The Asteroids Galaxy Tour

The Asteroids Galaxy Tour (10:00 PM)

Conway (9:00 PM)

Sat, October 18, 2014

8:00 pm

Adv tix $17.00 / DOS tix $20.00

Sold Out

This event is all ages

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The Asteroids Galaxy Tour - (Set time: 10:00 PM)
The Asteroids Galaxy Tour
Danish pop collective The Asteroids Galaxy Tour expand their musical universe even further with Out of Frequency

As their name might imply, THE ASTEROIDS GALAXY TOUR are somehow less of a band than they are a many-legged, ever-evolving, constantly moving party machine. Since beaming into popular consciousness back in 2008 with Fruit—a debut album responsible for producing the unstoppable, globally ubiquitous “Around the Bend” and “The Golden Age” singles—the band have toured the world, proving themselves to be one of the most unorthodox and uniquely original live bands on the planet. Unlike so many of their Scandinavian contemporaries—bands that often attack pop music with an almost surgical precision—The Asteroids Galaxy Tour’s vision of pop music is a much more kaleidoscopic, free-wheeling affair—a symphonic collision of big pop hooks, soaring horn sections, retro-synth flourishes, and epic beats. Inspired by everything from Blaxploitation soundtracks to Primal Scream to old reruns of Dynasty, The Asteroids Galaxy Tour evolved from a bedroom recording project between friends into a psychedelic big band of the future.

Now, nearly two years since the release of their debut album, The Asteroids Galaxy Tour return with Out of Frequency—an album that pulses with the same everything-but-the-kitchen-sink vibrancy that made their debut so auspicious. Nearly a year in the making, the album represents the next logical step in the musical partnership of founding members Lars Iversen and Mette Lindberg. Having expanded the band into a kind of revolving friend collective for touring purposes, the two eventually decamped back to their native Copenhagen to begin solidifying the musical ideas that had been bubbling up after so many long months on the road. Working from Iversen’s studio--itself a veritable museum of collected instruments and vintage gear—the two began assembling a collection of songs that would become a kind of imaginary soundtrack to what one might imagine is the world’s most over-the-top spy film.

“We didn’t want to bore people with our private diaries, “ says Iversen, “We wanted to make music with a truly filmic quality—songs that feature characters that aren’t necessarily us. Songs with bad guys, heroes, and lovers.”

To create the fifteen tracks on Out of Frequency, Iversen and Lindberg spent the better part of a year assembling songs and playing with different sounds, basking in the freedom of having no set agenda other than pleasing themselves. Taking cues from classic big bands, psychedelic Danish children’s TV shows from the 70s, and old Parliament records, Lindberg and Iversen slowly perfected their own version of pop noir—music that manages the clever trick of sounding somehow classic and futuristic at the same time. With Lars taking on the role as producer longtime friends and collaborators from Copenhagen filtered through the studio to record—laying down layers of horns and a variety of percussion. Eventually they assembled over twenty new tracks, from which Out of Frequency was born.

The resulting album is a cosmic confluence of styles and moods. Bringing to mind everyone from Nancy Sinatra to Beck, Out of Frequency is a thing of glorious messiness—a mix of horn-filled arm wavers (debut single “Major”, party banger “Heart Attack”) to psych-pop freakouts that would have done Pizzicato Five proud (“Fantasy Friend Forever”). “When it Comes to Us” is equal parts dance-floor bombast and 60’s girl group swagger buoyed aloft by Lindberg’s impish vocals, while “Theme from 45 Eugenia” and “Out of Frequency” are the most funk-tastic things the band has ever recorded. The record itself might represent one long sonic adventure, but every track manages to be single-worthy on its very own.

For Lindberg and Iversen—two friends who have been playing music together for nearly a decade—the band is an always-evolving entity. The two might be the core masterminds behind the band, but they insist that the band is not—nor has it ever been—a duo. The Asteroids Galaxy Tour has become a traveling collective of friends that, much like their music, defies traditional definition. The current touring incarnation of the band includes six people—including two horn players—all of whom have a predilection for swapping instruments at a moment’s notice. For Lindberg—the self-proclaimed empress of the band--the joys and occasional pains of making music with The Asteroids Galaxy Tour are akin to eating something delicious. "It's like choosing an ice cream, I just can't pick only two flavors. I want to taste all of them. That’s how it feels with our music as well. We get to play with all the flavors.”
Conway - (Set time: 9:00 PM)
Conway
Kassia Conway makes music that falls in the Venn-diagram sweet spot between pop and R&B, rock and hip-hop, accessible and arty. It's got an attitude—and so does she. The singer-songwriter-bassist-drummer-director goes by Conway. Her choice of moniker says a lot about her: Conway may be a pretty face, but she's too smart and tough to trade on her feminine wiles. To her, the name, like the music is straight forward. "It is what it is," she says. "And that's how I am."

Conway has the DIY ethos in her DNA. She was raised by a single mother—an artist who makes found-object sculptures—on St. Louis's rough south side. As an eight-year-old, she'd accompany her music-obsessed mom to blues clubs. As a thirteen-year-old, she'd sneak herself in to underground punk shows. She taught herself to sing by mimicking Mary Poppins. Despite her challenging surroundings, she earned straight A's, worked to support herself, and threw herself into learning about music, one punk rock show and Outkast record at a time. Music as a career wasn't an option for her—it was a necessity. Says Conway: "I tried to escape the voices and do something 'practical', but eventually I realized … I'm going to die if I don't do this."

After high school, Conway moved to Brooklyn and worked as an art-world assistant while fronting a series of indie bands. One of those, All Wrong and the Plans Change, led to a change of plans. She came out to L.A. to record with her best friend and drummer, and never left. As the indie pop-rock band's frontwoman, bassist, and lead songwriter, Conway cut a distinctive figure in the L.A. underground scene. Her uncontrived, ferocious stage presence earned her comparisons to Karen O, though she claims her idol is Kim Deal. "Yeah," she recalls with a laugh, "I drank a lot of whiskey onstage." Still, the songs hinted at a certain vulnerability, which gave them crossover appeal, and led to one song, "I Get Down," getting played on Gossip Girl.

Conway felt the urge to delve into more distinct songwriting, something that could incorporate her love of hip-hop and '90s R&B. Conway, the solo project, developed over the course of a year in collaboration with various producers including Billy Mohler and Tim Pagnotta. "I wanted to take the rhythm from hip-hop and the structure of rock and fun pop music, and make people dance… and feel a little sexy, but not just white-girl sexy. That's what I wanted to do," she explains. Lead single "Big Talk" takes the sass of early No Doubt and the spoken-word gymnastics of David Byrne and sets them to a trashy, grinding beat. It's a takedown of egotism in the entertainment industry, and it's highly entertaining. "I was just so tired of people I see out in L.A. talking and talking and being so full of shit," she says. "Tell me something I can feel…or at least be funny."

The "Big Talk" video, shot and edited by Conway herself, does just that. She had originally hired a director, but the glammed-up result felt inauthentic. Not having a video camera of her own, Conway figured out that she could shoot moving images on her MacBook's Photo Booth program, and spent three weeks roaming around downtown L.A. capturing footage of herself. Whether she's mouthing off in her bedroom like your BFF on a Skype chat or brandishing swords in front of street-art murals, you can't take your eyes off of her.

The second single, "Killer," is an epic rocker of a love song that showcases Conway's robust yet haunting-around-the-edges voice (think Natasha Khan of Bat for Lashes crossed with Pink). With her debut EP on the horizon and a full-length album in the pipeline, Conway is eager to show that she has a range of sounds up her sleeve, from dance-floor freakouts to power pop to spare ballads. "There's more than one personality to it," she says. "It's like getting to know a person, their moods." Raw, real, and completely fearless, Conway represents the girl-crush as anti-diva—a Gwen Stefani for the Girls generation, or an all-American answer to M.I.A. "I want to dance to this, I want people to be able to sing along with it, and I want it to be relatable to shit I believe in," she says. "I mean, the minute I rhyme 'rain' with 'pain'—kill me."
Venue Information:
Troubadour
9081 Santa Monica Blvd
Los Angeles, CA, 90069
http://www.troubadour.com/

All lineups and times subject to change