Tag Archives: Drag City

SAPAT, BLUES CONTROL, PARLOUR, and WET at the CATHOUSE, Thursday, July 26th


(Flier by Ryan Davis.)

Black Velvet Fuckere, Cropped Out, and The Other Side of Life are proud to present:

SAPAT (on Siltbreeze; from Louisville, KY)
BLUES CONTROL (on Drag City; from Coopersburg, PA)
PARLOUR (on Temporary Residence; from Louisville, KY)
WET (from Louisville, KY)

Thursday, July 26th 2012
at The Cathouse
747 S. Preston
All Ages! Doors at 8 PM, $5


(Photo of Sapat by Ginger Goss, from Loin Seepage.)

Spawned from the formidable Louisville, KY collective known as Black Velvet Fuckere, SAPAT resides as the centrifugal force in this Midwestern psychedelic madrigal set in the psychosexual backwaters of the mighty Ohio River. For the entirety of the ‘00 decade, members have kept busy collaborating with and/or massaging the egos of various and sundry avant-pontiffs such as Robert Fripp, Magik Markers, Dead Child and Eugene Chadbourne – when not honing the orgone energy of SAPAT.

Don’t lose control — dig BLUES CONTROL! Following a circular path in order to access the unknown, Russ and Lea nab chaos in a plastic cup and crush rock into diamonds, or something that looks like them anyway. Valley ho! Their new record, Valley Tangents, “is like drugs for your ears.”

Watch the video for BLUES CONTROL‘s “Love’s a Rondo” here: http://youtu.be/BlUyUvSaZKo.

PARLOUR originally began as a solo project from Tim Furnish following the mid-90s dissolution of CRAIN – the seminal Louisville rock group he co-founded in the late ’80s. Currently playing with new drummer (Greg Morris) and synth player (Brian Sweeney), Furnish’s PARLOUR evokes “A unique combination of interweaving guitar shards… driven by a dark, relentless rhythm section.” Their most recent album, Simulacrenfield (released on Temporary Residence), was one of our favorites of 2010.

WET is an electronic outfit comprised of three Louisville high schoolers (Hank Paradis, Evan Booker, and Jeff Bryant) who began playing in 2010. Together the group uses an array of electronic, acoustic, and self-made instruments to find humor in their common fears as young people — fears of excessiveness, ignorance, and estrangement that perhaps cannot be destroyed, but absorbed and released again in a series of musical elations. WET’s full-length debut Wetter Than Wet is now available for free download at: http://thewet.bandcamp.com/album/wetter-than-wet.

Find the Facebook invite here: http://www.facebook.com/events/121230094685490.

To join our email list, send an email to hstencil@gmail.com. You can also join our Facebook group at http://www.facebook.com/groups/232825523444477/.

UPDATE, 7/25/12: Read this great interview with BLUES CONTROL in today’s LEO Weekly:http://leoweekly.com/music/spiritual-station-blues-control.

P.G. SIX, NATHAN SALSBURG, and LUKE ROBERTS at ZANZABAR, Tuesday, May 8th


(Flier by Elliott Turton)

Cropped Out and the Other Side of Life are proud to present:

P. G. SIX (from New York, on Drag City)
NATHAN SALSBURG (from Louisville, Kentucky; on No Quarter)
LUKE ROBERTS (from Nashville, TN; on Thrill Jockey)

Tuesday, May 8th
at ZANZABAR
2100 S. Preston
8 PM, $5, 21-and-0ver

P. G. SIX is the moniker for Pat Gubler, former string man with the Tower Recordings, and current solo artist for Drag City, who released his fourth solo album, Starry Mind, last year. He’s touring with a full band, which features Bob Bannister and Robert Dennis (both of Fire in the Kitchen and Tono-Bungay), and this show will be his Louisville debut. Don’t miss it!

NATHAN SALSBURG is an archivist, producer, guitarist and writer based in Louisville, Kentucky. He has worked for the Alan Lomax Archive since 2000, for which he currently serves in the capacities of production manager, photo and video archivist, and general digital catalog editor. Since 2006 he has produced and hosted “Root Hog Or Die,” a vernacular/traditional music program on East Village Radio, and is curator of the Twos & Fews recording imprint, also a vernacular music entity, and a collaboration with Chicago’s Drag City label. SALSBURG maintains an index of on-line vernacular music resources at his blog, roothogordie.wordpress.com, and contributes occasional music writing to the Louisville Eccentric Observer and the Other Music weekly update. Last August, the Tompkins Square label released Avos, a collaboration between SALSBURG and Chicago guitarist James Elkington (formerly of the Zincs), and SALSBURG’s first solo album, Affirmed, was released last November on No Quarter.

Listen to “Sought & Hidden” off Affirmed here: http://noquarter.net/mp3/sought.mp3.

In the year since LUKE ROBERTS recorded his debut Big Bells and Dime Songs a lot has changed. Luke now owns a guitar that his sophomore album was written on, he has moved from Brooklyn to Montana to Nashville, his childhood home, and the songs were written over a long period of time in his Brooklyn apartment (as opposed to largely on the bus down to the studio on the debut). The combination of changes made a significant and noticeable impact on the songwriting and arrangements found on The Iron Gates at Throop and Newport , recently released by Thrill Jockey.

Check out the Facebook invite here: http://www.facebook.com/events/451756884838877/.

To join our email list, send an email to hstencil@gmail.com.

CAVE and TODAY THE MOON, TOMORROW THE SUN at ZANZABAR, Friday, May 4th

Cropped Out, The Other Side of Life and Zanzabar are proud to present:

CAVE (Chicago, Illinois; on Drag City)

with special guests

TODAY THE MOON, TOMORROW THE SUN (Atlanta, GA; on Greyday Records)

Friday, May 4th — OAKS NIGHT!
at ZANZABAR
2100 S. Preston Street
9 PM DOORS, $6 cover, 21 and over

CAVE began in Columbia, Missouri, playing mostly improvisational live music. CAVE is now located in Chicago, Illinois. In September 2011 Drag City released the new full length CAVE record Neverendless, which they describe as “a motorik masterwork! The new CAVE is roller-rinkin’ rock for the next generation!”

Watch the video directed by Miss Pussycat for the song “W U J” off their Drag City album Neverendless here:

TODAY THE MOON, TOMORROW THE SUN is a band of four. 2 boys. 2 girls. Noisy. Dancy. Loud. Sincere. Sweaty. Loveable. Hardworking. A real good time. Touring full-time since August ’09.

Check out the Facebook invite here: http://www.facebook.com/events/370220876357398.

To join our email list, send an email to hstencil AT gmail DOT com.

CAVE and OLD BABY at ZANZABAR on Sunday, December 11th

CAVE and OLD BABY

Cropped Out and The Other Side of Life are proud to present:

CAVE (Chicago, Illinois; on Drag City)

with special guests

OLD BABY (Louisville, Kentucky; members of YOUNG WIDOWS, SAPAT, SHIPPING NEWS, and much more!)
and
DJ EVAN PATTERSON (YOUNG WIDOWS, OLD BABY)
DJ JOEL HUNT
(The Other Side of Life)
DJ KIM SORISE
(Dirty Soul Party)

Sunday, December 11th
ZANZABAR
2100 S. Preston Street
9 PM DOORS, $6 cover, 21 and over

CAVE began in Columbia, Missouri, playing mostly improvisational live music. CAVE is now located in Chicago, Illinois. In September 2011 Drag City released the new full length CAVE record Neverendless, which they describe as “a motorik masterwork! The new CAVE is roller-rinkin’ rock for the next generation!”

Watch the video directed by Miss Pussycat for the song “W U J” off their new Drag City album Neverendless here:

OLD BABY is a new Louisville-based band consisting of Todd Cook (SHIPPING NEWS, KINGS DAUGHTERS AND SONS), Jonathan Glen Wood, Neil Argabright (SAPAT), Drew Osborn (WORKERS) and Evan Patterson (YOUNG WIDOWS). This show with CAVE marks their debut, which we are sure will be auspicious, certainly not suspicious.

Link to the Facebook invitation is here: http://www.facebook.com/event.php?eid=215187421885679.

To join our email list, send an email to hstencil@gmail.com.

The Endtables, s/t (Drag City/Alien Intelligences)

LEO Weekly ran my review of the new retrospective of Louisville’s own Endtables today:

I thought we were modern, sings Steve Rigot at the beginning of “Trick or Treat” by the Endtables, a perfect statement on life in Louisville circa 1979. Arguably the first punk band in town, their music utterly reflects the anxiety of growing up “punk,” modern, in a thoroughly unmodern place. Songs such as “They’re Guilty,” “The Defectors” and “White Glove Test” exude a nervous energy that’s hard to match. But after self-releasing one four-song single, the band broke up, with their music known to only a handful. This long-overdue collection corrects the historical record by presenting the six songs they recorded while active (on the new 12-inch EP), along with an unedited take of “Process of Elimination,” as well as six live songs — five of which were never recorded, and three video clips of the band in action (on the CD only).

Buy it from Drag City here: http://www.dragcity.com/products/the-endtables.

Pissed Jeans Interview from Swingset #8

Pissed Jeans

(Photos swiped from White Denim)

Pissed Jeans are quite possibly the best band in America right now. There, we said it. Their debut album, Shallow, has been blasting out of our respective home and office stereos on continuous loop since it was released last year on CD, and having finally been able to catch these four hombres in live action recently with Pearls and Brass, we gotta say, they smoke. But they don’t need smoke to make themselves disappear, dig? Swingset’s Joel Hunt conversed with PJ singer and man-about-town Matt Korvette via email in the days leading up to the November, 2006 mid-term elections, and they talked about Mark Foley a little bit, but as you’ll read below, Mick Foley is a much bigger influence (literally and figuratively) on their amazing brand of sweaty, manly rock.

Swingset: Okay, so now that Pissed Jeans has signed to Sub-Pop and Pearls and Brass have put out a record on Drag City, has the Lehigh Valley scene finally jumped the shark? Is whatever the fuck you guys do now ready for “mass consumption?” Is Air Conditioning the Mudhoney to your Nirvana to P&B’s Soundgarden? Am I lame for even making these comparisons? My answer: you bet, but what do you think?

MK: I don’t know, it would be cool, but honestly I think we’re all gonna defeat ourselves before anyone else really starts to care. I don’t think any of us have the right attitude to become popular personalities or whatever, we’re all just concerned with doing our own thing and making each other laugh, really. If anyone wants to watch, that’s cool, but really I don’t think I’d want to sit around and watch Randy (of Pearls & Brass) eat an entire onion or Franco (of Air Conditioning) spray-paint his face unless I was their friend. The music is definitely cool, but I have little faith that cool music is what matters to most people.

Swingset: What’s the deal with how Pissed Jeans came together? What are the material differences between PJ and Gate Crashers? What’s the deal with Unrequited Hard-on? What are your origins, man?

MK: The original four of us played together in the Gate Crashers, different lineup on the instruments, though. We switched around and started Unrequited Hard-on, just doing a slow, dirgy punk thing that became Pissed Jeans — same songs and everything. The Gate Crashers just kinda ran their course, fun band, but we existed for like five years, did a bunch of records, and wanted to try something different. Both bands existed simultaneously for a while, and then the Jeans kinda took over. There’s an Unrequited Hard-on demo floating around, but some guy in Scotland bought most of them. We changed the name to Pissed Jeans, somehow thinking it would be a more respectful name. I couldn’t write every song about my wiener — just most of them, so we needed to branch out a bit.

Swingset: When the revolution comes, what role will Pissed Jeans play in service of it?

MK: Hopefully we can act as a pertinent example as to why a revolution was necessary in the first place.

Swingset: What’s the deal with your most recent tour [fall, 2006]? Any funny stories to relate so far? Lots of boredom?

MK: Boredom in the van, but all the shows have been pretty good. Pittsburgh’s always a great town. I nearly choked on some Skittles during our set. I bought some expensive soap at Lush in Boston, and someone blew up a smoke bomb at Wesleyan right after we played. Ate at plenty of diners and had a full-band game of hacky-sack. We’ve been attracting a lot of brutish dudes at these shows — I guess that’s cool, but it’s keeping the girls in the back which bums me out. I kinda want to institute a girls-up-front Bikini Kill thing from now on, if possible. Then again, some girl got her nose smashed at our show in New York, so maybe that’s a bad idea. Maybe we should just make sure the girls have bats.

Swingset: What happened with the girl who got her nose smashed? Which New York show was that? Do you feel any responsibility a la Axl Rose inciting riot-style, or is it just water under the bridge?

MK: She went to the hospital, which sadly delayed our payment for playing. I only heard this second-hand, really. I don’t really feel any responsibility towards anything when we’re playing. I’m not looking to govern people or anything. There should be more vigilante justice at shows, as far as I’m concerned.

Swingset: Girls with bats sounds like a good idea – what if girls brought rottweilers and/or pit bulls to shows? How can you better attract the single-girl-with-big-dog demographic?

MK: I’d be down with that, so long as the dogs aren’t exposed to the loud music. That makes my heart hurt, to see that, and I’ve seen it. Maybe if we can attract girls who wear Big Dogs brand clothing, that’d be enough for me.

Swingset: What’s the plan for the new record [Hope for Men]? You’re recording it in a few weeks, right? Where and who with? Any faux-boogie piano or helium voices on it like on Shallow? Probably not, right?

MK: [We’re] recording it right now, actually. It’s [being recorded] in Quakertown, by Dan McKinney, who’s done all our stuff so far. They’ll probably be a few tricks, at least I hope so. Dan has an instrument called the Gooseharp that I’m teaching myself to play, hopefully that works out.

Swingset: Tell us more about this Gooseharp – the sexual implications are limitless! Also, have you ever heard of a medieval instrument called the Sackbut? It’s a precursor to the trombone.

MK: I’d rather you just hear it, and keep the mystery going. I never heard or heard of a sackbut. Who invented that, Beavis?

Swingset: What do you make of this whole [Rep. Mark] Foley thing?

MK: If you’re talking about the Congressman, I think it’s pretty creepy. I read those instant messages and he’s pretty good with emoticons. I’d rather talk about Mick Foley, although I don’t really know what he’s up to these days.

Swingset: I’d rather talk about Mick Foley than Mark Foley, too. What did you think about his support of John Kerry? Do you think that doomed the junior senator from Massachusetts? Or was it his Sam the Eagle-style delivery?

MK: I don’t recall his John Kerry support, but generally I support Mick Foley. I wish he’d just tell me who to vote for, honestly.

Swingset: Who, other than Mick Foley, are your favorite wrestlers, past and present?

MK: I am a huge fan of professional wrestling. I’ll always have a soft spot in my heart for guys like Ric Flair, Brian Pillman, Steve Austin, La Parka, Bret Hart, Vader… the proper mix of strength, humor, and charisma is what I find most important. I’m really bummed that the WWE recently let go of the Boogeyman. That guy had something.

Swingset: What other bands would Pissed Jeans feel confident in challenging to a four-man tag-team match?

Pissed Jeans: I don’t really want to challenge anyone. I’m no wrestler myself, and if I’m gonna be doing some wrestling, it’s going to be in the privacy of my own home and certainly not with some other dude.

Don't Need Smoke

PISSED JEANS DISCOGRAPHY:

• “Throbbing Organ”/”Night Minutes” 7” (Parts Unknown), August 2004
Shallow CD (Parts Unknown), June 2005
Shallow LP (Parts Unknown), June 2006
• “I Don’t Need Smoke to Make Myself Disappear”/”Love Clown” 7” (Sub Pop), June 2006
Hope for Men CD/LP (Sub Pop), June 2007

Read another nice interview with Matt at Infernal Racket.

Awesome Color, Awesome Color CD (Ecstatic Peace!)

Today’s City Paper contains my review of the Awesome Color CD, out now on Ecstatic Peace!. Check it out:

Rocking a serious Stooges-esque-or is that Stoogian?-vibe comes rather easily to Brooklyn-via-Michigan’s Awesome Color. The band’s self-titled debut is one of the finest examples of today’s version of yesterday’s heavy guitar rock action. Far be it for us to start declaring that an actual movement is afoot or anything, but the past few years have definitely seen a resurgence in a hairy, expressive, hard-rockin’ guitar thing that–despite some of our younger, lamer tendencies to suppress childhood memories of ZZ Top–we can’t get enough of. And thankfully, despite residing in New York, Awesome Color thoroughly rejects any lame “rock is back,” wannabe new wave crapola.

From the first chords of opener “Grown,” you know the louder-than-three-people-should-be (think Blue Cheer) AC is gonna bring it. Indeed, the opening two-thirds of Awesome Color is just about as sweaty as rock gets, even after being laid down in a sterile studio environment and pressed to little plastic discs (and even when Thurston Moore’s behind the console). And while the vocals aren’t as wild with abandon as Iggy’s, Awesome Color’s endlessly repeated holy mantras like “it’s your time” set a pattern for ultramelodic guitar leads to follow along in a gospel-esque-there’s that suffix again-call and response. Clearly the path to heaven, or at least Ann Arbor, runs through Awesome Color.

In other news, The Red Krayola was totally amazing at Northsix last night. 2-hour set, new stuff followed by all the hits. Great action and vibe. UPDATE: you can watch some great videos of the Red Krayola live in Chicago last year at their band page at Drag City.

One last: is anybody reading this damn thing? Drop a comment if y’are.