BAD BOOKS

BAD BOOKS

Bad Books (featuring Kevin Devine & Manchester Orchestra) (9:40 PM)

The Drowning Men (8:40 PM)

Harrison Hudson (8:00 PM)

Wed, October 10, 2012

7:00 pm

Adv tix $17.00 / Day of show $20.00

TICKETS AVAILABLE AT THE DOOR STARTING @ 7pm.---CASH only

This event is all ages

Feat: Kevin Devine & Manchester Orchestra

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Bad Books (featuring Kevin Devine & Manchester Orchestra) - (Set time: 9:40 PM)
Bad Books (featuring Kevin Devine & Manchester Orchestra)
A true accident if there ever was one; Bad Books was never an intended nor calculated side project of Kevin Devine and Manchester Orchestra’s Andy Hull. Though the two musicians have collaborated and performed together on tour and within the Favorite Gentlemen community of artists for years now, the genesis of Bad Books came from a simple idea to fill space and time off the road by collaborating on a small batch of songs together at the top of the year. With no agenda and no expectations, what was birthed just one week later was Bad Books, a fully realized album encompassing five compositions each from both Devine and Hull, with the members of Manchester Orchestra filling out the sound and the band. The self-titled debut will be released October 19th, 2010 via Favorite Gentlemen Recordings, the record label that was founded and has been run by Manchester Orchestra since 2007.

As songwriters go, Hull and Devine could not be further apart in terms of creative approach. The methodical wordsmith Devine, an English major from Fordham, is known to pine away for great lengths of time just to accurately pin-point one word within a lyric. “I was doing a take of ‘You’re A Mirror I Cannot Avoid’ and stopped myself for fifteen minutes because I was having trouble justifying ending two lines in the same chorus with the word ‘back.’ Just sitting there, staring at the screen, writing different word choices. I asked Andy if he thought it mattered, and he said, ‘Of course it doesn’t.’ Somewhere in that exchange is I think what differentiates us as songwriters. I think Andy trusts his instincts to lead him to the right place in a song, and sometimes I want to outthink my instincts because I’m scared of repeating myself, of resting on my laurels. And I think together, those two approaches meshed really, really well,” Devine said.

Hull echoes that sentiment: “Kevin is very meticulous, where I came in with a few ideas and fleshed them out literally as we were recording. Kevin’s songs were awesome and he was cool enough for me to throw in some ideas to change a part or add a bridge here or there.”

In contrast to previous outputs from Manchester Orchestra and Devine, Bad Books cradles a much more noticeable pop aesthetic and energy than either artist has probably ever showcased before. Nowhere is this more evident than in songs like “You Wouldn’t Have To Ask” and “Holding Down the Laughter”.
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The Drowning Men - (Set time: 8:40 PM)
The Drowning Men
When The Drowning Men formed back in 2006, the product of a childhood friendship between Bardeen, Dolan and Eisenkerch, the idea wasn’t to make a career, but to make music. The band, who added Messer and Smith into the mix, musicians who were equally instrumental to the formation of the group, practiced at least three days a week and a self-released an EP, Kill the Matador, in 2007. The group’s debut album, The Beheading of the Songbird, followed in 2009, again released on their own. Bardeen, a prolific songwriter who is always penning new tunes, was ready again with new music by 2010, encouraging the band to begin work on what would eventually become their second full-length, All of the Unknown.

Initially intending to record an EP, the group headed into Hurley Studios in Costa Mesa, CA in January of 2011 where they recorded five new tracks with producer Billy Mohler (Macy Gray, Jimmy Chamberlin Complex). In the studio Mohler became like the sixth band member, helping the musicians expand upon the tracks they’d been working on. “He brought a lot to the table,” Smith says. “Billy is an amazing communicator. He thinks really fast musically and he’s great at hooks and choruses. He would just do really simple things to make a good song great. He could give the song exactly what it needed all along.”

In the studio it became clear that The Drowning Men were actually crafting tracks for their second full-length, but before they had time to write and record additional songs touring opportunities poured in. The group spent the rest of 2011 on the road, opening for Alkaline Trio, Airborne Toxic Event and, most notably, Flogging Molly, who liked the band’s music so much they signed the group to their brand new label Borstal Beat Records. The label re- released The Beheading of the Songbird and sent them back into the studio in early 2012 to finish its follow-up.

The second session for All of the Unknown took place Main + Market in Venice, CA on and off during January and February 2012, again with Mohler at the helm. Here the disc began to take a more complete shape, driven by Bardeen’s clear-minded songwriting intent. “I had visions for each song individually,” Bardeen says. “For the whole album I wanted to set a mood that’s constant throughout the whole thing. I wanted to capture unique moments of feeling.”

The resulting album, which was completed in April, embraces this sensibility, but also juxtaposes that feeling with a spirited musicality that offers temporary respite from the loneliness. From the visceral introspection of “I Am the Beggar Man,” which Bardeen says “captures us as a whole, musically and lyrically,” to “Lost In a Lullaby,” the disc’s first single, which Smith describes as a “solid song that’s us,” All of the Unknown pulls in a vast range of influences and stylistic tendencies. Bardeen’s love for songwriters like Leonard Cohen and Nick Cave culls together with the wide-reaching musical backgrounds of his bandmates, allowing the songs to become expansive and indefinable.

Now it’s clear that by making music The Drowning Men actually did make a career. Their gritty, thoughtful tracks revel in originality, something that is simply the product of five musicians creating something as one. All of the Unknown inflates this further, evolving the music from the group’s past releases to embody grander choruses and involve bigger musical payoffs. But as the band prepares to tour extensively on the new disc, the music is still the underlying motivation. “I just want to write songs and play them,” Bardeen says. “Hopefully people like them. But if they don’t, I’ll still write them and we’ll still play them.”
Harrison Hudson - (Set time: 8:00 PM)
Harrison Hudson
"Jack come back/bring back with you the America even outsiders loved/ the America of open highways/the America of boundless forests/the America of sunsets by the river-pier/ an America generous of spirit." - Jack Kerouac, 'Gentleness'
The American rock n’ roll of the ‘50s and ‘60s ran on raw, unfiltered emotion, and was driven by ardent soul. The muscle cars, steel mechanics, and never ending high
ways were the image, but the spirit was inherit in the far reaching melodies and layered vocals -- the ideal at the heart of American Thunder, Harrison Hudson's third full-length album. Behind the languishing spacious guitars and the overall smooth vibe there is Hudson himself, sharing the best moments of the American rock radio that lavished his childhood.

Formed in 2005 in Atlanta, GA Harrison Hudson began as a songwriter backed by a band. In 2006 his debut Angel On One Side…And the Other On The Other displayed a dark shade, a monument of Hudson’s life at the time, but by 2008 Harrison Hudson had become a full band, a trio that found a new home in Nashville, TN releasing the no-frills, full volume, Blood, Sweat, and Sweat. As soon as recording was finished Hudson began writing again, 70 songs that would be sliced down to an integral 12 of pop hooks and rock twist free of overbearing romantic gestures, the shape of American Thunder.

In one aspect American Thunder can construed as one love story, one that goes bad as the girl just must leave, but that’s a stretch as even the hyperbole romantic gestures of the more light-hearted songs (Bookstore Girl, Indie Rock N Roll Queen) can’t take the sarcastic cynical voice that lies in the punch line of other tracks (Stay, Fire and Fizzle Part Two). This voice is the grounding point of the album, the reality of relationships brought to the front.

"It's the kind of thing where you see a beautiful girl and she's definitely the answer,” Hudson describes the voice. “When she turns out to be just another human being like you, you resent her for it because she's is not perfect like you expected--and no one is."

To keep the spirit of the gritty early days of Rock N’ Roll without ending up with a throwback record the band entered a modern studio with Kevin Dailey and Micah Tawlks behind the boards. To jump into an old rock studio of AM radio glory in Nashville would have been easy, but the end album would have been a plastic design. The old idea lost in a chase to recreate.

American Thunder accomplishes the goal. The spirit of the old days of Rock N’ Roll radio have been captured and embraced, not re-manufactured.
Venue Information:
Troubadour
9081 Santa Monica Blvd
Los Angeles, CA, 90069
http://www.troubadour.com/

All lineups and times subject to change