mewithoutYou (10:30 PM)

Kevin Devine (9:30 PM)

Buried Beds (8:30 PM)

Fri, July 27, 2012

8:00 pm

adv tix $15.00 / day of show tix $17.00

Sold Out

This event is all ages

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mewithoutYou - (Set time: 10:30 PM)
mewithoutYou returns with their 5th studio album Ten Stories, set for release May 15, 2012. A deluxe vinyl edition will be available as well. Helmed by producer and friend of the band Daniel Smith (Sufjan Stevens) and mixed by Brad Wood, Ten Stories is an allegorical collection of songs that, at first listen, follows a winding narrative about a circus train crash in 19th century Montana. But long-time fans of this band know that although we are immediately introduced to a talking elephant, fox and tiger, there is always more than meets the eye.
mewithoutYou – frontman Aaron Weiss, guitarist Michael Weiss, bassist Greg Jehanian and drummer Rickie Mazzotta – will be previewing the new songs during a run of select live shows in early March, beginning March 3rd in Baltimore at Metro Gallery. A U.S. Spring tour will be announced in the coming weeks.

Ten years into their life together as a band, mewithoutYou are still searching, and they still compel us to join them in their search. Well-loved for their introspective and eccentric ruminations on life, love, loss, spirituality and temptation, Ten Stories is the result of a lot of living and a lot of death. After experiencing the joy of a newborn baby in the Weiss family in early 2010, it wasn’t too long before several deaths of relatives and friends shook the band to its core. They spent some time apart to live their lives, but it is their deep friendships that always bring them back together again.

Reflecting on their history together, drummer Rickie Mazzotta says, “Think about everything that happens in the course of a decade – death, taxes, scholastics, break-ups, birth, illness, World Series Championships, foggy memories, whack decisions, the loss of innocence, the highest highs and the lowest lows. We’ve been through a lot together. When we came together to make Ten Stories, it was spawned out of being apart for a while, home with friends and lovers, pursuing other interests and naturally gravitating back towards one another in space and sound.”

This natural reunion led to the band beginning work on Ten Stories with a relaxed approach, leisurely enjoying the summer sun and leaving behind any pre-conceived ideas of what kind of songs they wanted to make. The result is an incredibly expansive album, encompassing where the band has been and where they are going. mewithoutYou’s last album, 2009’s It’s All Crazy! It’s All False! It’s All a Dream! It’s Alright!, was a marked departure into the world of folk and written around an acoustic guitar, Ten Stories adds the band’s raucous vocals and hard-hitting instrumentation back into the mix. Still present are their melodic overtones and lush orchestration of more recent years, making for a riveting musical journey at the album’s every turn.

Through the fable-like interactions of fictitious animals, Ten Stories offers up deep ponderings and keen observations about human character flaws and the circle of life. As the band further explores their signature themes of romantic disaster and quasi-mystical speculation, a naive rabbit falls for a footloose fortune teller and a monastic walrus for a hedonistic owl. A pretentious Fox has a prophetic dream, a starving Bear has a vision of a martyred saint and an indecisive Peacock and gnostic Tiger learn the virtues of megalomania from an ego-annihilated Potter Wasp. From the urgent suspense of album opener “February 1878,” to the sweeping drum patterns and gritty vocals of “Grist for the Malady Mill,” to the psychedelic gem “Aubergine” to the special guest artist on “Fox’s Dream of the Log Flume,” it’s clear that Ten Stories is one of mewithoutYou’s most dynamic albums to date.
Kevin Devine - (Set time: 9:30 PM)
Kevin Devine
With a musical repertoire that spans the spectrum from hushed finger-picked narratives to bombastic rockers, Kevin Devine is one of those rare talents who straddles a multitude of genres and feels equally at home in each. Whether he’s playing solo to hundreds of his devotees in a cramped NYC club, joining friends on stage at Lollapalooza or touring with artists varying from Rachel Yamagata to Brand New, Devine’s songs enrapture a diverse set of ears like few musicians. Born and raised in New York and currently dwelling in Brooklyn, Devine is a singer/songwriter who has been quietly honing his craft since the release of his first album in 2002. He’s since been adding idiosyncratic chapters to his unique success story by building his diehard international fanbase with incessant touring and a series of compelling releases that highlight his introspective lyrical wordplay, each displaying an impressive musical evolution. Brother’s Blood, his fifth record and first with Manchester Orchestra’s Favorite Gentlemen record label, is the most resounding evidence of that ethic and maturation – a sprawling, confident mission statement about conscience, culture, and personality. Brother’s Blood is a response to the three years Devine spent touring relentlessly behind his major label debut, the Rob Schnapf-produced Put Your Ghost To Rest, initially released by Capitol/EMI in 2006 and later re-issued by Brand New’s Procrastinate! Music Traitors following Devine’s dismissal from Capitol during its bloody merger with Virgin. True to Devine’s character, he turned a potentially grisly outcome inside out and instead exited the label with a healthier and more thriving career than when he went in. Devine accomplished this feat the old fashioned way: playing close to 600 shows between June 2006 and December 2008, further broadening his appeal and versatility, and doing it all without the centralized support from a label. These shows offered him opportunities to share stages (and vans) with artists as diverse as AA Bondy, Annuals, Manchester Orchestra, Elf Power, Rachel Yamagata, Lucero and Corinne Bailey Rae. He appeared at The Sundance Film Festival alongside She & Him and Mandy Moore and at Austin City Limits with Clap Your Hands Say Yeah and Andrew Bird. He traversed the globe at a feverish pace: the UK with All-American Rejects, Australia with The Offspring, England and Ireland, Europe and Japan, and of course, the States. Back home, he triumphantly oversold two headline gigs at New York’s Bowery Ballroom and was asked to join two very different groups of friends, Brand New AND Okkervil River, on their respective stages at Lollapalooza 2008. Somewhere in all that motion, Devine managed to whip 15 or so songs into shape and started visualizing what would become Brother’s Blood. He recorded barebones acoustic versions of the tracks in early ’08 and eventually rehearsed and demoed those with his erstwhile Goddamn Band (Brian Bonz on keys & percussion, Chris Bracco on bass, Mike Skinner on drums, Russell Smith on guitar, and Mike Strandberg on guitar) in their Brooklyn practice space all summer. Carving away at and layering ideas with producers Bracco & Skinner and engineer Dan Long, the band bunkered down in Williamsburg’s Headgear Studios (TV on the Radio, Yeah Yeah Yeahs, Au Revoir Simone, Son Volt) for the first two weeks of August. Devine consciously ceded more control of arrangement to his players, hoping to affect a more live, full-band feel for the first time on record. The results speak for themselves. Brother’s Blood is both the next step and a break in form; it reflects the diverse talents and contributions of The Goddamn Band as much as it speaks to the scope of Devine’s influences and commitment to exploring new stylistic territory. Lead single “I Could Be With Anyone” is a charging and hook-heavy pop song equally indebted to The Cars and Superchunk; “Another Bag Of Bones” (initially released as a Rob Schnapf-produced acoustic single around the ramp-up to the election) pins its dystopian and restless vision of a civilization in freefall to a dark and explosive groove before finding release in a choir’s hopeful strain. Meanwhile, the title track is a massive and dynamic homage to the epic guitar freakouts of Neil Young and Built To Spill and the hypnotic and ominous “Carnival” sets the tone its with spacious, swirling flares of psychedelia – a dynamic exploration of tension and release which plays against a nightmarish hallucination about lost willpower and the fear of finally waking up to a reality that’s even crazier than your dreams. But far from being one of Devine’s rockingest recordings to date, many of Brother’s Blood’s finest moments are its quietest. Opener “All Of Everything, Erased” lays a bed of nimble and rhythmic finger-picking for its vivid description of a world left with no recourse but to cleanse itself of humanity and start over. “Fever Moon” is a sultry, Latin-influenced meditation on lust and its consequences that wouldn’t seem out of place on a 1970s Leonard Cohen album, while “Murphy’s Song” features a dazzling vocal turn from Jaymay that adds some jazz-era sensuality to the song’s trumpet and piano-sprinkled Carribean lilt. On “Tomorrow’s Just Too Late,” Devine and Brand New’s Jesse Lacey deliver a delicate and weaving full-song harmony that would make Simon & Garfunkel proud. Whether he’s joined in a duet, backed by his Goddamn Band, or singing quiet ruminations into his microphone alone with just his acoustic guitar, Devine deftly illustrates his unique versatility and breadth with each note. Brother’s Blood not only serves as a reminder of this but as the next step in his exciting evolution.
Buried Beds - (Set time: 8:30 PM)
Buried Beds
"This is one of those bands that's so good, you simply cannot understand why the world hasn't discovered it yet. Buried Beds is a pop group - no apology necessary, because doing pure pop well (i.e. not boring people to death) is a high-wire act not too many people can pull off. The band was formed in 2003 by Philadelphia indie music mainstay Brandon Beaver (how's that for a pre-existing stage name!) and Eliza Jones. Check out the latest Buried Beds collection, Tremble the Sails, to understand what talented people can do with piano, acoustic guitar, banjo and violin. The arrangements are lush and interesting, the lyrics focused and funny, and the vocal harmonies are Beach Boys good. All the vocals, by the way, were recorded at home, with the band members in their PJs."
Venue Information:
9081 Santa Monica Blvd
Los Angeles, CA, 90069

All lineups and times subject to change