CONFIRMED! 3.21 at The Gold Bar
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BURNT ONES (SF noisey garage pop on Burger/ Castleface Records)
RAW MCCARTNEY (psych punk from Indianapolis)
GOLDEN GURLS (bmore pop)
Doors & pre-show hhr @ 9
Bands @ 10
Sterling Brothers (Geroge, Andrew & Eric of the Sterling Sisters) have been added to the Marissa Nadler show on 3.16 at Metro Gallery!
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PROTOMARTYR (Detroit post punk on Hardly Art Records)
SPRAY PAINT (Austin no wave)
BIG CHRIST (Bmore punk)
Show at 10PM
2-4-1 DRINKS ALL NIGHT!!!!
In a city full of brilliant people with dead-end jobs and dampened by bitter-cold winters, playing music offers a cheap outlet. Protomartyr’s taut, austere rock was incubated in a freezing Detroit warehouse littered with beer cans and cigarette butts and warmed, feebly, by space heaters. Short songs made for short practices, and the band learned quickly not to waste time. Despite the cold, Protomartyr emerged with a sound that is idiosyncratic but relatable, hooky but off-kilter.
There’s a temptation to call it garage rock, but that doesn’t quite fit. With respect to the local predecessors, this isn’t the primitive stomp of The Dirtbombs or The Stooges’ greasy roar. Punk works, kind of, even if it leaves the hardcore kids confused. Post-punk suggests something too retro; indie rock, something too precious. What Protomartyr is, is “stuck between the cracks.” If that’s the case, though, they aren’t alone. Protomartyr’s economical rock elicits comparisons to possible antecedents like Pere Ubu or The Fall as well as local contemporaries like Frustrations or Tyvek (whose frontman Kevin Boyer played bass in an early iteration of Protomartyr). Singer Joe Casey’s dry declarative snarl serves as a reliable anchor, granting his bandmates — guitarist Greg Ahee, drummer Alex Leonard and bassist Scott Davidson — the opportunity to explore textures and reinforce the rhythm section. In other words, to “fuck around a little bit more.”
This is never more apparent than on the band’s sophomore LP and Hardly Art debut, Under Color of Official Right. Where 2012’s No Passion All Technique favored comparatively straightforward punk structures, Under Color takes a more exploratory approach.
Recorded in a single weekend with Bill Skibbe and Jessica Ruffins (Wolf Eyes, Cass McCombs, Lower Dens, Six Organs of Admittance) at Key Club Recording Studio in Benton Harbor, MI, the album straddles studio professionalism and punk impulse. Shades of the band’s less obvious pop and R&B influences can be glimpsed in the sinuous grooves of songs like “Maidenhead” or “Violent.” Elsewhere, “Tarpeian Rock” places punk vitriol against a minimalist backing and “Scum, Rise!” casts shadows with guitars that alternately chime and clang.
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TWEENS (Ohio Trash pop, Frenchkiss Records)
EXPERT ALTERATIONS (Baltimore pop)
QUITTER (new, mem. Slow Jerks, Sick Thoughts, Gutterhooks)
ET AL (Bmore pop/ rock)
Doors at 8, show at 9
2-4-1 drinks all night!!!!
Write up on Baltimore music with pictures from 2 of our shows and a shout out to us, via myspace.com!
Charm City has more to offer than The Wire. A meeting place for up-and-coming creatives, the city boasts a DIY community thats proud of its hometown heroes. Jamie Peck spent four days there, partying like a local.
CONFIRMED! 3.16 at Metro Gallery
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MARISSA NADLER (Sacred Bones Records, Boston)
TERENCE HANNUM (Locrian)
$8 adv / $10 dos
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July, Sacred Bones; 2014
"The question of whether Marissa Nadler’s elegant folk music ought to soundtrack our dreams or haunt our nightmares has been a thread through her uncannily cohesive catalogue. With six albums in 10 years and never a misstep, Nadler has grown her own perceptive language—she’s an old-soul lost in time like Sibylle Baier, but her music is blackened and more literary. Her songs have come steeped in misery and macabre, cobwebs and ashes, but Nadler is not a doomy aesthete merely for gloom’s sake. She is devoted to Leonard Cohen and Joni Mitchell, and her music understands folk tradition. While her songs sound isolated and spiritually vintage, as if beamed from the grayscale interior of a Victorian home, her stories have been generous, selfless tales, heavy with metaphor and imagery. Nadler’s poetic temperament and steady grace point to a darkness within us all—though her singing always seems to hone on mortality not for the purpose of crushing, existential missives, but in order to protect us.
Each of Nadler’s albums has signaled subtle evolution.
After channeling a bewitched Hope Sandoval and establishing a gothic heart, her sound became gorgeous and nuanced on 2007’s III, broke from the freak-folk tag on 2009’s astounding Little Hells, and incorporated sing-song Gillian Welch-inspired country pop on 2011’s gleaming Marissa Nadler. Still, she has never let her dark essence slip away—this is a singer whose first record mixed traditional English balladry with an arrangement of Edgar Allen Poe’s “Annabelle Lee” and a song about the death of Virginia Woolf. (…)
July is more tactile thanks to new producer Randall Dunn, best known for his work with metal bands such as Earth, Sunn O))), and Wolves in the Throne Room. (Dunn has also worked on folkier projects for Akron/Family and Six Organs of Admittance, but Nadler has ties to the black metal community, having collaborated with Xasthur and Locrian.) The pairing befits Nadler’s sound. Like black metal, her songs are atmospheric, austere, and engulfing.
At times, Nadler’s resonant acoustic strums are coated thick, as if emboldened by the deep ebony outline of a Sharpie marker. Her gothic touchstones return more deliberately melodic, and the audible strength of her voice lends to a more idiosyncratic sound; even the quiet acoustic songs and piano ballad sound like they are set up on-stage. There are textured synths and the occasional electric guitar underneath, and the dramatic orchestral strings that underpin “1923” offer the song a sense of grandeur—”I called you from another century/ To see if the world had been kind and sweet,” Nadler sings, offering not just an impressionistic line but a pointed one that sums up an essential idea about her work. It’s Nadler’s stacked, carefully pronounced harmonies, though, that really make these songs stand so tall”
Restless Brooklynites tease upcoming ‘Tomorrow’s Hits’ album
Catch them at the Ottobar May 3rd!
CONFIRMED! 3/7 at The Gold Bar
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RUBY BUFF (Philly powerpop)
PLURALS (Baltimore weird pop)
BIG CHRIST (Baltimore punk)
GLUE BOYS (Philly garage punk)
Doors and pre show HHR at 9
Show at 10