Tuesday November 14th | Doors at 7pm
***Helms Alee has cancelled their performance due to van trouble***
“We don’t feel comfortable calling Dear a return to our slow and heavy style,” says Tokyo’s amplifier worshiping experimental metal institution Boris. “We’ve been heavy since day one.” And it’s true. From the droning thunder of their Absolutego debut and through the cinematic crescendo of albums like Flood, the bombastic licks of the Heavy Rocks records, the punk rage of Vein, the bottom-dwelling psychedelia of Akuma no Uta and Pink, and the grimy thump of Attention Please and New Album, Boris has always attempted to search out new ways to level listeners with their sound. On the 25th year of their existence, the trio delivers Dear, an album they describe as “heavenly—far beyond heavy.”Get Tickets
Though Boris has traversed a broad swath of sonic territories, they have always been consistent in their embracing of excess, pushing their myriad of approaches and stylistic forays to points of intoxicating absurdity. But a time came in the early years of their third decade where the band wondered if there were any new horizons for the band to explore. Consequently, it was decided that the band would begin jamming on material for what was planned to be a record that served as a formal goodbye to fans. In a strange twist of fate, being unencumbered by expectations and having an open-ended approach to the writing process reinvigorated Boris. The renewed vitality yielded an album that fortifies their monolithic wall of sound while also allowing the individual band members to explore the nuances and intricacies of minimalist riffs played at maximum volume.
Album opener “D.O.W.N. –Domination of Waiting Noise-“ sets the tone for the record’s glacial pace and seismic rumble with vast swaths of sustained chords underscoring oscillator pulses and Takeshi’s soaring vocals. Songs like “DEADSONG”, “Kagero”, and “The Power” take the glacial doom of their early records and broaden the expanses of empty space to allow the chirp of amplifier tubes, the groan of strained speaker cabinets, and the sizzle of cranked distortion to transform their dirges into macrocosms of textures. It was a premeditated strategy, with the band deliberately scaling down on instrumentation in order to allow more color, detail, and tension to emanate from their protracted riffage. The galloping chugs and acidic guitar leads of “Absolutego” provide the most rock-oriented moment of the album, even though the song’s crushing timbre is cataclysmic even by the most down-tuned and heavily doped stoner rock standards. Brief moments of respite from the dimed amplifiers can be found on songs like “Beyond” and “Memento Mori”, where the band juxtaposes their deluges of fuzz with hints of ethereal dream pop.
Songwriting for Dear initially yielded three albums’ worth of material by the end of 2015, but as the band was slated to spend a large chunk of 2016 on their “Performing Pink” worldwide tour, they decided to hold off on releasing any new material. The tour further rekindled their passion, and when the band returned home they wrote several more songs and scaled the three records down to one. “At the very first moment, this album began as some kind of potential farewell note of Boris. However, it became a sincere letter to fans and listeners… you know, like ‘Dear so-and-so, this is the new album from Boris’ or something like that. We feel so grateful we can release this album in our 25th anniversary year.” Adding to that sentiment, Sargent House is grateful to release Boris Dear to the world on July 14, 2017 on CD, 2xLP, and digital formats.
Monday November 13th | Doors at 7pm
with The Wild Ones
Tennis continue their extensive North American tour in celebration of their fourth full-length album, Yours Conditionally. After a cross country tour in the Spring/Summer supporting artists including Spoon, The Shins and Father John Misty the band is primed to head out on a Fall Headline tour crisscrossing the United States; their largest to date.Get Tickets
Yours Conditionally — out now on Mutually Detrimental via Thirty Tigers and available at all record stores as well as via iTunes and Spotify — continues to receive praise from NPR’s “Weekend Edition,” Interview Magazine, W, New York Magazine and many more.
The new record was composed both on land and at sea during a five-month sailing trip through the Sea of Cortez. Upon returning, Tennis’ husband-and-wife team of Patrick Riley and Alaina Moore self-produced the record in a small cabin in Fraser, CO. It was mixed by Spoon’s Jim Eno at Public HiFi.
Now based in Denver, Moore and Riley began writing music together as a way to document the history of their time living aboard a sailboat. The result was their first release, Cape Dory. Moore and Riley followed Cape Dory with Young and Old, which The New Yorker described as “winsome as it is ebullient” and debuted #1 on Billboard’s Heatseeker Chart and #1 on CMJ Top 200, where it remained for three straight weeks. The album also debuted on Soundscan’s “New Artist Chart” at #1, remaining there for nine consecutive weeks. Their newest record comes on the heels of the group’s most recent release, 2014’s Ritual in Repeat, which received rave reviews from The New York Times, NPR’s “All Things Considered” and “Fresh Air,” TIME, Vogue, Pitchfork, The FADER, Entertainment Weekly and many more. The band has performed on “The Late Show with David Letterman,” “The Tonight Show with Jay Leno,” “Conan” and “Last Call with Carson Daly.”
Friday November 10th | Doors at 8pm
with Eldon / The Rev / Ana M.
Mark Farina is a disc jockey and musician, known for his Chicago house, acid jazz and downtempo works. Notable releases include Mood and the Mushroom Jazz series, and recently known also from house compilations El Divinio.$20 At The Door
Thursday November 9th | Doors at 8pm
Blockhead, is an American hip hop record producer and disc jockey from Manhattan, New York.
Aside from his solo efforts released on the Ninja Tune label, Blockhead is most associated with producing tracks for Aesop Rock. He has been a member of the groups such as Party Fun Action Committee and The Mighty Jones.Get Tickets
Saturday October 21st | Doors at 8pm
with Street Eaters / Cat Teeth
Screaming Females had such a clear goal for their new album that it became almost a mantra: they wanted songs that were concise, crisp and melodic. That’s exactly what the New Jersey punk trio delivers on Rose Mountain, their sixth LP, due in February on Don Giovanni Records.
Celebrating 10 years playing together, this tour is sure to be a top shelf display of rock n’ roll prowess.Get Tickets
Wednesday October 18th | Doors at 8pm
Thurston Moore moved to NYC at eighteen in 1976 to play punk. He started Sonic Youth in 1980. Since then Thurston Moore has been at the forefront of the alternative rock scene since that particular sobriquet was first used to signify any music that challenged and defied the mainstream standard. With Sonic Youth, Moore turned on an entire generation to the value of experimentation in rock n roll – from its inspiration on a nascent Nirvana, to Sonic Youth’s own Daydream Nation album being chosen by the US Library of Congress for historical preservation in the National Recording Registry in 2006. Thurston records and performs in a cavalcade of disciplines ranging from free improvisation to acoustic composition to black/white metal/noise disruption. He has worked with Yoko Ono, John Zorn, David Toop, Cecil Taylor, Faust, Glenn Branca and many others. His residency at the Louvre in Paris included collaborations with Irmin Schmidt of CAN. Alongside his various activities in the musical world, he is involved with publishing and poetry, and teaches writing at Naropa University, Boulder CO, a school founded by Allen Ginsberg and Anne Waldman in 1974. Thurston also teaches music at The Rhythmic Music Conservatory (Rytmisk Musikkonservatorium) in Copenhagen.Get Tickets
Presently he performs and records solo, with various ensembles and in his own band, The Thurston Moore Group (with mbv’s Deb Googe, Steve Shelley & James Sedwards). In 2014, the band released The Best Day which critics described as “optimistic and sun-drenched in beauty” and “[has] experimental attitude dovetailed with instantly accessible pop melodies.” The Best Day was a record defined by positivity and radical love.
The Thurston Moore Group’s new full-length album, Rock n Roll Consciousness was recorded in The Church studios in London with producer Paul Epworth. The songs are expansive, anthemic and exploratory with lyrics that investigate and herald the love between angels, goddess mysticism and a belief in healing through new birth. Ranging from opener “Exalted”, an unfolding and emotional journey in homage to sacred energy and exaltation, to “Cusp” a charging, propulsive piece with a feeling of Sonic Youth mixing in with My Bloody Valentine. “Turn On” is a pop-sonic poem to holy love both intimate and kosmiche to the contemplative mystery of life-defining time travel in “Smoke of Dreams”. The record concludes with “Aphrodite”, a strange and heavy no-wave rocker in salutation to the idol of love, beauty, pleasure, and procreation.
Monday October 16th | Doors at 8pm
M. Ward returns with a stunning new album, More Rain, for release on Merge Records on March 4, 2016. Ward has released a string of acclaimed solo albums over the past several years, along with five LPs with Zooey Deschanel as She & Him and a 2009 collaborative album with My Morning Jacket’s Jim James and Bright Eyes’ Conor Oberst and Mike Mogis under the moniker Monsters of Folk. In addition to his celebrated work as a musician, Ward is an accomplished producer, handling those duties for such luminaries as Mavis Staples, Jenny Lewis, and Carlos Forster as well as his own musical projects.Get Tickets
M. Ward knows how to live with rain. Having spent the last decade-and-a-half based in the perennially damp Portland, Oregon, the singer-songwriter and producer has learned how to shine through the soggy gloom by simply embracing its inevitability. For Ward, there is inspiration in a dark sky and harmony in foreboding winds. And with his new album More Rain, he has made a true gotta-stay-indoors, rainy-season record that looks upwards through the weather while reflecting on his past.
“I think one of the biggest mysteries of America right now is this: How are we able to process unending bad news on Page One and then go about our lives the way the style section portrays us?” says Ward. “There must be a place in our brains that allows us to take a bird’s-eye view of humanity, and I think music is good at helping people—myself included—go to that place.”
This album, Ward’s eighth solo affair, finds the artist picking up the tempo and volume a bit from his previous release, 2012’s A Wasteland Companion. Where that record introspectively looked in from the outside, More Rain finds Ward on the inside, gazing out. Begun four years ago and imagined initially as a DIY doo-wop album that would feature Ward experimenting with layering his own voice, it soon branched out in different directions, a move that he credits largely to his collaborators here who include R.E.M.’s Peter Buck, Neko Case, k.d. lang, The Secret Sisters, and Joey Spampinato of NRBQ. The result is a collection of upbeat, sonically ambitious yet canonically familiar songs that both propel Ward’s reach and satisfy longtime fans.
More Rain begins with an actual rainstorm, then throughout the album, guitars chime, chug, and riff with Ward’s unmistakable earthy tone, while layers of atmospheric reverb and skittering drums climb and clip in equal measures. As the cloud of noise rolls in, the layers part ever so slightly to make way for Ward’s voice, which can play wispy and whimsical in one moment (“Pirate Dial”) or crackling and smoky in the next (“Time Won’t Wait”) just as well as it can climb to clear-sky clarity (“Confession”) then drop down to smooth, soulful crooning (“I’m Listening”), each one after the other. “Girl From Conejo Valley” is a nostalgic trot through people he used to know and a place he used to be, and “Slow Driving Man” is sweeping and lush in its orchestral climb towards confident heights.
As the album ends with the self-assured swing of “I’m Going Higher,” voices join together in a chorus of rising “ah”s and, for just a second, it seems the storm outside has slowed, making room for a ray of hopeful sunlight. As Ward knows, the rainy season is sure to return, but for now, More Rain is here to help us with our perspective.
With opening support from Whispertown:
Whispertown is the indie project of Morgan Nagler from Los Angeles, California, formerly known as The Whispertown 2000. They have toured with several prominent indie artists in the past few years, including Bright Eyes, Rilo Kiley, Jenny Lewis, The Breeders, She & Him, Maria Taylor, Johnathan Rice, Margot & the Nuclear So and So’s and The Elected.
There’s a buzz about this LA quartet, whose mainstay, aspiring actress Morgan Nagler, numbers celebrity admirers like Conor Oberst. Their lo-fi indie rock comes laced with antique country flavours and front-porch harmonies, a mix that gels to quirky appeal on, say, “Pushing Oars”, but unravels into faux-naive caterwauling elsewhere – “No Dope” is one offender. Nagler can certainly write a song – opener “103” is a droll comment on aging and “Atlantis” yearns for a state of grace to a simple, stately piano – but a touch more rigour wouldn’t undermine her authenticity. Country stars Gillian Welch and David Rawlings, whose label signed the band, should know that.
Friday October 6th | Doors at 8pm
with special guest Sam Miller
$10 tickets. If you’re buying your ticket in advance, select a quantity of 2 and enter coupon code “SHEERMAG” to get your second ticket free!
A tear in the firmament. Beyond the noxious haze of our national nightmare – as structures of social justice and global progress topple in our midst – there lies a faint but undeniable glow in the distance.
What is it?
Like so many before us we are drawn to the beacon. But only by the bootstraps of our indignation do we go so boldly into the dark to find it.
And so Sheer Mag has let the sparks fly since their outset, with an axe to grind against all that clouds the way. A caustic war cry, seething in solidarity with all those that suffer the brunt of ignorance and injustice in an imbalanced system.
Both brazen and discrete, loud yet precise, familiar but never quite like this – SHEER MAG crept up from Philadelphia cloaked in bold insignia to channel our social and political moment with grit and groove. Cautious but full of purpose.
What is it?
By making a music both painfully urgent and spiritually timeworn, SHEER MAG speak to a modern pain: to a people that too feel their flame on the verge of being extinguished, yet choose to burn a bit brighter in spite of that threat.
With their debut LP, the cloak has been lifted. It is time to reclaim something that has been taken from us. Here the band rolls up their sleeves, takes to the streets, and demands recompense for a tradition of inequity that’s poisoned our world. However, it is in our ability to love – our primal human right to give and receive love – that the damage of such toxicity is newly explored.
Love is a choice we make. We ought not obscure, neglect, or deny that choice. Through the tumult and the pain, the camaraderie and the cause, the band continues to burn a path into that great beyond.
But where are we headed?
On NEED TO FEEL YOUR LOVE, they makes their first full-length declaration of light seen just beyond our darkness. Spoken plainly, without shame: It is love.
This – is SHEER MAG.Get Tickets
Tuesday Sept. 19th | Doors at 8pm | FREE!!!
w/ Jack Ladder and Euth Group
Entertainer. Showman. Shaman. Cameron and his business partner / saxophonist, Roy Molloy, hit the road with a live show full of celebration, jubilance and industry know how. Described by Clash Magazine as ‘Sydney’s most literate song writer’, Cameron knows what he is doing, and the creative juggernauts of the international music industry are taking notice. So much so that Jonathan Rado of Foxygen described the first Cameron performance he saw as ‘one of the most memorable, moving concerts I have or will ever witness’, and music icon Henry Rollins described Cameron as being ‘right out of a David Lynch hell dream!’ This will be a free show. Come one, come all; and experience the jubilance. Support from Jack Ladder & The Dreamlanders http://www.jackladderandthedreamlanders.com/ and locals Euth Group Presented in conjunction with Townie Productions.FREE SHOW