ALO

ALO

The Brothers Comotose

Fri, February 3, 2017

8:00 pm

Adv Tix $20.00 / Day of Show Tix $25.00

This event is all ages

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ALO
ALO
“We’ve never fit into any quickly digestible category,” says ALO’s keyboardist/singer Zach Gill. “It’s just a different kind of experience.”

With its delightfully vibrant blend of inventive musicality and genre-blurring reach, Sounds Like This sees ALO operating with fresh verve and vitality, their always-kaleidoscopic funk pop ‘n roll aglow with exceptionally ebullient songcraft and deliriously danceable grooves. The California-based band’s fourth Brushfire Records release showcases their unfettered passion, wit, and imagination while simultaneously exploring hitherto uncharted musical terrain. Invigorated by an unstructured approach to the studio process, ALO have accessed new avenues of resourcefulness, resulting in a truly distinctive collection of songs that adroitly captures all the glorious ingenuity and adventure of the band’s legendary live sets.

“There has always been a division between the fans that get to know us through our live shows vs. the fans that get to know us through our albums,” guitarist Lebo says. “This album is going to bridge that gap.”

Long acclaimed for their deft musicianship, potent songwriting, and astonishing on-stage interaction, the members of ALO have played together for more than two decades, with the current permutation now in its 10th year and counting. The band followed the release of 2010’s Jack Johnson-produced Man Of The World by doing what they do best: playing live, with highlights including the Halloween-themed “Haunted Carnival of Traveling Freaks & Frights” tour and their annual Tour d’Amour benefitting public music school programs.

In April 2011, ALO convened at San Francisco’s Mission Bells studio with no plans other than to make some music together. With studio owner/longtime collaborator David Simon-Baker assisting behind the board, the band opted to take the same improvisational tack towards recording as they do on stage. Any distinctions between pre-production and real recording would be shed, allowing for ALO’s instinctive spontaneity to make it to track.

“We thought, what if we started recording from the get-go,” Gill says, “instead of rehearsing, making songs, and then going into the studio. We decided to start the whole process all at once, with the intention of wanting things to feel really live.”

“Without a clear roadmap, we hit a lot of dead ends,” says drummer Dave Brogan says, “which forced us to create our way out of the morass. I think that helped us look to within ourselves – rather than outside influences – to bring the music to life.”

The band – all based in the Bay Area, bar Gill, who resides in sunny Santa Barbara – were also able to utilize a lifetime’s bag of tricks in a way the previous album’s sonic scope only suggested.

“The previous record was done in Hawaii, so we simply couldn’t fly with much,” bassist Steve Adams says. “Doing this one in San Francisco definitely made it easier to bring anything we wanted from home – Dave set up a more elaborate drum zone, Lebo had more guitars and amps, Zach brought up more keyboards. I had all my basses and a keyboard rig as well. Having a broader palette of sounds definitely had an influence on how the record turned out.”

In the past, ALO felt compelled to adjust their expansive songs to better suit the recorded format, trimming tracks to a more easily consumed length. While this certainly honed the band’s songwriting skills, ALO were now eager to let it all hang out, marking tracks like the bombastic “Dead Still Dance” with collage-like structures, deep dance grooves, and inventive, intricate solos. The inclusion of longer songs on Sounds Like This epitomizes “ALO being more comfortable with who ALO is,” according to Lebo.

“The truth is, longer songs come more naturally to us,” he continues. “In the past we've spent more time whittling the songs down because we felt that we needed to do so in order to ‘fit in.’ This time around, we let the songs be what they wanted to be, and sometimes that meant a long song.”

“There was a part of us that went, ‘Are we being a tad too indulgent?,’” says Gill, “but in the end we decided that we wouldn’t say we were being indulgent – we were being generous.”

ALO let their imagination run free, both musically and lyrically, resulting in such larger-than-life highlights as the Old West flight of fancy, “Cowboys and Chorus Girls” or the self-explanatory glitterball workout, “Room For Bloomin.” Where prior albums featured songs penned individually and then arranged by the band, this time out, ALO were determined that their collective spirit inform every groove.

“With collaborative writing, everyone’s personal stamp is in the DNA of the song,” Lebo says. “That makes these songs definitively ALO.”

At the heart of the album is ALO’s raucous reverie for days past, “Blew Out The Walls,“ as well as its more subdued sibling, “Sounds Like That” (included exclusively as an iTunes bonus track). The track reverberates with the excitement and passion of a rock ‘n’ roll band in its nascent stage, that magical moment where four friends first get together in someone’s basement for the sheer joy of making music together.

“I think we all were feeling the dream again,” Adams says, “remembering back to where it all started.”

All four members of ALO agree that a similar sense of excitement is currently spurring the band forward. Sounds Like This has imbued ALO with an audacious energy that is certain to infiltrate the band’s already spirited live shows, not to mention their next studio outing.

“Like all ALO albums, the next one will be a culmination of all the past albums and everything that happens in between,” Brogan says, “I don't know if we'll be so bold in our lack of planning next time, but I'm sure we'll find some other way to challenge ourselves.”

“I love making records,” Gill says. “With this one done, now there’s the excitement of, what about the next one? Those juices are already brewing. I feel like we just cracked the ice so it’ll be exciting to see what happens next.”
The Brothers Comotose
The Brothers Comotose
Expansive, uplifting, and just downright beautiful, City Painted Gold is one of the most anticipated records of the coming year – at least amongst the loyal fans The Brothers Comatose had won while touring across the country in support of their past two releases. Infused with a sense of relaxed, experienced confidence, The Brothers Comatose offer a southwestern-tinged, rowdy stringband sound that might just make this your new favorite record before you turn it over to side B. Walking lockstep with their undeniable top-flight musicianship is an easy humility. “It’s just one, big, extended Morrison music party,” they say. Brothers Ben and Alex Morrison, guitar and banjo, and lead vocalists, front this rocking string band that has become a West coast headliner and national touring act in a mere handful of years. With bassmaster Gio Benedetti and stellar accompanists Philip Brezina on fiddle and Ryan Avellone on mandolin, their high energy, audience engaging shows have caught fire with fans from San Diego to Seattle to Salt Lake to Silk Hope, NC and beyond.

“It all sort of started before we ever picked up instruments” explains Ben. “Our mom was in a folk quartet that sang beautiful songs in harmony. Alex and I would watch them rehearse for hours when we were kids.” Growing up around band rehearsals and music parties, the Morrison brothers eventually found themselves with instruments in their hands. Ben started playing on his dad’s acoustic guitar and Alex happened upon a banjo that someone had left behind after a household music party.

The brothers learned a mess of classic rock covers, playing casually in their living room and around campfires (and at those famous Morrison music parties) for the next few years. Eventually their genre of choice drifted to broad-stoke Americana and a buddy asked them to come record a few tunes in his garage. Their friend Benedetti had been studying upright bass and they called him up for the session. He couldn’t make it that day but shortly after they all began playing together. They needed a few more good players to round out their sound, and the brothers put up fliers all around San Francisco. A few people answered, including Philip Brezina, at the time pursuing a Master’s degree in violin performance at the Conservatory of Music. “When he showed up, I thought, who the hell is this guy?” says Ben. “He’s kind of a redneck but he’s getting his masters in classical violin. Turned out to work pretty well.” Avellone had shared bills with the Brothers a few times over the years in other bands and was a perfect fit. Ben called him up, and “next thing you know, he’s our mandolin player.”

Soon enough they put the axe to the grindstone, releasing two critically acclaimed records in Songs From The Stoop (2010) and Respect the Van (2012). Those releases led to extended tours with Devil Makes Three, Yonder Mountain String Band and Lake Street Dive, which in turn led to their own headlining club tours and festival appearances including the likes of High Sierra, Delfest, Outsidelands and Pickathon.

When it came to write their third record, the now-seasoned road warriors returned to their home of fourteen years in the Haight-Ashbury neighborhood of San Francisco. “We wrote this album living in San Francisco as it was changing from a weird, art friendly mecca to a place that only super rich tech workers could afford,” tells Ben. “Things started changing – venues were closing down, and artist and musician friends moved away. What is San Francisco without its weirdos? That’s what the song City Painted Gold is about and that’s why it’s the name of this record.” Shortly after completing the record, The Brothers Comatose themselves joined the ranks of the displaced.

Eviction brings change, and change inspires creativity. When our heroes got booted from their home city of over a decade, they did not despair – no! They wrote a new and wonderful album. If our heroes maintain their current trajectory we should all be really rather excited about what the future holds.
Venue Information:
Troubadour
9081 Santa Monica Blvd
Los Angeles, CA, 90069
http://www.troubadour.com/

All lineups and times subject to change