Upcoming Events


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Thursday 25 August
White Oak Music Hall Downstairs 08:00 PM All Ages $15.00 ADV $17.00 DAY OF BOX OFFICE
Futurebirds, Second Lovers, Justin Peter Kinkel-Schuster
Six years ain't a hell of a lot of time, but Futurebirds have filled ‘em with a whole lot of living. Laying down their shoe-gazing country, harmonious psychedelia, and barnstorming, ragged rock both on record and in person, the Athens-based band presents a delicate balance on Hotel Parties, its third full-length record that explores the toils, joys, and struggles exposed by six years doing any one thing so intensely.

Arriving a full two years after the band's 2013 breakthrough, Baba Yaga, Hotel Parties presents a series of dualities. Loving something and letting it go. Pining for success and trying to staying true to yourself. The beckoning call of road and the comforts of home. As a result, says singer-guitarist Carter King, the LP represents Futurebirds' "most concise effort to date all around, like some sort of accidental concept record."

Over the course of these three LPs, two EPs, and one live record, people have come and gone, yet Futurebirds seem to stay. Some things came out as they liked and some pills have been bitter. But sometimes, six years just ain't enough time to tell.

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Friday 26 August
White Oak Music Hall Upstairs 08:00 PM All Ages $12.00 ADV   $15.00 DAY OF $17.00 DAY OF BOX OFFICE
Manic Focus And Wick It, George West
MANIC FOCUS is the musical conception of John "JmaC" McCarten that breaks the bounds of the typical electronic music realm. Being classically trained on piano at an early age, his musical talents have brought him through the realms of hip-hop beats and electronic music, having now evolved into the dynamic, bass-induced sounds of Manic Focus. A Minnesota native and recent transplant to Chicago, this producer is now blowing up the EDM music scene and gaining a huge following.

Manic Focus isn't your typical electronic dance music. His first album, Definition of the Rhythm, provides a broad array of musical creations, from energized hip-hop hits to tranquil grooves with funky flow. His dark bass lines and popping beats drive the tracks along, while spellbinding melodies and carefully-chosen vocal samples entrance the listener. The essence of Manic Focus lies within his unique production, weaving together rhythms and effects to create sheer masterpieces.

His second album, Expanding Mind, showcases how Manic Focus is broadening his sound, veering from the murky depths of heavy bass music toward a funky, bass-laden dance vibe. Also dipping into the realms of house and drum & bass music, Manic Focus is exploring a world of new sounds and producing pure musical magic. To accompany the single, "Circles", he premiered his first ever music video, featuring the world-famous Hula Hoop artist, Lisa Lottie, produced by Digital Skylight. This album demonstrates his incredible creativity in mixing all genres, as his musical ability evolves.

Having just finished a 12 show run with Big Gigantic and Kill Paris on the east coast, Manic Focus is far from slowing down and is quickly becoming one of the top, must-see performers on the electronic music scene.

WICK-IT THE INSTIGATOR is a multi-genre DJ and producer known as a breath of fresh air in an otherwise over-crowded EDM scene. His SoundCloud page is one of the top 200 most active pages on the entire site, garnering more then 40,000 followers and over 7 MILLION plays. Impressive numbers like these, which recently landed him at #5 on Billboard's Next Big Sound chart, aren't just a testament to his top-notch production skills, but also his keen ability to build and harness a highly interactive online fan base (1,500+ Facebook Fans added weekly). In 2012, Microsoft recognized that direct audience connection and chose Wick-it to produce a song for their Windows 8/Angry Birds: Star Wars commercial that they blasted to millions of prime-time viewers. With successful headline tours supplemented by huge sets at major festivals, it's obvious his talent and success extend far beyond the studio.

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Saturday 27 August
White Oak Music Hall Upstairs 09:00 PM All Ages $18.00 ADV   $20.00 DAY OF $22.00 DAY OF BOX OFFICE
Throwing Shade
Throwing Shade is a smart, hilarious and irreverent weekly podcast and web series, hosted by homosensual Bryan Safi and feminasty Erin Gibson. Every week, Bryan and Erin take a look at all the headlines in politics and pop culture, and treat them with much less respect than they deserve. It's just like a cocktail party with your smart, silly friends who can seamlessly connect a conversation about Miley Cyrus and weave it seamlessly into thoughts on Hillary's unconfirmed run for President. They can jump from "True Detective" to "The Bachelor" and in one breath explain how Drake is the Loretta Lynn of the R&B world. Throwing Shade is infotainment at its best, serving an audience that represents more than half of all living human beings who don't have a show that speaks directly to them. The AV Club calls them "equal opportunity offenders who lack any sort of filter" and Rolling Stone magazine put them on their list of "The 20 Best Comedy Podcasts" earlier this year. Throwing Shade is a part of the Maximum Fun network, and is also a weekly web series produced and hosted by Will Ferrell's comedy website Funny or Die.

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Monday 29 August
White Oak Music Hall Downstairs 07:00 PM All Ages $20.50 ADV   $22.50 DAY OF $24.50 DAY OF BOX OFFICE
Broods, Jarryd James
Mutli-award winning brother-sister duo Broods (Caleb and Georgia Nott) are one of the most celebrated young bands to emerge out of New Zealand in recent times. Announcing their arrival with glossy synth-pop ballads ‘Bridges', ‘Never Gonna Change' and their self-titled debut EP, through a tireless work ethic, commitment to excellence and unshakable senses of self, they've established themselves as an in-demand proposition globally. "Touring has made us realise how important it is to not just be yourself, but back yourself," Georgia says. "If you're not being true, you'll never stand out."

Over an ever-growing itinerary of performances across the US, UK, Canada, Australia, Asia and New Zealand, their sound and live show has become increasingly crucial. To evoke an underrated cliché, Broods have learned how to dance like no one is watching, and sing like no one is listening. "We've loosened up a lot," Caleb says. "We're in the moment, and we're focused on making it special every time." Along the way they've sold-out headline tours, and played major festivals such as Lollapalooza, Outside Lands, Groovin the Moo and Clockenflap to name a few. They've shared stages with Ellie Goulding, Haim, CHVRCHES, Tove Lo, and supported breakout English pop star Sam Smith on his sold-out US tour. In August 2014, things went white hot for them with the release of their Joel Little produced debut album Evergreen, debuting at #1 on the New Zealand Albums Chart, #5 on the Australian Albums Chart and top 50 in the US. Pristinely polished and perfectly poised, across Evergreen Broods deploy vividly atmospheric textures and heady rhythms in counterpoint to measured pop hooks, all delivered with a stadium-sized sense of melody and harmony. A record of euphoric peaks and intimate valleys, it's the sound of youth maturing into adulthood. Young people growing up lost in the world, and figuring out what that means while finding themselves along the way. With equally impressive Soundcloud, Hype Machine, iTunes and YouTube figures behind them, as well as key tastemaker support from Zane Lowe (of BBC Radio 1), and preeminent new music blog Pigeons and Planes, Broods are turning their wide-eyed teenage dreams into sustainable realities.

Topping off their busy two years so far has been the nomination of ‘Bridges' for the APRA AMCOS 2014 Silver Scroll Award, and winning Breakthrough Artist of the Year at the 2014 Vodafone New Zealand Music Awards. That particular win was to foretell their success at the 2015 awards, where they took out four accolades; including Best Group, Best Pop Album, Highest Radio Airplay for ‘Mother & Father' and the coveted Album of the Year award. "We're not taking any of this for granted," Georgia says. "We keep active and work 24/7," Caleb adds. "This is what we do now. It's our life."

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Monday 29 August
House Of Blues - HOUSTON 07:00 PM All Ages $45.00 ADV $47.00 DAY OF BOX OFFICE
Ben Harper & The Innocent Criminals
Singer/songwriter Ben Harper formed the Innocent Criminals to act as his supporting band for 1999's Burn to Shine, his fourth album and first to focus heavily on his rock side. From that point on, the Innocent Criminals were a semi-regular concern, the group that Harper returned to whenever he wanted to underscore his funky, fuzz-guitar side.

The Innocent Criminals featured bassist Juan Nelson, drummer Dean Butterworth, and percussionist David Leach, all showcased on Burn to Shine. That album started to increase Harper's exposure -- it inched up to 67 on the Billboard Top 200 and went all the way to two in Australia -- and between that 1999 set and the next Innocent Criminals album, Lifeline, in 2007, Harper's star rose thanks to the albums Diamonds on the Inside (2003) and Both Sides of the Gun (2006). By that point, only Nelson remained in the Innocent Criminals lineup; the rest of the band comprised guitarist Michael Ward, drummer Oliver Charles, keyboardist Jason Yates, and percussionist Leon Mobley. Lifeline debuted at nine in the U.S. and the band supported it with a tour. It took Harper nearly ten years to return to the band, but he did so in 2016, releasing Call It What It Is that spring. ~ Stephen Thomas Erlewine

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Tuesday 30 August
Rudyard's Canceled
Holy White Hounds
Holy White Hounds is an apt name for the quartet's endearing but feral alt-rock. The moniker also conjures the band's origins as small town underdogs who are rising to earn national prominence. When pressed on the significance of the handle, lead vocalist and guitarist Brenton Dean states: "We're dirty but we're not unclean. We're mangy, but you'd still let us sleep in your bed." For young kids with guitars, prodigious musical gifts, and aspirations of being professional musicians, the distance culturally and opportunity wise between a town like Des Moines, Iowa and New York or Los Angeles can make dreams feels unattainable. But for the proud sons of the Hawkeye State in Holy White Hounds, it's their dedication to music and the alt-rock quartet's ultra-catchy tuneage that's bridging the divide. Now, the band announces its debut album, Sparkle Sparkle (Razor & Tie). "We are a band that comes from the basement who has worked real hard to gradually make our way up the staircase," says Brenton. In addition to Brenton, on vocals/guitar, Holy White Hounds is comprised of Ambrose Lupercal (bass), James Manson (guitar), and Seth Luloff (drums). The Holy White Hounds story begins in 2005 with the friendship of founders and primary songwriters Brenton Dean and Ambrose Lupercal. As kids, the two were tight friends who informally played music around town who became buzz-worthy in promise. During this formative stage, Brenton and Ambrose had encountered producer Brandon Darner (Imagine Dragons, Radio Moscow, Envy Corps) and earned his respect, but they didn't contact him until years later, after they were out of college. "We were avoiding the pressure of working with him," admits Brenton. "But when we decided to step up, face being uncomfortable to make a record we were proud of, we contacted him. Once we took it seriously, we realized what we were capable of, and it felt amazing."
The resulting album, Sparkle Sparkle, coolly conjures The Strokes, Beck, Nirvana, Queens of The Stone Age and The Pixies. Album highlights include the debut single "Switchblade," "Blind," "In Your Skin," "Ghost Arm," "Oh Mama," and "Laser Beams." Switchblade" cuts the difference between Beck's infectious slacker detachment and Queens Of The Stone Age's gift for the infectious trapezoidal hook. Here, vocalist/guitarist Brenton Dean sketches out a captivating narrative. "It's veiled but based on a true story about someone I used to know who was a sweet person, but made one unfortunate mistake and it followed them around forever," Brenton reveals. "Oh Mama" and "Laser Beams" manage to be both vitriolic and sensitive. Beneath the coiling hooks of "Oh Mama" is a profound snapshot of male adolescence. It unpacks a friend hearing his mother launch into a men-are-pigs diatribe, and reveals the wounding the boy feels hearing such negativity. "Laser Beams" is aimed at the school bully, and it masterfully dismantles him with the power of an underdog's epiphanic self-reflection. The pent-up tension throughout the album is satisfyingly channeled into the strutting rhythms and carnal pleasures of "In Your Skin" and "Black Lust." Rounding out the dynamics are the mid -tempo tracks "Blind" and "Ghost Arm" which teeter between slinky 1990s infectious alt-rock and punk rock anthemics. Holy White Hounds are currently building a robust profile on alternative and active rock radio stations nationally. In 2014, the quartet self-released their debut EP Oh Mama which garnered critical acclaim, attracting the attention of local rock powerhouse station KAZR/Des Moines. The station's support, and respected standing as a barometer of quality new music, kicked off nationally an unofficial radio campaign for Holy White Hound's current single "Switchblade." The track also has the distinction of receiving backing from digital tastemaking outlets. "Switchblade" has also been featured on the Rock homepage of iTunes as a New Artist Spotlight, and Apple Music Rock has added the band to their "Ones To Watch" playlist. The young band has fortified its growing legacy with incendiary shows sharing the stage with such diverse artists as Cage the Elephant, Sick Puppies, Cake, Wavves, Surfer Blood, and Rob Zombie. Thinking back on a decade of friendship between Ambrose and Brenton, the sacrifices to make music that's vital, and how the quartet has become a family and a seasoned touring entity, Brenton says: "When I find myself somewhere in Missouri at three in the morning at a Wendy's, I look around and realize there's no place I would rather be. I'm with my best friends, doing something I'm proud of. All the hard work and long drives are worth it." Ambrose adds: "The biggest thing I've learned is that if you're challenging yourself emotionally and artistically, you can put your head down at night feeling fulfilled."

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Saturday 3 September
White Oak Music Hall Upstairs 08:00 PM All Ages $10.00 ADV $11.00 DAY OF BOX OFFICE
Muddy Belle, Soul Creatures, Handsomebeast, Vanilla Whale
The name Muddy Belle screams Texas Blues, but don't stop there, elements of Soul and Rock n' Roll smoothed over with hints of Jazz and ''H-town attitude . What's the difference between Texas Blues and all the rest, Chicago, Mississippi, Alabama, etc..? "It's Texas people, there is more pride in this one country, oops I mean state than all the countries in the world combined." Muddy Belle calls Houston home, a city rich in music history and cultural diversity though many overlook it for one reason or another... Houston has seen an explosion of art and music in the last five years and is currently the fastest growing population in the United States. This band has been an integral part of that Houston music scene since 2012.

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Saturday 3 September
Rudyard's 09:00 PM All Ages $10.00
Destroyer Of Light, Blues Funeral, Witchcryer
Formed in 2012 from constantly boiling musical cauldron that is Austin, TX, Destroyer of Light has taken a straight forward approach to tempering the disparate and harmonious parts of their influences into a total sum of slow motion tidal heaviness that bows to no altar but that of the riff. With the smoky flavors of hazed out doom and the stomping cadence of rock's heyday, the band both tickles and deafens the ears with the theatrical flashes of Mercyful Fate, the ominous tones of Electric Wizard, and the ferociously feral feedback of a Sleep dirge.

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Monday 5 September
White Oak Music Hall Upstairs 07:00 PM All Ages FREE There will be a $5 cover for minors. RSVP does not guarantee entry. Admission is subject to venue capacity at time of arrival.
Swimming With Bears
We are a soulful alternative rock band from Austin, Tx. We met by random chance and have been playing music together for 4 years now. Our inspirations include Kings Of Leon, Temper Trap, Explosions In The Sky, This Will Destroy You, Phoenix, The XX, The Naked and the Famous, Two Door Cinema Club, and many more.

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Wednesday 7 September
White Oak Music Hall Upstairs 07:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
The Toasters, The Suspects
Now celebrating their 34th year the Toasters are once again announcing a full calendar of dates to kick off the 2015 touring campaign. These NYC D.I.Y die-hards have already notched more than 5000 live shows and plan to heap more onto that tally this year with two North American tours, as well as dates in South America, Europe, South East Asia, Russia and points east.
Formed on the lower East Side in 1981 the band has become synonymous with American 2 Tone Ska music and forged their instantly recognizable "East Side Beat" sound in such famous Big Apple dancehalls as CBGB'S where they have been named as a top 20 core artist alongside myths like the Ramones, Blondie and the Talking Heads. Widely acclaimed as launching the Third Wave Ska revival the Toasters went on to form the famous Moon Records label and kick-started the careers of dozens of bands. Their early collaborations with the iconic Joe Jackson helped define their sound and establish them as the premier USA ska act of their generation. The Toasters have been hailed as "ska pioneers" (Billboard magazine) and the "sound of NYC" (New York Times).
The band is currently supporting their latest single: "House of Soul", released on their own label Megalith Records and released only in a 7 inch vinyl format. The full color jacket features original artwork by renowned Serbian portrait painter Slavko Krunic.

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Thursday 8 September
White Oak Music Hall Upstairs 08:00 PM All Ages $12.00 ADV   $15.00 DAY OF $17.00 DAY OF BOX OFFICE
Sunsquabi "Odyssey Fall Tour"
SunSquabi has launched out of 2015 like a cannonball on fire. The Colorado trio has quickly become one of the premier up and coming acts in the live electronic/jam world. There is a perfect storm brewing for the band and the recognition is starting to come in from all over the U.S.

SunSquabi continues to break down and analyze the expectations of what a "Live-Electronic" band should be. SunSquabi is dedicated to their ever evolving craft in the studio and on the live stage. It's no wonder the twenty-something's in SunSquabi are gaining national attention for their unique sound. The band has multiple answers when asked to describe their sound, but most often describe it as an Electronic Hydro Funk Experience.

SunSquabi has caught the attention of artists such as Griz who has recently collaborated with the band in the studio and on the live scene. All Good Records will be releasing the bands upcoming full length album in Winter 2015. Click here for a link to the song "Get Down" which is featured on the new Griz record "Say it Loud".

"Sunsquabi makes it look easy - so groovy & smooth!" - All Good Records

"SunSquabi has found its sound through incessant touring--they're a red hot live act NOT to be missed." - The Untz's Anand Harsh

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Friday 9 September
White Oak Music Hall Downstairs 08:00 PM All Ages $23.50 ADV   $26.00 DAY OF $28.00 DAY OF BOX OFFICE
The Kills, Kim and The Created
The Kills formed in 2000 when a boy from Andover, England and a girl from Florida, USA met in a South London hotel. "It was like we'd lived parallel lives," Jamie recalls. Both had been to art college, the boy had just left a punk-pop band called Scarfo and the girl wanted to leave a punk-pop band called Discount, and both were disillusioned with the musical scenes they were part of. "We had these bedrooms on different sides of the Atlantic which were full of artworks and films and music that we'd made for no-one to listen to. We had so many things in common. It was at a time that if you spent a lot of time making art and dressing up you got beaten down for being pretentious. Everything was about being down to earth. And we both just felt this relief when we met each other."

Alison was so convinced that this was the creative partner she'd always been searching for that she decamped from Florida to Jamie's flat in South London. Inspired by a mutual obsession with The Velvet Underground, '70s London and New York punk, they formed a duo called The Kills, rejected everything they'd begun to hate about being in a rock band, got themselves signed to Domino Records and made a spectacularly sexy garage-punk album called 'Keep On Your Mean Side' in 2003.

Buoyed by the deserved critical acclaim for this and their incendiary early live shows, but also nonplussed by the fact that they were, once again, in a proper band with a record deal, they made a completely different, yet equally spectacular second album in 2005 called 'No Wow.'

The Kills' most recent album 'Blood Pressures,' was released in 2011 on Domino Records. The album saw Jamie Hince and Alison Mosshart deliver their vivid and uniquely gritty post-blues, but with a new level of thoughtfulness and depth not yet explored by the duo. Tinged with wistfulness and vulnerability, 'Blood Pressures' has an enduring sense of intricacy and richness that intensely blends with their ever-compelling songwriting.

Recently, the band have been busy exploring their other passion -- visual arts. Jamie opened "Echo Home," an exhibit of his photographic work at the Morrison Hotel Gallery spaces in New York and Los Angeles Alison's original paintings on paper, canvas and fabric art have been exhibited at group and solo shows in NYC and at Art Basel in Miami.

After two years of festival shows and special guest appearances at arena shows with Queens of The Stone Age, Jack White and The Black Keys, and following on from a third album release from The Dead Weather, Alison's band with White, Jack Lawrence and Dean Fertita, 2016 will see The Kills releasing their fifth album, hitting the road once more, and scaling new creative and commercial heights. A long way from south London!

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Friday 9 September
White Oak Music Hall Upstairs 08:00 PM All Ages $10.00 ADV   $12.00 DAY OF
Nathan Quick Band, The Beans, Jazz Radio
Nathan Quick's soulful voice, tasteful melodies and crisp guitar playing will have you wanting to come back for more time and time again!

The new EP is out now: "City Lights" encapsulates tones of blues and classic rock n' roll with a twist of Americana and roots music. The lyrics are honest and true, with universal themes that fans of all genres can relate to. Get your copy. And turn it up...

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Saturday 10 September
White Oak Music Hall Downstairs 08:00 PM All Ages $20.00 ADV   $25.00 DAY OF $27.00 DAY OF BOX OFFICE
Crystal Castles
CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L

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Monday 12 September
White Oak Music Hall Upstairs 07:00 PM All Ages FREE There will be a $5 cover for minors. RSVP does not guarantee entry. Admission is subject to venue capacity at time of arrival.
Swimming With Bears
We are a soulful alternative rock band from Austin, Tx. We met by random chance and have been playing music together for 4 years now. Our inspirations include Kings Of Leon, Temper Trap, Explosions In The Sky, This Will Destroy You, Phoenix, The XX, The Naked and the Famous, Two Door Cinema Club, and many more.

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Tuesday 13 September
White Oak Music Hall Upstairs 07:00 PM All Ages $15.00 ADV   $18.00 DAY OF $20.00 DAY OF BOX OFFICE
Floating Points, Olga Bell
Manchester born, London based 24 year old producer/dj/composer Sam Shepherd aka Floating Points has quickly become one of the most respected and sought-after musicians in modern music. Debuting in February 2009 with the limited 7 inch ‘For You/Radiality' (Eglo records) he has gone on to establish himself as one the forerunners of today's new dance music movement, earning the respect of his peers and contemporaries such as Theo Parrish, Kyle Hall, Benji B, Ramadanman, Four Tet, Kode 9 and Mary Anne Hobbs. He's released music predominantly on Eglo records (which he runs alongside Rinse FM's Alexander Nut), as well as Planet Mu, R2, Ninja Tune and notching up remixes and features for the likes of Domino, Ubiquity, XL, Fabric and Rinse.

The name Floating Points holds just much weight within the DJ world as its does in production, song writing and arrangement. In a short space of time Shepherd has won over crowds around the world with his strictly vinyl club sessions, spanning, house, techno, soul and disco, steadily climbing the ranks of the globes most impressive DJ's, fuelling an indulgent record habit that regularly leads him on trips to both Chicago and Detroit.

Outside of his studio based productions and crate-breaking DJ sets Shepherd makes use of his classical music training, writing, composing and arranging for the Floating Points Ensemble. The 16 piece group, led by Shepherd, recently won the ‘Best Maida Vale Session' gong at Gilles Peterson's ‘Worldwide Awards'. With big plans for 2011 the future is looking bright for Floating Points. When not writing, recording or playing music Sam Shepherd can be found in the laboratories of UCL, where is currently studying a PHD in 'The Neuroscience Of Pain'.

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Tuesday 13 September
Revention Music Center 08:00 PM All Ages $35.00 ADV $37.00 DAY OF BOX OFFICE
Death Cab For Cutie
Death Cab for Cutie knew immediately that Kintsugi would fit perfectly as the title of their eighth studio album. A philosophy derived from the Japanese art of repairing cracked ceramics with gold to highlight flaws instead of hiding them, kintsugi speaks to the way an object's history is part of its aesthetic value. "Considering what we were going through internally, and with what a lot of the lyrics are about, it had a great deal of resonance for us -- the idea of figuring out how to repair breaks and make them a thing of beauty," says bassist Nick Harmer, who suggested the name to singer-guitarist Ben Gibbard and drummer Jason McGerr. "Philosophically, spiritually, emotionally, it seems perfect for this group of songs." Long before they gave the album its name, the band embarked on a process that forced them to do things differently than they ever had before. For instance, in the course of making their seven previous albums, the Seattle band hadn't written much in the studio together. They had always preferred to hone their arrangements separately, or with just two or three of them playing at once. But when it came time to record Kintsugi, Death Cab for Cutie went into the studio with the openest of minds. Their willingness to try anything -- including a twenty-minute exploration that evolved into one of the album's finest tracks, "The Ghosts Of Beverly Drive" -- yields Death Cab's most compelling new work in years: an album that packs as much sonic as it does emotional wallop. Kintsugi is the band's first time recording with a producer other than their own Chris Walla, the guitarist and multi-instrumentalist whose talents behind the board had helped shape Death Cab's sound since Gibbard released the You Can Play These Songs With Chords cassette in 1997. For Kintsugi, they worked with Rich Costey (whose production credits include albums by Foster the People, Muse, Vampire Weekend, Chvrches), recording at his Los Angeles studio Eldorado over the course of twelve weeks in the first half of 2014. "He was all in in a way that I don't think a lot of producers are nowadays," says Gibbard. "We couldn't have landed on a better collaborator for this record. He accomplished what we've always attempted, which is to make Death Cab sound on a record how we sound live. And we're a rock band live. The difficulty now for the live show is making them rock as hard as they rock on the record. That's a new quagmire for this band." Work on Kintsugi began back in early 2013, as all Death Cab LPs have, with Gibbard writing and demoing the songs on his own before arranging and recording them with his band mates. They initially convened in fall of 2013 at Walla's Hall Of Justice studio in Seattle. Ten days into recording, Chris decided to step down as producer. Says Gibbard. "Nothing dramatic, he just said, ‘I don't think I'm the right guy to do this album and we should find someone else.'" The band all felt that they needed to shake things up a bit. "We challenged each other more and left no stone unturned. That was as gratifying as it was frustrating at times, but I couldn't be happier with the end product," says McGerr. Walla has since decided to leave the band but participated in the recording process as fully and vitally as he had on their previous albums. In fact, Costey didn't even know Walla was leaving the band until after Kintsugi was finished. Chris played his final show with the band in September at Rifflandia Festival in British Columbia.
When they started recording, there weren't any rules at all. They'd work on a song for a while and then regroup with Costey to figure out elements to expand or elaborate. "These guys have a chemistry that's existed for a long time, and that chemistry can't be ignored," says Costey. "When you have a band that can play as well as they can play with each other, having them jam together in real time can actually be the quickest way to try a bunch of ideas and get them on tape." Songs such as the instantly memorable "Good Help (Is So Hard To Find)," the warm and vulnerable "Little Wanderer" and the brooding lead single "Black Sun" were all tracked with the four members of the band playing together in a room, reacting to each other in real time, adding layers -- and later subtracting some. "All four of us being on the floor together in the studio was something that hadn't happened in years, because Chris was always behind the glass or in the control room," says McGerr. "But this was more like when we're onstage, where everyone has their eyes closed and we're playing in the moment. With ‘The Ghosts Of Beverly Drive,' it turned into a twenty-minute thing they captured in the control room on a two-track. We had started it in Seattle months prior and it just wasn't getting there. Rich brought us into the control room and was like, ‘This is our song.'" Costey credits another element of their production set-up with helping achieve the perfect balance of their classic approach and the new one: "My studio has one big live recording space and two control rooms," he says. "Once we got basic tracks together, Chris would work on them in the other control room. And he would end up doing completely different versions of the songs. For ‘Black Sun,' Chris did all this super old school sequenced synth stuff that we used on the final track, and it really brought that song to another level." "Black Sun" is also a perfect example of Gibbard's customarily honest, fearless approach to writing about affairs of the heart. "‘Black Sun' is about divorce and the ugliness and conflicting emotions that come with that: anger, sadness, finger-pointing, acceptance, forgiveness, understanding. To me, the idea of a black sun has multiple meanings: The black sun could be an eclipse, where one thing eclipses another. The sun is supposed to be a radiating light on the world but in this instance it is blacked out. We've all been that at some point in our life when we're supposed to be shining upon someone giving them support, but for some reason are unable to do that. I am the black sun, and the song is as much an indictment of myself as anything." Although, in the case of "Black Sun," Gibbard says he's willing to elaborate on the elements of the song that are autobiographical, he's never been one to reveal the precise meaning behind his lyrics. "I know that people will assume these songs are about certain things, and in some instances they are going to be correct," he says. "But I'm not going to give people a road map." Gibbard acknowledges that, early on in the process of writing this group of songs, as he was still trying to make sense of the major changes happening in his life, he had to remind himself not to change his creative process. "If there's a reason people can relate to my songwriting, maybe it's they feel like they're getting an honest, fearless approach to writing about affairs of the heart. I'm certainly not going to censor that just because people think they know something about my
personal life. I would be cowardly as a songwriter and not be true to what I've always done if I shy away from these events in my life because I was in relationship with a public figure. "I know the lyrics aren't 100% fiction and they're not 100% nonfiction, and only Ben knows what that blend is," says Harmer. "But with this group of songs, I do think he is writing from a genuinely vulnerable and honest place and I'm proud of him for putting himself out there and being fearless about it." One of the songs on Kintsugi that Gibbard says he holds closest to his heart is "Little Wanderer," where he sings, "You sent a photo out of your window of Paris of what you wished that I could see. But someone's gotta be the lighthouse and that someone's gotta be me." He explains: "There are innumerable songs about, like, ‘The road ain't no place to start a family.' ‘Home Sweet Home' by Motley Crue, ‘Gone Til November,' by Wyclef Jean, and so on. But nobody ever writes a song about sitting at home, waiting for someone to come back. And for so much of my life, I've been the one off somewhere in the world trying to maintain a connection through digital portals. Now, being with someone who travels pretty much all the time, I feel like I've gotten a taste of my own medicine. All the songs are personal, but that one is personal in a way that is very tender to me." Here, too, "The Ghosts of Beverly Drive" encapsulates important elements of the album's larger theme -- embracing flaws and being open to change. "If only you had known me before the accident," it begins, "for with that grand collision came a grave consequence." Says Gibbard: "There's this charade you play with someone when you start seeing each other, that no one has ever made you feel this way before," says Gibbard. "‘The Ghosts Of Beverly Drive' is about when you say to the person you're with, ‘Let's just acknowledge that we are not the first people to feel this way. Let's be honest with each other that we've been in love before or that we've fallen out of love with people before, and that's OK.'

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Wednesday 14 September
White Oak Music Hall Upstairs 07:00 PM All Ages $25.00 ADV $27.00 DAY OF BOX OFFICE
Tiger Army, Tijuana Panthers, Creeper
While the 13 tracks comprising V •••- touch on all the exciting hallmarks of great rock ‘n' roll, there's a substance and detail on display here that's distinctly out of the ordinary. And considering Tiger Army's track record as one of the most vibrant and inspired groups to emerge from the California punk scene, a career high like this is no small thing.

"It was very important on this record for me to try to do something new to top myself," says Nick 13. "I think a lot of people become complacent after so many years of making music. And I guess that was one reason why I was away for a little while-because that's what needed to happen to maintain that passion and, hopefully, freshness."

The band's first album since 2007's Music From Regions Beyond, V •••- combines stellar production from Grammy winner Ted Hutt (Old Crow Medicine Show, The Gaslight Anthem, Dropkick Murphys) with impeccable playing via singer/guitarist Nick 13, bassist Dave Roe (Johnny Cash, Ray Lamontagne, Dan Auerbach) and drummer Mitch Marine (Dwight Yoakam).

With first track "Prisoner Of The Night" already released and well received by audiences at current live shows, the freshness Nick 13 speaks of could not be more evident. Tiger Army's music has always pushed forward creatively while nodding toward the roots of rock, but this time out, the band is drawing inspiration from the music of the early ‘60s-that pre-Beatles era when the likes of producer Joe Meek and the Shadows were in full bloom, or when a very young Del Shannon made his mark with his 1961 hit "Runaway." It is a musical period still ripe for rediscovery, and it masterfully evoked with full affection throughout V •••-.

"That whole era gets overlooked, I think," he says. "Because there's the narrative about the end of the ‘50s with Elvis going into the army, Eddie Cochran, Buddy Holly, and Ritchie Valens dying, Little Richard going to Gospel--that is all true, but the people who were able to carve out a niche for themselves before the British Invasion, and not just do the pure pop things, that to me was some of the most interesting music. And it was some of the most innovative as well. Because the first wave of rock 'n' roll was over, and everybody was trying to figure out what's going to happen next. And I think there was a lot more experimentation, sonically and otherwise, than that era is generally given credit for."

To that end, aficionados of early ‘60s pop might notice a few touches here and there: A familiar sounding keyboard tone via a rare Clavioline ("Max Crook, who played on Del Shannon's records, used it," says Nick. "It's also what Joe Meek used in England on ‘Telstar.' It took some doing to track one down in the States."), and a high-pitched, ghostly female background vocal throughout several songs, courtesy of operatically-trained vocalist Savitri Labensart ("I think she brought an incredible element to the record," He says. "Most female background singers that you find in rock 'n' roll today are usually R&B singers. That sort of high ethereal thing you hear on Joe Meek records and Roy Orbison records are a forgotten aspect of rock 'n' roll that I specifically wanted to bring back for this record.")

Those occasional nods to Joe Meek were greatly aided by producer Hutt, an Englishman who rose to the challenge of attempting to evoke that singular style. "Something that's interesting about Meek's studio techniques is, a lot of times you're just sort of unleashing something and you don't know what you're going to get. It's not something that necessarily produces a predictable result, it's more like you're sort of setting up the circumstance where anything can happen--it might be great, it might not, but when it works, it really works."

Also amply in evidence is the sound and influence of the legendary Roy Orbison, notably on "Happier Times," an album highlight. "It was probably Blue Velvet that turned me on to Roy Orbison," notes Nick. "David Lynch picked up on something-- there's a real emotional darkness to his music, and that was something I latched onto pretty early. So I was listening to that alongside punk as a young kid."

While V •••- is not a complete change of aesthetic direction for Tiger Army, it's a further refinement, an evolution perhaps partly wrought from Nick 13's other career as an alt-country/Americana artist. His self-titled solo album of 2011 won critical raves, expanded his audience via the touring that followed, and provided him some lessons for which he's still grateful.

"I learned a lot," he recalls. "In the solo thing, my intention was to immerse myself in country music of the ‘50s and ‘60s--but in doing so, I learned a lot more about not only how country music at that time was played, but how music of that time, not just country but rock 'n' roll, was played and recorded. And that was something that influenced this record most definitely."

Notably having an impact here yet again was Orbison, whose early ‘60s Monument Records singles rank among his best and most pioneering.

"Before I spent time in Nashville, I never really spent time thinking about Roy Orbison as a Nashville artist," says Nick. "I didn't realize that all of his albums were recorded there. And really, a lot of the elements that they were using on those early Monument singles--the sort of non-R&B female background vocals, things like harp or piano that help give it that sort of otherworldly sound, were pretty much the same thing they were doing on other country records of the time--just minus the pedal steel."

And there's more at the core of V •••- .

Among other things, says Nick 13, the influence of early New York City punk--starting with the New York Dolls, Johnny Thunders & The Heartbreakers, The Ramones and Static Age-era Misfits-can be felt.

"I think what it is about those particular artists is that there was a real connection to rock 'n' roll and pop singles of the late ‘50s and early ‘60s beneath the surface in their work. You hear it to varying extents," he says.

"And I wanted to almost strip away a little bit of the noise, and kind of play around with those ratios. You know, the urgency of punk at ground zero, and what influence it was taking from the original rock ‘n' roll. And just kind of tweak those ratios a little bit. Because that was something I always heard in there."

In all, V •••- reaffirms Tiger Army's status as a long-lived band that continues to grow, to get better with age, yet never without forgetting their roots or what brought them to the music. There is a consistency in all their music and the creativity that drives it-and though much has changed since the band's first recordings, much of what is most important has not. And it's all there to be heard on V •••-

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Thursday 15 September
Raven Tower Pavilion 06:00 PM All Ages FREE There will be a $5 cover for under 21 at the door. RSVP does not guarantee entry. Admission is subject to venue capacity at time of arrival.
Sweet Crude
Sweet Crude premiered in Spring 2013. The band, boasting surnames like Marceaux, Arceneaux, and Chachere, seeks to reconnect with their lineage in the context of 4-part harmonies, tribal rhythms, and pop hooks. "We're making the pop music that we'd otherwise come up with given our influences. We're just singing a lot of the time in Louisiana French. We want to show that the language is still alive and kicking, and that it sounds great in any genre," says primary lyricist Sam Craft, "Our grandparents learned French, but our parents never really communicated with it, so now I feel it's on the youth to preserve the tradition. It's wonderful that there are so many Cajun bands singing in Louisiana, and we wanted to do the same thing but with our original music."

In just two years as a band, Sweet Crude has had an amazing ride. The band won the 2014 Big Easy Award for "Best Emerging Artist" and is nominated for "Best Rock Band" at the 2015 Best
of the Beat Awards. Even more compelling is that they already graced the main stages of BUKU Fest, Festival Internationale, French Quarter Festival and more. Additionally, the band will made their New Orleans Jazz and Heritage Festival debut in April 2015. Beyond such notable bookings, Sweet Crude's music has been featured in FX's American Horror Story.

Sweet Crude has tested their frenetic sound on the road, packing venues from New Orleans to NYC. The band returns to Canada in August 2015 to play the Acadie Rock Festival and Festival Acadien, both in New Brunswick. Expect to see the band to be on the road in a big way, taking their energetic music and their mission of preserving Louisiana tradition far and wide.

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Thursday 15 September
White Oak Music Hall Upstairs 07:30 PM All Ages $15.00 ADV   $17.00 DAY OF $19.00 DAY OF BOX OFFICE
David Ramirez, Walker Lukens & The Side Arms
The life of the traveling songwriter certainly seems romantic. But as David Ramirez notched mile number 260,000 traveled in his 2006 Kia Rio, the novelty began to wear off.

"I've learned a lot from being alone and isolated," says Ramirez, who until recently toured completely by himself, without a band, manager or anyone else for company. "Yes, it's romantic in a way. But it has also been kind of rough on my head and my heart. After a while it made it difficult to connect with people on a personal level when I got home. In hindsight, I can see that it's been kind of detrimental. You know, when you travel around alone for months at a time, the world revolves around you. There's no one else in the equation. Everything was just about me. It's a selfish way of living. And I'm ready to move on from that."

It's taken three years since that realization, but with his new album 'FABLES,' out August 28 via Thirty Tigers, Ramirez takes strides towards that personal growth both as a musician and as a man.

"I hit a dry spell for a couple of years after my last album. It was frustrating. I went into the studio two years ago planning to do a whole record, and it just wasn't coming together. So I scrapped the whole thing and took some time away from it," he says. "It felt forced. I don't want to just put more noise into the world. I want to put something out there that means something to me. And if it doesn't, then I don't release it. Therefore, I haven't had a new record in three years. I know that can be frustrating for people on my business team. But I don't want to put it out there if I can't stand behind it."

The delay, it turns out, was for the best. "My focus wasn't really on my music at that point," he explains. "I was at a point in my relationship with my girlfriend where things were getting serious. The closer we got, the more I realized that I needed to be honest with myself and with her about where my life was heading. If I want to be in a meaningful relationship with someone, I have to be honest in everything I do."

The album's title, 'FABLES,' was inspired by the first single, "Harder to Lie," which captures the moment Ramirez realized, as he puts it, "I couldn't bullsh*t with her anymore. She knew me completely. It got me thinking about how much I bullsh*t in my life - exaggerating stories, faking a smile, or whatever. Just telling fables. When you don't know who you really are you can end up hurting people."

That newfound maturity and clarity translated into his approach in the studio, as Ramirez traveled to Seattle to work with his friend Noah Gundersen, who produced the album. "My previous albums were a bit less personal. I always went in with a certain idea of what I wanted them to turn out like. I had never just walked in and said 'let's just see what happens.' And that's what we did this time. From the writing to the recording, it was just based on instincts."

In a world full of singer-songwriters hawking their stories, Ramirez has managed to stand out from the noise, developing a fiercely loyal following of fans who are drawn to his intimately personal songwriting. "When someone buys a record of mine, they're getting my life. They are essentially memoirs. They're going to know a little bit more about who I am."

'FABLES' is a sparse, poignant set of songs crafted around Ramirez' starkly beautiful baritone, which the New York Times once described as full of "haggard loneliness." NPR Music praised his knack for writing "dark, wrenching tales that are immediately identifiable to those who've loved and lost," while Paste described his "brutally honest" lyrics as "almost alarmingly descriptive."

After years on the road touring as an opening act for artists like Noah Gundersen, Gregory Alan Isakov, Shakey Graves and Joe Pug, Ramirez is excited to finally embark on his own tour. "Fans have been paying high-dollar tickets to watch me open for other bands, and I'm very thankful for it. I've also had the chance to see how other songwriters I respect work on a professional level. I've learned a lot and been challenged a lot. It's like I've been going to school. I've been taking notes. And now I think I'm ready for the job. I'm really excited to finally go out with a band and do my own full set. It will be more fun and energetic."

As he has learned to open himself up to other people in his personal relationships and in the studio, Ramirez has also been focused on putting together a full-time band and letting other musicians become involved in the creative process. "I'm trying to build a family of people who create together, not just a backing band," he says. "For the past five years traveling, I get off stage and I have no one to share it with. I've been lucky enough to ride along with some of the bands I've opened for. I watch them get ready for their set and have that sense of collaboration, and I'll just be in the alley smoking a cigarette by myself. I've always had a little envy for that. I'm like every kid that grew up playing in a garage. I want a band. No one has dreams of playing the world alone."

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Thursday 15 September
White Oak Music Hall Downstairs 08:00 PM All Ages $22.00 ADV   $24.00 DAY OF $26.00 DAY OF BOX OFFICE
Dinosaur Jr., Elisa Ambrogio
Let's face facts -- in 2016 it is remarkable that there's a new Dinosaur Jr. album to go ape over. After all, the original line-up of the band (J Mascis, Lou Barlow & Murph) only recorded three full albums during their initial run in the 1980s. Everyone was gob-smacked when they reunited in 2005. Even more so when they opted to stay together, as they have for 11 years now. And with the release of Give a Glimpse, this trio has released more albums in the 21st Century than they did in the 20th. It's enough to make a man take a long, thoughtful slug of maple-flavored bourbon and count some lucky stars.

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Thursday 15 September
Rudyard's 08:00 PM All Ages $12.00 ADV   $14.00 DAY OF $16.00 DAY OF BOX OFFICE
Quilt & Mutual Benefit
Mutual Benefit, the project of singer/multi-instrumentalist Jordan Lee, blends folk, psychedelic pop, and experimental recording techniques into fragile, hopeful songs that evoke the work of Sufjan Stevens, Animal Collective, and the Microphones. Lee grew up in Columbus, Ohio and began writing songs inspired by the likes of Elliott Smith while still in high school. After graduation, Lee moved to Texas and took his music in a more experimental direction, incorporating field recordings and found sounds into his songs. While in Texas, he began writing and recording as Mutual Benefit, but began working on the project in earnest once he moved to Boston to play with an old friend who had attended the Berklee School of Music. Mutual Benefit's first release, 2009's Figure in Black, was originally issued on cassette before Lee put it up on Bandcamp. Lee issued two Mutual Benefit EPs in 2010: Drifting, which was one of the first releases on Lee's own Kassette Klub label, and Spider Heaven. Lee had a busy 2011, collaborating with Holy Spirits on the Mutual Spirits split single and delivering two more EPs, I Saw the Sea and The Cowboy's Prayer.

Love's Crushing Diamond Late that year, he began putting together years' worth of audio he recorded in Austin, Boston, and St. Louis, Missouri into what would become Mutual Benefit's debut album, Love's Crushing Diamond. A set of songs responding to the hard times many of his friends were experiencing, the album was originally released in October 2013 by Soft Eyes, a Brooklyn-based micro-label that issued the album as a limited-edition LP. A wider release came at the end of the year courtesy of Other Music Recording Company, and in 2014 a remastered, physical version of The Cowboy's Prayer was scheduled to arrive. While touring behind his debut album, Lee began to write his follow-up effort, eventually completing the process and the recording after settling in New York City. He released Skip a Sinking Stone with Mom + Pop Music in the spring of 2016.

---

QUILT was formed in late 2008 in Boston, MA.

Shane Butler, Anna Fox Rochinski and Taylor McVay met at the School of the Museum of Fine Arts, and spent the next couple of years honing a strange yet magnetic ramshackle sound in the smoke-filled basements and living rooms of Jamaica Plain and Allston. They released a home-made tape in 2009, touring DIY style around the northeast in a 1993 Buick Roadmaster.

In Spring/Summer 2010, the trio recorded a collection of seven songs in the home of Jesse Gallagher, in Cambridge. The following winter, after Taylor's amicable departure from Quilt, John Andrews was recruited and subsequently plucked from the suburbs of New Jersey to join the band on a tour to SXSW.

It was around this time that those seven songs had made their way to the big guy's desk at Mexican Summer records in Brooklyn, via former Captured Tracks label manager Katie Garcia (a friend from the college years in Boston). The band returned to Cambridge and recorded three more songs, now with the songwriting input and drumming from John.

Quilt's self-titled ten-song debut was released in November 2011 on Mexican Summer to positive reviews from critics and the band began touring in support of the record on and off for the next year or so.

Their following record, Held In Splendor, was recorded in Brooklyn with producer Jarvis Taveniere. Released in early 2014, the album ushered in another year of near-constant touring. The trio recruited New Hampshire-based bassist Keven Lareau for their live shows.

Nearly two years later, Quilt's third full-length record, Plaza, will see the light of day on February 26th, 2016. Lead singles "Eliot St" and "Roller" have been met with praise and the group has full US and Europe tours lined up.

The band considers itself a New York-based band that formed in Boston.

The 4 members reside in Brooklyn, Upstate New York, and New Hampshire.

And as lovely as it was to tour in a 20-foot station wagon with faux-wood panelling, they eventually upgraded to a 12 passenger Chevy Express van. His name is Big Earl.

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Friday 16 September
White Oak Music Hall Upstairs 07:00 PM All Ages $20.00 ADV $22.00 DAY OF BOX OFFICE
Marian Hill Act One Tour w/ Verite, Shaed
Act One, the debut full-length from songwriting duo Marian Hill, was written and produced in its entirety by Jeremy Lloyd (music/lyrics/production) and Samantha Gongol (music/lyrics/vocals). The multi-talented duo, who have been collaborating in one form or another since high school, have shifted the classic paradigm of a woman on a stage and a man with a piano to a woman on a mic and a man with a laptop -- and the results are seductive and vivid. Tempting paradox with a blend of blues and bass, acoustic and digital, classic and modern, Marian Hill have arrived.

Two years ago Sam and Jeremy wrote and recorded "Whisky" over spring break in Jeremy's parents' basement. When they released it for free on Soundcloud later that summer it was the only song they'd written for the project, and in a little over a year's time they had recorded their first EP in a bedroom, amassed millions of plays on various platforms, sold out shows across the country and featured in high profile commercials. They signed to Republic Records in early 2015, released the Sway EP, and settled in to write and record their debut album over the course of the following year with a plan to push their unique sound to its fullest potential.

For the first 50 seconds of "Down" you might think you're at a supper club in the 1920s, but when the bass drops out of nowhere you couldn't be anywhere but 2016. Act One then takes you on a journey through the complexities of modern relationships, with each song inhabiting a specific and charged relationship lyrically, melodically, and sonically. "I Know Why" constantly transforms and reinvents itself as the vocals grapple with a secret while "Mistaken" is the hardest of sax trap with a classic songwriting backbone. "Same Thing" is the saddest part of the album, a haunting ballad depicting serene resignation of a doomed relationship, but castanets rise from the ashes as "I Want You" closes out the night in a pure moment of optimistic electricity, a glance across a crowded room that changes everything.

Marian Hill's one of a kind sound is present throughout - blues harmonies blend with sparse hip hop drums, horns blast under classic vocal melodies, and soloistic vocal chops sit side by side with clear, intimate lyrics. You've never heard this before, yet it's surprisingly familiar. And it's only the beginning.

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Saturday 17 September
Raven Tower Pavilion 07:00 PM All Ages $13.00 ADV   $15.00 DAY OF $17.00 DAY OF BOX OFFICE
Twin Peaks: Down in Heaven Tour, White Reaper, Modern Vices
Give Twin Peaks an inch and they'll take a stretch of the road. Having careened across America and beyond, sharing their staggering energy, the band made their third album the best way they know how: by themselves. The same group that pro-duced the scuzzy squalor of their debut "Sunken," had legions of fans screaming along to their anthemic sophomore effort, "Wild Onion," now swings and serenades with "Down In Heaven" (out on Grand Jury on May 13th).

Co-produced by the band and longtime collaborator R. Andrew Humphrey, and mixed by new confidant John Agnello (Dinosaur Jr., Kurt Vile, Sonic Youth), the rec-ord is by turns raw, polished and wise beyond its years. The diverse new songs beg the listener to sway slowly, bang their head wildly and question what they were do-ing wasting emotional time on anything less. It is a marked, and some may say ma-ture, development for a band that doesn't know how to play it safe. They aren't here to tell you what youth is like or what being a little older now means, though; they want to join you in a conversation about why we hurt, love and tug at each other.

While Twin Peaks is a bit older, they're not necessarily calmer; their restlessness endures. Born of Chicago's league-leading DIY scene and with several of them re-maining friends since elementary school, Cadien Lake James, Clay Frankel, Connor Brodner, Jack Dolan, and most recent addition Colin Croom share an enthusiasm, authenticity and passion their audiences have found contagious. In the three years since dropping out of college to support their debut album "Sunken," the band has covered a lot of ground. They've played to ever-increasing crowds, bigger and row-dier each time they come barreling into a city; they were anointed "Best New Band" by NME and countless other blogs, and they have performed for (and partied with) more than hospitable masses at festivals in the states and Europe, including Pitch-fork, Lollapalooza, Reading & Leeds, and Roskilde. In between all this action, the group set up camp in the summer of 2015 amidst the solitude of a murky lake in Western Massachusetts, where they could experiment and record on their own terms in the warm living room of a good friend's house.

Recording on reel-to-reel with the band learning studio tricks on the fly, Twin Peaks set out to a make an LP that reflects how far they've come and how much of life is left, trusting themselves to make a record they'd want to hear. James explains, "I've been particularly drawn to records that have a more personal feel, not necessarily lyrically, but in sonic aesthetic, like The Kinks Village Green Society, Beatles White Album, and Rolling Stones Beggar's Banquet. We wanted to make a record that em-ployed the restraints of our favorite artists from yesteryear. It was about trying to simplify and hone in on the things that are important to our music and ethos." In considering the development of the band's sound from "Sunken" to "Wild Onion" and now to "Down in Heaven," Frankel adds, "The bands we admire are the ones who change drastically over the course of their span, like The Velvet Underground, where no two records of theirs sound the same."

Whether sneering or pleading, aggressive or impatient, the thirteen tracks of "Down In Heaven" are a continuation of the bands path and an eschewing of previous com-parisons. It is a record all about feel: heartbreak, forgiveness, anger, jubilation, re-invention, growth. Album opener "Walk To The One You Love," written by James about letting someone close to you go is immediately followed by Frankel's song "Wanted You," with lyrics about not getting the one that you yearn for. With "Stain," perhaps the biggest departure for the band on the record, Frankel says, "I didn't want another love song, so after a while I got what it is, how you suffer for your art but you put up with it because you don't wanna do anything else. It's a song about the love of music." Even though four of the five members contribute lyrics, there are obvious connections both thematically and musically across the record and the band's voice rises unified.

"Down in Heaven" will bring old fans and new Twin Peaks most complex record to date, encompassing elements only teased on their previous efforts. Frankel says, "I don't know yet what kind of band we are, since we keep changing with every year. I guess we are a band unafraid of new influences and changes." Put simply, "Down In Heaven" makes it increasingly hard to call their sound "classic." It's rock new and old, it's a little bit of country, it's a whole lot of punk attitude, and it's something to get excited about. Twin Peaks is here to stay, and they aren't going to get pinned down.

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Saturday 17 September
White Oak Music Hall Upstairs 08:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
Honky, Whiskeydisk, Pure Luck
When you think of Texas, what comes to mind? Big skies? Big trucks? Hot women with big… uh, well… big hair? Everything, as they say, is bigger in Texas… And that what ain't bigger is more bizarre. After all, in a state that refers to itself as a republic… things can get pretty skewed.

Enter Honky. Honky proudly carries the torch held by the likes of Scratch Acid, Pantera, ZZ Top and the red-headed stranger himself, Mr. Willie Nelson.

This Austin Superboogie trio was founded in 1996 by long time Butthole Surfer bassist JD Pinkus,Bobby Ed Landgraf (Gahdzilla Motor Company, Blowfly) on guitar , and rounded out by Michael ‘Night Train' Brueggen (Blackula, Syrup, Supagroup) on the drums.

Honky dishes out an appetite pleasin'… Superboogie servin' that'll keep ya' comin' back for more. Austin's favorite sons have released some of the best lo-fi, hi-sleaze rock ever cut to wax, tape, or cd, and have toured with the likes of Nashville Pussy, the Reverend Horton Heat, Fu Manchu, Melvins, Karma to Burn, Down and David Allan Coe.

Honky's newest release, 421, is another feast of down and dirty rock, rolling across the finish line late this summer. This one is more of a group effort than ever before, co-written and co-produced by Pinkus and Landgraf at Willie Nelson's famed Pedernales studio and mixed by Butthole Surfer Paul Leary (U2, Meat Puppets, Sublime) with mastering duties being handled by Brian "BIG BASS" Gardner ( Micheal Jackson, NWA, Eminem, the Band, Alice Cooper). Available wherever fine Honky products are sold.

The band is currently on tour worldwide and would like to invite y'all out for a butt shakin' good time.
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