Kevin Devine

Kevin Devine (10:40 PM)


An Horse (9:10 PM)

The Dead Ships (8:30 PM)

Thu, October 6, 2011

8:00 pm

$13.00 - $15.00

This event is all ages

adv tix $13.00/dos tix $15.00

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Kevin Devine - (Set time: 10:40 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.
SPECIAL GUEST JUST ADDED: Anthony Green - (Set time: 9:55 PM)
Anthony Green is a musician from Holland, PA. He is currently the lead singer of Circa Survive, previously in the bands Saosin, The Sound of Animals Fighting, Audience of One, Jeer at Rome, High and Driving, and Zolof the Rock and Roll Destroyer.

In December 2005, Green embarked on a mini solo tour, opening for Fred Mascherino (ex Taking Back Sunday, as The Color Fred) including a stop in his hometown, Philadelphia, PA on December 27, 2005, which was recorded in full. The set included some Circa Survive songs and some of his own.

After announcing his first solo album called Avalon, Green played three acoustic shows towards the end of December 2007. During the 2008 SXSW Music Festival in Austin, Texas, he played two daytime shows (including the Alternative Press party) as part of a five-date mini tour. On the Austin dates, he was accompanied by the band Good Old War.

Avalon was released in August 2008, peaking at #44 on the Billboard 200 in the United States.[10]

In August and September 2008, he embarked on his first solo tour with high school friends Tyler Moore and Baylor Fulton in support of Avalon. Members of Good Old War again served as his backing band, but also played their own set as openers of the tour. The main support act was Person L, the solo project of fellow Pennsylvania native Kenny Vasoli, singer of The Starting Line, and a known talented player of the Tambourine.
An Horse - (Set time: 9:10 PM)
An Horse
An Horse seemed like a good idea at the time. Like giving your child an awkward name complete with odd pronunciation. You could end up hating it. The name not the child. But maybe the child too. We don't hate the baby that is An Horse. We love it. 

It is not because Kate is the size of jockey or because Damon was once kicked by a goat that An Horse bears its name. There's no sense in that. A friend once gave Kate a sweater with An Horse written on it because he thought it was grammatically correct. It wasn't and that was quite a long time ago but Kate still wears the sweater. She hasn't grown in years. Damon still remembers the goat like it was yesterday.

Kate didn't know Damon had been kicked by a goat when she asked him to join her on stage in July 2007. And she thought she knew Damon well. Damon played drums and worked in one of the few remaining Australian independent record stores with Kate. The downtown Brisbane store had no windows, it was dusty as hell and they didn't really do much work. In fact, the store closed down a few months after they started playing shows together. Coincidence? Probably not. The pair of sleuths worked out that they could set up a P.A. in the store and practice free for hours. Soon customers found the store's opening hours getting shorter and shorter and Kate and Damon's music was getting better and better.

The pair soon decided to lead An Horse out from the dank basement store. Like revolutionaries they took to the streets but without the cause or the fight or the gnarly banners, they did have songs though. And hand claps. They were surprised when after one show they were offered a whole lot more. But they weren't as surprised as the owner of the record store when he found his two loyal managers playing to a packed out room when they were supposed to be selling CDs, his not theirs. 

Kate Cooper and Damon Cox share common interests. And when someone forgets their toothpaste on tour they'll share that too. There isn't a whole lot more to it...I guess.
The Dead Ships - (Set time: 8:30 PM)
The Dead Ships
A lot has happened for The Dead Ships in the short time that they’ve been together.

Within a couple of months after singer/guitarist Devin McCluskey and drummer Chris Spindelilus started jamming in the latter’s apartment, the soulful garage rock duo were playing sold out shows at The Echo in their native Los Angeles (opening for King Khan) and at San Francisco’s Bottom Of The Hill.

They quickly became the most talked-about live show in L.A., picking up airplay on radio giant KROQ where their song “Big Quiet” spent five weeks in the number one slot on the station’s star-making Locals Only show. And just recently, the Ships were hand-picked by Goldenvoice to perform at Coachella 2016, where they won over the crowd with their punchy hooks and wiry on-stage energy.

Now, it’s time for the world to really get to know The Dead Ships as they look forward to the release of their debut full-length album CITYCIDE. Produced by Broken Social Scene’s Brendan Canning (he also adds some sweet, sweet guitar playing throughout the LP), the now-trio with Alex Moore on bass put together a fiery collection of songs that showcase McCluskey’s engaging yowl and an unrelenting drive that refuses to let up on the gas pedal until the last notes of album closer “Tomorrow’s Crashes” fade away.

For all its dynamism and momentum, once you start digging into CITYCIDE, you’ll start to taste the bittersweet tang of McCluskey’s vision for this album. For example, the title of this LP began as a reference to the sad fact that when people choose the Golden Gate Bridge as the location to take their own lives, they do so facing the city that they’re leaving behind. “It seemed like a sort of statement,” McCluskey says. “One last rebellion.”

As he started writing a song inspired by that, it evolved into a full suite of songs about the alienation that folks living in big cities like Los Angeles or McCluskey’s former hometown of Chicago can feel, even as they’re surrounded by thousands of other people. On CITYCIDE that takes many forms like his frustration with people that give up on their dreams to make a buck (“Company Line”) or the feeling that the walls of your home are more oppressive than welcoming (“Floorboards”).

There’s an added shade of sadness to CITYCIDE too, as many of the songs poured out of McCluskey in the wake of his best friend’s suicide. Using his art to process his grief and confusion at losing the closest person in his life helped pour some added depth of feeling into the songs. You can get by just rocking out to them, but once you let them sink in deeper, they’ll quickly become a part of you too.

And if the music - a raw power mix of finely tuned dynamics with the unadorned grind of vintage Nuggets-style psych rock - isn’t enough to let you know that this isn’t a sorrowful album but rather a celebration of McCluskey’s friend’s life and the simple act of carrying on even in our toughest times, just spend some time with “First Mistakes.” Through the thick cloud of jangly power-pop chords, the message of the chorus bursts out brightly: “It was good to be alive!”

The next step for The Dead Ships is to bring this feeling to as many willing bodies as they can. The band is coming off a sold-out tour of the U.S. opening for Les Butcherettes and stopping by SXSW before their triumph at Coachella. For the immediate future, that means more touring on the way, hopefully taking them further and farther out than ever before.
Venue Information:
9081 Santa Monica Blvd
Los Angeles, CA, 90069

All lineups and times subject to change