Unregistered Nurse


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8.28 Ottobar Upstairs
Kevin Morby (of Woods)
Steve Gunn (of The Violators)
Little Rib
Vayda


RSVP HERE

9.4 Ottobar Upstairs
Vaniish
TBA


9.18 Windup Space
Gooch Palms
TBA


10.3& 10.4 Ottobar
U+Nfest 3 Details coming soon!





Booking Inquiries

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UNREGISTERED NURSE NAMED BALTIMORE'S BEST MUSIC PROMOTER 2012!!!

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Total Control & Thee Oh Sees @ Sonar

Here’s the full photoset from 11/13. Great job Josh Sisk!

joshsisk:

Thee Oh Sees

Total Control   Total Control

Total Control

Great show the other day at Sonar, courtesy of Unregistered Nurse. Australia’s Total Control (featuring at least one member of Eddy Current Suppression Ring) and California’s Thee Oh Sees.

Flier for Thee Oh Sees show at Sonar by Alex Fine. Click to RSVP!

Flier for Thee Oh Sees show at Sonar by Alex Fine. Click to RSVP!

Added! 11/13

Sri Aurobindo (FACEBOOK) & HOLLYWOOD (FACEBOOK)  have been added to 11/13’s Oh Sees/ Total control show at Sonar!

RSVP HERE

GET TICKETS HERE

CONFIRMED! 11/11
*CLICK THE PICTURE TO RSVP*


Sonar Productions/ Unregistered Nurse Booking present;THEE OH SEES (San Francisco, In the Red Records… FACEBOOK)w/ special guests TOTAL CONTROL (Australia, mem. Eddy Current Suppression Ring/ UV Race)+ more TBA!$10 ADV / $12 DOS8PM doors9PM showall ages|||||||||||||||||||||||||| ||||||||||||||||||||||||
From Pitchfork;
Thee Oh SeesCastlemaniaIn the Red; 20117.6Over  the past decade, San Francisco’s Thee Oh Sees have morphed from a  showcase for skronk-savant John Dwyer’s sensitive side into the hardest  working band in garage-rock. Their output is prolific and their live  show combustible. But on Castlemania, Dwyer opts to go it alone. With  the exception of live-band regular Brigid Dawson— who, along with the  Sandwitches’ Heidi Alexander, contributes some backing vocals— the  shaggy-banged songwriter handles almost all of the instruments. Drummer  Mike Shoun and Guitarist Petey Dammit aren’t out of the picture  permanently. They’re just off-duty until the fall, when Thee Oh Sees are  scheduled to release yet another full-length record.Castlemania  is a fairly introspective affair, at least by Oh Sees standards. It’s  Dywer’s most melodious batch of songs since 2006’s mostly acoustic Cool  Death of the Island Raiders. Without the heavy full-band artillery he  leans toward skewed bubble-gum pop, fleshing out the guitars and drums  with flutes, bells and thrift store synths. It was recorded, at least in  part, at Dywer’s former group house. “This here is the last record  worked on at 608c Haight Street in San Francisco (very near and dear to  my heart and heavy in my memories) before control was assumed by rich  assholes,” he writes in the liner notes.Not that this is Thee Oh  Sees’ answer to Nebraska. Even at his most reflective, Dwyer’s  songwriting retains a sinister, “Sesame Street”-on-LSD sensibility—  simple melodies and creepy lyrics, frequently delivered in a whacked-out  monster-voice. “It don’t feel too good to be dead in the 21st century/ I  am dirt but I can be/ A home for wayward hungry seeds,” Dwyer growls on  “I Need Seed”, deploying a Looney Tunes-worthy narrative in a song  about death. It’s summery retro nuggets pinned into the red, shot  through with a healthy dose of drugs and dread, while “Pleasure Blimps”  finds him singing of machines stripping away flesh over shimmering  glockenspiel lines and 12-string guitars.All in all, Castlemania  is a fairly loose and scattered record. There are plenty of oddball  tangents, including a stripped-down and spooky cover of West Coast Pop  Art Experimental Band’s “I Won’t Hurt You” and the forlorn mellotron and  sax instrumental, “The Horse Was Lost”. Songs frequently melt down into  racket rather than stop on a dime. But it’s good to hear Dwyer step  away from his backing band’s big guns, if only for a moment.

CONFIRMED! 11/11

*CLICK THE PICTURE TO RSVP*

Sonar Productions/ Unregistered Nurse Booking present;

THEE OH SEES (San Francisco, In the Red Records… FACEBOOK)

w/ special guests
TOTAL CONTROL (Australia, mem. Eddy Current Suppression Ring/ UV Race)

+ more TBA!

$10 ADV / $12 DOS

8PM doors
9PM show
all ages



|||||||||||||||||||||||||| ||||||||||||||||||||||||

From Pitchfork;

Thee Oh Sees
Castlemania
In the Red; 2011
7.6

Over the past decade, San Francisco’s Thee Oh Sees have morphed from a showcase for skronk-savant John Dwyer’s sensitive side into the hardest working band in garage-rock. Their output is prolific and their live show combustible. But on Castlemania, Dwyer opts to go it alone. With the exception of live-band regular Brigid Dawson— who, along with the Sandwitches’ Heidi Alexander, contributes some backing vocals— the shaggy-banged songwriter handles almost all of the instruments. Drummer Mike Shoun and Guitarist Petey Dammit aren’t out of the picture permanently. They’re just off-duty until the fall, when Thee Oh Sees are scheduled to release yet another full-length record.

Castlemania is a fairly introspective affair, at least by Oh Sees standards. It’s Dywer’s most melodious batch of songs since 2006’s mostly acoustic Cool Death of the Island Raiders. Without the heavy full-band artillery he leans toward skewed bubble-gum pop, fleshing out the guitars and drums with flutes, bells and thrift store synths. It was recorded, at least in part, at Dywer’s former group house. “This here is the last record worked on at 608c Haight Street in San Francisco (very near and dear to my heart and heavy in my memories) before control was assumed by rich assholes,” he writes in the liner notes.

Not that this is Thee Oh Sees’ answer to Nebraska. Even at his most reflective, Dwyer’s songwriting retains a sinister, “Sesame Street”-on-LSD sensibility— simple melodies and creepy lyrics, frequently delivered in a whacked-out monster-voice. “It don’t feel too good to be dead in the 21st century/ I am dirt but I can be/ A home for wayward hungry seeds,” Dwyer growls on “I Need Seed”, deploying a Looney Tunes-worthy narrative in a song about death. It’s summery retro nuggets pinned into the red, shot through with a healthy dose of drugs and dread, while “Pleasure Blimps” finds him singing of machines stripping away flesh over shimmering glockenspiel lines and 12-string guitars.

All in all, Castlemania is a fairly loose and scattered record. There are plenty of oddball tangents, including a stripped-down and spooky cover of West Coast Pop Art Experimental Band’s “I Won’t Hurt You” and the forlorn mellotron and sax instrumental, “The Horse Was Lost”. Songs frequently melt down into racket rather than stop on a dime. But it’s good to hear Dwyer step away from his backing band’s big guns, if only for a moment.

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