentrating on her solo career, forming a backing band with her dad on drums. In 2010, Loveless self-released her first solo album, The Only Man, which earned her rave reviews from the alt-country music media, and as she began work on a follow-up EP, she was contacted by respected insurgent country label Bloodshot Records, which promptly signed Loveless to a record deal. At the label's behest, Loveless expanded the EP to an album, and her first Bloodshot release, Indestructible Machine, was released in September 2011. After the album arrived in stores, Loveless and her band hit the road hard, touring extensively in the United States, Canada, and Europe. In 2013, Loveless began writing material for a third album, but shortly after the sessions for the full-length were completed, Loveless had a burst of inspiration that led to her writing and recording a hard-rocking five-song EP about the ups and downs of relationships. Titled Boy Crazy, the EP was released as a stopgap in late 2013, while the album, the confident and eclectic Somewhere Else, appeared in February 2014. ~ Mark Deming
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Founded in 2010, Brooklyn New York slimegaze band Total Slacker has a unique sound and put out cool vibes. Total Slacker consists of Emily Jane : Bass and Vocals, Tucker Rountree : Guitar and Vocals,
Chris Topah: Guitar, James Colon : Drums
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Monday15September Fitzgerald's07:00 PMAll AgesFREE ADV Warning: number_format() expects parameter 1 to be double, string given in /home4/jkatial/public_html/wp-content/plugins/stubwire/templates/list_all_events.php on line 51 $2.00 DAY OF BOX OFFICE
The Mercury Tree is an experimental rock band from Portland, Oregon formed in 2006. They specialize in creative overuse of their effect pedals. Their latest material includes extensive live looping work, creating huge enveloping layers of sound. At best, they fuse the oddball rhythms and technicality of progressive music with a genuine sense of melody and emotion. Their most recent album, Freeze in Phantom Form, was released in 2012
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On April 29th, The Chris Robinson Brotherhood returns from gathering the ineffable with Phosphorescent Harvest, their third long playing album for Silver Arrow Records. Having first unshackled the air with Big Moon Ritual (June 1012) and the Magic Door (September 2012), the band –Robinson (Lead vocals, guitar), Neal Casal (guitar, vocals), Adam Macdougall (keys, vocals), George Sluppick (drums), and Mark Dutton (bass, vocals) -trucked the realms relentlessly, including a 118-show stretch that never failed to illuminate blank nights to just this side of clarity. Late 2013 saw the fruits of that labor forever captured in the proverbial amber by legendary tape priestess, Betty Cantor-Jackson (Grateful Dead), on the eight-sided limited-edition vinyl release Betty's S.F. Blends Volume 1, which documented a glorious five night run at San Francisco's famed Great American Music Hall.
Momentarily content with dusting the globe and turning the sun out at its scattered dances, the Brotherhood reconvened with producer Thom Monahan (Vetiver, Devendra Banhart, Papercuts) to materialize a new set of sounds unseen to lean on ceilings, a music of the spheres not content to just envelop rafters. The writing partnership and dialogue between Robinson and Casal has never been as closely woven as it is on Phosphorescent Harvest, almost akin to the conversation you hear murmuring out of the mouths of the moon and the stars as they glide the celestial track. This isn't a range they ride alone though, and as strong as the songwriting gets does too the rest of the band's willingness to seek company in chaos' warm embrace, discovering that in familiar forms there can glow a vastness.
Phosphorescent Harvest features ten new songs that build on the California group's impressively growing repertoire by combining the direct and immediate songwriting Robinson has long been known for with an expansive sense of space and texture that has never been so fully realized until now. In an age when so many put their beliefs in trends, the volumes have all collapsed and rooms are filled with tiny rock and dampened lamps, the Chris Robinson Brotherhood rolls on to sharpen the blur at your brow and wind like smoke through your mind.
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Although they only came together as a band in 2003, the members of Athens, Ohio's Skeletonwitch draw the bulk of their inspiration from artists and musical styles born all of two decades earlier -- namely the undying flame of classic, Bay Area thrash, its creative bedrock in the New Wave of British Heavy Metal, and, to a lesser degree, death, black, and Viking metal. First introduced via 2004's independently released At One with the Shadows album, and 2006's Worship the Witch EP, Skeletonwitch's retro-fitted, yet modernly executed creative vision arguably reached a new level of maturity with 2007's Beyond the Permafrost full-length, their first for Prosthetic Records. In any case, Skeletonwitch members Chance Garnett (vocals), Nate Garnett (guitar), Scott Hedrick (guitar), Eric Harris (bass) and Derrick Nau (drums) then set out to prove their metal mettle on tour, Flying V's cocked and loaded. ~ Eduardo Rivadavia
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