SomeKindaWonderful

SomeKindaWonderful (10:00 PM)

Marc Scibilia (9:15 PM)

U.S. Royalty (8:30 PM)

Wed, April 15, 2015

8:00 pm

Adv Tix $10.00 / Day of Show Tix $12.00

This event is all ages

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SomeKindaWonderful - (Set time: 10:00 PM)
SomeKindaWonderful
A three-piece featuring Jordy Towers (vocals/lyrics), as well as Matt Gibson (guitar) and Ben Schigel (drums), the genre-bending group came together after Towers became a casualty of the major label system. Once signed to Interscope as a solo act, he refused to become yet another faceless persona and the label left him hanging on the vine. Towers knew it was time for a reset and headed to Ohio to re-examine his life.

“Iʼm not the type to be defeated easily,” says Towers. “You know, most people move to LA to make it, but I had to leave LA to find my path.”

In January 2013, Towers took a trip to visit family in the suburban Cleveland town of Olmstead Falls (pop. 9,000). It was there that he fatefully crossed paths with Gibson and Schigel. While the local musicians were just intending to just grab some beers at a local bar, they found much more than they had anticipated when they came across Jordy.

“We were basically a band without a lead singer and he was a lead singer without a band,” says Schigel. “We headed back to our studio the night we met and, literally three hours later, our first song ʻReverseʼ was done.”

To call “Reverse” the product of fate is an understatement. Endlessly catchy, the song feels both modern and classic, nodding to ʻ60s soul and contemporary R&B with the dynamic range of big-room pop-rock and cinematic emotion. Its structure, which features Towers unraveling a backwards narrative with a cadence that merges rap and soul, provides a novel lyrical framework to a unique sound.

“Itʼs an R&B soul rock record,” says Towers. “It sort of mirrors my move from LA to Cleveland. That path is reversed from what youʼd expect. Nothing is deliberate. Just like how we met, itʼs natural and all about the music. I still canʼt believe I met my musical soul mates at a bar in Ohio.”
Marc Scibilia - (Set time: 9:15 PM)
Marc Scibilia
“Sometimes I look at the world in a darker way,” says Marc Scibilia, “but when I hear a melody, when a lyric comes to me, I feel like things are going to be OK.”

While the sounds and styles of the eleven songs on Scibilia’s debut album, Out of Style, span a broad spectrum—from singer-­‐songwriter narratives to dance beats, drawing on folk, pop, and rock along the way—this hard-­‐fought but positive spirit never wavers. Produced by critically acclaimed artist and hitmaker Butch Walker (Pink, Fall Out Boy, Taylor Swift, Keith Urban), and one of the first releases on the new IRS Nashville imprint of Capitol Records, Scibilia’s LP marks the arrival of a major new talent.

“Marc came out on the road with me and in five minutes, I fell in love with him,” says Walker. “I’m a sucker for someone who can write a song with heart and emotion and meaning, but still have the decency to put a pop hook in it and make it relatable. You just want him to win, he deserves it—he’s just a good soul.”

Scibilia, born in Buffalo, New York to a musical family, has been playing various instruments since his childhood while soaking up influences from classic rock to hip-­‐hop. A month after graduating from high school, he moved to Nashville and committed to his songwriting. Since then, he’s released three independent EPs; seen his songs featured on multiple television shows; and toured with the likes of John Oates, Sixpence None the Richer, and James Bay.

“Half the songs on this album were written five years ago, and half in the last four months,” says Scibilia. “I think the sound we got is where it all came together. There’s lots of skin and bones, blood and heart, but also a lot of mechanical parts–kind of man-­‐meets-­‐machine.”

“We tried not to chase trends,” he continues. “We tried to chase a feeling, and hope it resonated. This wasn’t about getting in the studio and talking about who won Grammys last year, then trying to reproduce that. I pulled from the music I loved growing up—from Bob Dylan and Jimi Hendrix and the Beastie Boys—but also from more current artists like Lorde and Delta Spirit. Sometimes I feel more connected to the music of the past, but the record is very modern-­‐sounding.”

The turning point came when he turned over the demo of the song “Wide Open Arms” to Walker, who mapped out a new structure and added a rhythm track. “When I came back the next day, he had worked his magic on it,” says Scibilia. “It wasn’t just completely me anymore, but something bigger.

“After that, the rest of the songs came from that greater sense of size that something could achieve. I wanted to grow from the production, to be on someone else’s journey. Especially working with Butch, I wanted to get on that ride— even if it would be uncomfortable at first, I wanted to see where it went.”

The greatest transformation came with “When the World Breaks,” a song Scibilia wrote when he visited Kenya about a year ago. “I’d never been to Africa before and I saw such unbelievable things—great beauty and heart-­‐breaking tragedy,” he says. “You could hear funeral processions all night; there was music happening all the time. I put a vocal chant at the end of the song, but Butch identified that chant as something in the song’s core DNA and turned it into this enormous freight train of optimism.”

“The template was ‘Everybody Wants to Rule the World’ by Tears for Fears,” says Walker. “Marc’s song feels really epic, makes you feel good. The message might be bleak, but it ends bittersweet.”


Most surprising of all might be “Everybody is Somebody,” a straight-­‐up pop-­‐dance jam. “One of my favorite artists is Michael Jackson,” says Scibilia. “Whenever his music comes on, I feel good. So I wanted to have some songs that would immediately hit people and they’d think, ‘My body knows what to do with this song!’ “

The song’s inspiration, though, is a little less predicable. “My parents had a surprise party for my 16th birthday, and not many people came,” he says with a laugh. “It was a traumatic experience, but now it’s funny. So it’s a pop song, but it’s really true—it’s about not being fancy, hip, supercool. I go to party and feel a bit out of place, and those are those feelings at the heart of the record.”

It’s a theme that carries through to the title of the album. “This record is called Out of Style because I think that’s how a lot of people feel—out of the loop, out of the know, off the path, tired of the mainstream,” says Scibilia. “Most of the time I feel like an outsider to the speed of the times we live in, to the front page of the news, to the things most pop stars sing about.”

The project’s launch picked up a big boost when his performance of “This Land is Your Land” was featured in a 90-­‐ second Super Bowl commercial for the new Jeep Renegade campaign. Scibilia’s recording—with his own modifications of the arrangement—was the most “Shazam-­‐ed” moment (next to the halftime show) of the biggest television event of the year.

“I went out and bought a TV that morning so my girl and my brother and our friends in Nashville could all watch,” he says. “It felt like ten years of hard work realized in a moment. And Woody Guthrie is the greatest American songwriter, so to have this first big piece of this experience associated with him is just an honor.”

Scibilia should start getting used to such immediate response to his music. He wrote the high-­‐speed talking blues “Sideways” as a stream-­‐of-­‐consciousness rap when his touring van broke down outside of Atlanta. When he played it at his next show, he remembers thinking, “Is this the strangest song anyone’s ever heard?” But the audience started clapping along after the first verse, and the song hasn’t changed since.

Another song, “Times Like This,” is even more personal to Scibilia, having been inspired by a family tragedy. “I sat down and fifteen minutes later, there it was,” he says. “The first time I played it live, people knew what to do. They knew the lyrics after one chorus, there was a built-­‐in response. The sense of beauty and tragedy together is really what the record is about.”

Marc Scibilia knows that his music challenges definitions and can be tough to classify from song to song. “I love all kinds of music and write in a really wide range of sounds,” he says. “I think a song resonates with people because it feels true and has soul, and less because of any genre or label it’s tagged with.”

And that’s what it means to make music that’s timeless, that reaches across audiences—that truly won’t be going Out of Style.
U.S. Royalty - (Set time: 8:30 PM)
U.S. Royalty
U.S. Royalty searches for home on their sophomore album Blue Sunshine. Chronicling
the search for connection, intimacy, and acceptance, the album recounts times of confusion
giving way to moments of clarity. From the tender swell of lead track “Into The Thicket” to
the orchestral thrust of album title track “Blue Sunshine,” the album explores the tension
between polished composition and raw energy.
After relentlessly touring the U.S. over the last few years and performing at festivals such as
SXSW, Art Basel, and the Sweetlife Festival, the Washington, D.C.based
band (John
Thornley, Paul Thornley, Jacob Michael, and Luke Adams) wanted to take a season to
reflect. With the unexpected passing of John and Paul’s father and the disorientation upon
returning to a city forsaken for the road, they felt the need to start fresh. To focus on
reflection and new approaches to songwriting, the band isolated themselves with longtime
friend and engineer, Justin Long (Mirrors) for six months in a house overlooking a cemetery
near Great Falls, MD. While in this setting, themes of home and longing gave rise to a
larger picture of the individual struggle for meaning and purpose. With these ideas
brewing, the guys brought in another good friend, Sonny Kilfoyle (the band Minks), to
coproduce
and help guide these songs and lyrics to the surface. Soon after, U.S. Royalty
decamped for Dreamland Studios, a former church turned recording studio in upstate New
York. Most of the band’s members were first introduced to music while growing up in
church, so it seemed only fitting to have this centuryold,
oncesacred
space as a creative
refuge. The studio’s kaleidoscopic stained glass, cavernous sanctuary live room, and
reverb plates stretching the length of the basement provided a familiar and inspiring
backdrop for the group to bring months of work to fruition.

The recording process consisted of the band making use of a church organ, mellotron,
strings and an array of analog equipment to introduce subtle layers into their already
dynamic 4piece.
Sparse and elegant one moment and brash and recklessly passionate
the next, they weave a musical tapestry from such unlikely compatriots as Mazzy Star,
Stevie Nicks, and The Verve, with the vocal fervor of early U2. Lyrically, the album draws
from the well of saudade, a Portuguese word that conveys a deep, melancholic longing for
someone or something, coupled with the knowledge that the person, place, or experience
is forever out of reach.

The fascination with cinema continues the theme that U.S. Royalty developed with their
debut album. Where Mirrors mimicked the swagger of Spaghetti Westerns and Kubrick
films, Blue Sunshine can be read against the narrative content of Malick's masterpiece
“Days Of Heaven.” The characters in the film seem forever in flight, either running from the
law or chasing inheritance money, but they're also pulled in by America's gorgeous open
spaces and limitless opportunity, somehow finding comfort in the swirling change around
them. Like the band, they manage to find shelter somewhere between the road and home.
John's weariness is laid bare in “Blue Sunshine,” as he asks with a howl, "Why is the peace
we had drifting away?" The fingerpicking and harmonies of "Into the Thicket" and “Get On
Home” sound like echoes of the film's poignant shots of Texas wheat waving in the wind. In
the record's lone instrumental, "De Profundis,” guitarist Paul’s sparse, layered acoustic
guitars duel each other from start to finish, producing glimpses of beauty that are pulled
back down into the churning, muddy lowend.
Luke and Jacob’s rhythm section, which
relentlessly drives in songs like "Lady in Waiting" and "Valley Of The Sun,” stands it’s
ground throughout the album giving it a solid foundation akin to the church they recorded in.
Blue Sunshine sounds like it was recorded in what those in the film industry call the "magic
hour," that softly lit time just before the sun rises and right after it sets. As light filtered
through the old church's stained glass, John penned the lyrics to "Get On Home" while
acoustic guitar reverberated through the cavernous space. What may be the album's most
singular statement came from this unplanned moment, as John speaks for the band: "Lost
a few friends, no fault of our own. Wasteland of the places I've come now to call my home."
Venue Information:
Troubadour
9081 Santa Monica Blvd
Los Angeles, CA, 90069
http://www.troubadour.com/

All lineups and times subject to change