Category: Eraserhood Tonight

Saint Motel – Tickets – Union Transfer – Philadelphia, PA, October 22, 2016 | Ticketfly

Bob Bruhin

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Get tickets to Saint Motel at Union Transfer, Philadelphia, PA on 10/22/16

Source: Saint Motel – Tickets – Union Transfer – Philadelphia, PA, October 22, 2016 | Ticketfly


Warpaint – Tickets – Union Transfer – Philadelphia, PA, October 09, 2016 | Ticketfly

Bob Bruhin

Warpaint / Facial at Union Transfer

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Warpaint

The most important element of Warpaint’s second, self-titled album is space. The hauntingly lovely sounds that comprise its 12 songs are punctuated by a distinct absence of sound, one that elevates the band’s music to a new place of depth and emotional poignancy. For the Los Angeles rock band crafting a second album offered an opportunity to expand the ethereal, hypnotic songs on their 2010 debut The Fool and to mirror their extensive live experience on a recording while allowing for the inclusion of more room.

The group, formed in 2004 by Kokal, Wayman and Lindberg, toured on The Fool for two and half years, solidifying the bond between the musicians over the course of numerous performances around the world. The new album represents Mozgawa’s first full collaboration with Warpaint since she jointed shortly before the band recorded The Fool in late 2009, something that augmented the experience this time for everyone involved. The initial work on Warpaint began at a house in Joshua Tree in March of 2012, where the four musicians decamped to write and demo early ideas for the new songs. There was no immediate vision or goal, instead the band wanted to create a meditative place in which to channel inspiration.

“We could come from any direction we wanted,” Kokal says. “Here we’d been playing the same songs over and over again on tour and being in Joshua Tree it was like a dam was released and all this water started flowing out. Recording and writing this album, we really started to play and interact with each other in a new kind of way. It was the natural next level of getting to know each other and discover our album. I think the element of space became kind of a band member, and we were very conscious of not trying to fill in every silent moment anymore.”

The musicians spent a month in Joshua Tree before returning to Los Angeles, where they continued to write and demo before going into the studio with Flood in January of 2013. The producer, the only person on the band’s producer wishlist, joined the group at Five Star Studios in Echo Park for six weeks. The band was drawn to Flood’s ability to balance the lo-fi aesthetic of a raw demo with hi-fi production, a sensibility they hoped to embrace when recording the new tracks. In fact, several of the demo pieces made their way onto the final tracks on Warpaint.

“I could hear in Flood’s work with PJ Harvey that he was comfortable with having a demo-type feeling to the music sometimes but able to translate that on to a greater level of professional sound,” Wayman says. “He’s got so much experience under his belt and he’s really talented at creating things, making them sound big and luscious. We used a lot of mood-enhancing atmospheric stuff, like synths and electronic drums. We all love hip-hop and trip-hop, which is really mood and rhythm based. That influenced us here.”

“We wanted to make a sexy record,” Lindberg adds. “Something a little more minimal than The Fool. We had so much to express – and still do – but have learned the magic of less is more and truly went in with that frame of mind. We were more mindful and wanted to make room for one another.”

The resulting album, self-titled because this it the truest expression of Warpaint to date, is vast and beautiful, collecting lush, compelling songs that embody otherworldly tones and hushed pauses. There is a hazy sense of abstraction that pervades, leaving each song lingering as the next begins. “Hi,” which Kokal calls “a really beautiful and dark twist to a very conventional songwriting structure,” shimmers with sparse emotional verve while “Keep It Healthy” explores a meditative groove. “Love Is To Die,” a number that emerged almost directly from a jam session, balances soaring melodies with ambient beats. The album finds all four musicians playing in tandem, and indeed much of the album was recorded live in the studio. It merges disparate influences and sensibilities while eventually landing on a cohesive – and unexpected – thematic thread.

“Without sounding trite, the subliminal theme of the album is love,” Mozgawa says. “It’s a record that meditates on different forms of love in a poetic manner. This wasn’t a preconceived theme – it’s just one powerful prevalent thread.”

The musicians have found a cohesion between this new album, The Fool and their 2009 EP Exquisite Corpse, a sort of evolving symbiosis that always comes back to the strong connection between the four players. The album art, created by Chris Cunningham, reflects the collaborative strength and inherent friendship heard in the songs. Cunningham, who is married to Lindberg, is presently working on a multimedia documentary about the group, which he started while the band was in Joshua Tree last year.

“We came up with the idea of making a long short film, a mixture of the kinks and quirks of Warpaint and his kinky and quirky brain and ideas,” Lindberg says. “It is going to be a medley of things. Chris is such a mindful and respectful guy. It’s been so wonderful to have someone with such impeccable taste and an endless amount of creativity witness all stages of this record.”

Ultimately Warpaint reveals the next stage of evolution for the group, a truly collaborative effort that showcases both musical growth and a startling depth of friendship. “We thought about this collection of songs like, this is us,” Wayman says. “This is an expression of who we are.”

Facial

FACIAL makes the noise that cuts like a chainsaw through the thick buildup of residue in your mind, left behind by years of dealing with the dull banality of life. They take the dead parts of your brain killed by mundane repetition and blasts it away with a pressure hose, while the low end rattles all the barnacles off your body and pounds you the way you are always afraid to ask for. Sweet melodies interchange with primal screaming as you fluctuate between comfort and discomfort, horror and jubilation, familiarity and utter confusion.

FACIAL aren’t always making sense. In fact, they have been known to not make sense at all. It makes perfect sense considering the difficulty of true communication. This is due to the subjective nature of reality, lack of attention due to mass distraction, and the fact that anything anybody does can be taken out of context and framed to be perceived in any which way you want! These are just a few factors, so imagine trying to boil down a live, complex organism, such as a band, to a concise couple of paragraphs, using words! what a difficult task!

Who wants to read anyways! What could somebody read about a band that would even peak their interest? A cute story? Their musical references and antecedents? Perhaps some affiliation with a more well-known artist? Maybe we are completely bored with words now and they have lost all actual meaning, and only the right combination of emojis will titillate interest anymore?

If FACIAL were to be represented only by emojis, it would probably be: The guy with sunglasses on, Upside-down smiley guy, and The guy with x’s for eyes. bored to death.

VENUE INFORMATION:
Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123

Source: Warpaint – Tickets – Union Transfer – Philadelphia, PA, October 09, 2016 | Ticketfly

Unsung at the Rail Park

Bob Bruhin

Friday, October 7 at 6 PM – 10 PM

11th and Carlton Streets

Innovative venues deserve innovative art.

Partnering with Friends of the Rail Park and the American Composers Forum (Philadelphia Chapter), Sound artist and composer Nadia Botello and video artists Nadia Hironaka and Matthew Suib will intertwine sound and imagery in a one-night-only installation on First Friday, inside the tunnel at 11th and Carlton Streets, inspired by the history of the surrounding neighborhood.

Muralarts.org/muralartsmonth

Source: Unsung at the Rail Park

Vox Populi > Performances with Sarah Hennies & John Krausbauer

Bob Bruhin

[soundcloud url=”https://api.soundcloud.com/tracks/104398749″ params=”color=1c3f94&show_artwork=false” width=”100%” height=”166″ iframe=”true” /]

October 6, 2016 8:00 pm

Sarah Hennies and John Krausbauer Sarah Hennies (b. 1979, Louisville, KY) is a composer and percussionist currently residing in Ithaca, NY. Her work is primarily concerned with an immersive, psychoacoustic…

Source: Vox Populi > Performances with Sarah Hennies & John Krausbauer

Tickets for Tacocat with Daddy Issues , Queen of Jeans, Pouty | Underground Arts at TicketWeb

Bob Bruhin

10.03 | $12 adv | doors 8pm | 21+

!!!!!!!!!!!!!
Tacocat
¡¡¡¡¡¡¡¡¡¡¡
One of the weirdest things humans do is to classify half of all humans as niche. As though women’s shit isn’t real
shit—as though menses and horses and being internet-harassed aren’t as interesting as beer-farts and monster trucks
and doing the harassing. That’s why Tacocat is radical: not because a female-driven band is some baffling novelty, but
because they’re a group making art about experiences in which gender is both foregrounded and neutralized. This
isn’t lady stuff, it’s people stuff. It’s normal. It’s nothing and everything. It’s life.

The four actual best friends—Emily Nokes (vocals, tambourine), Eric Randall (guitar), Lelah Maupin (drums), and Bree
McKenna (bass)—came together in their teens and early baby twenties and coalesced into a band eight years ago, and
you can feel that they’ve built both their lives, and their sound, together. Hanging out with Tacocat and listening to
Tacocat are remarkably similar experiences, like the best party you’ve ever been to, where, instead of jostling for
social position, everyone just wants to eat candy and talk about Sassy Magazine, sci-fi, cultural dynamic shifts, and
bad experiences with men.

Tacocat’s third studio album, Lost Time (an X-Files reference, doy), is their first with producer Erik Blood. “I would
describe him generally as a beautiful wizard,” Nokes said, “who, in our opinion, took the album to the next level.
Wizard level.” Blood’s sounds are wide and expansive, bringing a fullness to the band’s familiar sparkling snarl. The
Tacocat of Lost Time are triumphantly youthful but also plainspoken and wise, as catchy as they are substantive.
“Men Explain Things to Me” eviscerates male condescension with sarcastic surf guitar. On “The Internet,” they swat
away trolls with an imperiousness so satisfying you want to transmogrify it into a sheetcake and devour it: “Your place
is so low/Human mosquito.”

One of feminism’s biggest hurdles has always been that it isn’t allowed to be fun. Tacocat gives that notion precisely
the credence that it deserves, ignoring it altogether and making fun, funny, unselfconscious pop songs about the shit
they’re genuinely obsessing or groaning over: Plan B, night swimming, high school horse girls (“they know the
different breeds of all their favorite steeds!”), the bridge-and-tunnel bros who turn their neighborhood into a toilet
every weekend. And, eight years in, Tacocat have built something bigger than themselves. They’ve fostered a feminist
punk scene in Seattle so fertile it’s going national and rendering the notion of the “girl band” even more laughable
than it already was. There are no “girl bands” in Seattle anymore. There are just bands and everyone else. “Women,”
Nokes jokes. “They’re just like us!”

http://www.tacocatdotcom.com/


http://www.facebook.com/tacocatband
http://www.twitter.com/tacocats
http://www.instagram.com/tacocatband/

 

!!!!!!!!!!!!!!!!!!!!!!
Daddy Issues
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Daddy Issues has mastered the art of keeping it real. The band was originally conceived as a parody Twitter account by three close friends — Jenna Moynihan, Jenna Mitchell, and Emily Maxwell — who decided to turn their 140-character wit into three-minute pop songs. Thus, Daddy Issues was born. Their music lies somewhere between witchy grunge and surf glam– kind of like what the girls from The Craft would sound like if they had opted to start a band instead of Invoking The Spirit. Their lyrics center on a young every-woman who celebrates small acts of rebellion while crushing on boys with blue hair.

Daddy Issues became somewhat of an internet sensation after they caught the ear of local label Infinity Cat Recordings, who posted their song “Ugly When I Cry” on Soundcloud. 200K hits later (and only six months after learning their instruments), the band was off to Austin, TX as an official SXSW artist. Now that they’re back home, it’s finally time for Daddy Issues to get physical.

Can We Still Hang is the first tape in the 2nd annual Infinity Cat Cassette Series and a punch in the face to the patriarchy. It‘s full of grungy earworms that take equal inspiration from Veruca Salt and Taylor Swift– like their half-bratty, half-empowered first single, “The Bruise.” Can We Still Hang pays homage to the rise of sad girl culture, without taking itself too seriously. This one goes out to all the Creepy Girls living in a Shitty World!

https://daddyissuesnc.bandcamp.com/


http://www.daddyissuesband.com/

 

!!!!!!!!!!!!!!!!!!!!!!!!!!
Queen of Jeans
¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡
Queen of Jeans is a female-fronted quartet from South Philadelphia. With 60’s girl group-influenced vocal harmonies and textured melodic pop instrumentation, the Queens seamlessly blend the best of denimcore and crockpot pop. They’re also probably your mom’s favorite band, but they don’t like to make a big deal out of it. Queen of Jeans is Miriam Devora, Matheson Glass, Nina Scotto & Patrick Wall.

http://www.queenofjeans.net/


https://twitter.com/queenofjeansphl/
https://www.instagram.com/queenofjeans/

 

!!!!!!!!!!!!!
Pouty
¡¡¡¡¡¡¡¡¡¡¡
https://poutypouty.bandcamp.com/


https://twitter.com/googlethepartyy

Source: Tickets for Tacocat with Daddy Issues , Queen of Jeans, Pouty | Underground Arts at TicketWeb