Saturday, July 10, 2010
Friday, July 9, 2010
Nobunny, Medication at Cafe 9, June 30
Nobunny, Medication
Cafe 9, June 30, 2010
Photos by Luke Dringoli
Local heroes Medication have been gaining steady traction for a group of kids who probably still get carded on the regular. The distinction between Medication's recordings and live performances is somewhat pronounced, as recordings are the exclusive product of frontman Mikey Hyde and a reverb pedal that should probably receive royalties. (I'm also fairly certain that there are 15 year olds in the UK who wish they were that good at the disaffected sneer.)
At a live show, the fidelity is palpable and the reverb takes a bit of a backseat. While some traditionalists might gripe about the lack of a bass player, the two guitars plus steady, ample percussion – the tambourine use is particularly stellar – is a winning formula for the group.
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Cafe 9, June 30, 2010
Photos by Luke Dringoli
Local heroes Medication have been gaining steady traction for a group of kids who probably still get carded on the regular. The distinction between Medication's recordings and live performances is somewhat pronounced, as recordings are the exclusive product of frontman Mikey Hyde and a reverb pedal that should probably receive royalties. (I'm also fairly certain that there are 15 year olds in the UK who wish they were that good at the disaffected sneer.)
At a live show, the fidelity is palpable and the reverb takes a bit of a backseat. While some traditionalists might gripe about the lack of a bass player, the two guitars plus steady, ample percussion – the tambourine use is particularly stellar – is a winning formula for the group.
This time around, Medication went through their set without much ado – setting up and breaking down as if they were just grabbing a few beers – and by all accounts this set was a strong one, starting off with their single “Didn't Wanna Know.”
The evening's headliners were Hozac labelmates Nobunny. In Lucy O'Brien's She-Bop, there's a part where the author discusses how male guitarists have historically used the guitar as a stand-in for the phallus. A little obvious, a little Freudian, a little freshman-level women's studies, but it's an argument that's made its way through the rock-crit echo-chamber. Guitars are dicks.
Nobunny turns this notion on its head by – you guessed it – humping the guitar. (The lapsteel seemed to get the most action, the Flying V just got played.) Guitars are receptacles, they're vessels, and the performance is doused in a goofball, contrarian sexuality that's tough to pull off. All the tropes of the rock 'n' roll grotesque are there: gratuitous everything (but especially guitar solos), animal masks, and generally not knowing where one is on a Wednesday night.
The band might ride a gimmick a little hard, but a well-executed gimmick should be appreciated for its own merits and artistry. Rock and roll is an entertainment form rife with excess and self-reference. You know that scene in Altered States when William Hurt travels through the collective unconscious and re-emerges as a giant hulking ape? Nobunny does that but with rock 'n' roll, and re-emerges with a tail stuck to his briefs. If the idea of a mostly-naked grown man dressed up in a bunny mask trying to sound like Elvis doesn't resonate with you in 2010, then I....I don't know. I do hear there's this band called Vampire Weekend that's really reinventing the wheel.
For all the spectacle inherent in Nobunny's performance, he's a grower, not a shower. The set began with an unassuming lapsteel-driven country intro, and grew into a raucous, sweaty bacchanal. As the rock 'n' roll dance party on the floor gained momentum, they hit their stride. In the Nobunny cannon, the hits don't happen every track but when they do it's on 110%, possibly more.
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Nobunny play with an energy that's best suited to a house show, which is basically what Cafe Nine is. The band played at least one, possibly two encores. People left with bruises, the band left with scars, and the night ended fairly triumphantly for a Wednesday in New Haven with all in attendance assured of Nobunny's love for them.
Thursday, July 8, 2010
Kimono Draggin', Chumps
Saturday, July 10, 2010:
Location:
Rudy's
372 Elm Street
New Haven, CT
10PM - 21+ - Cover?
Here's a recap about these guys from their Myspace page:
Kimono Draggin' formed back in 2003 out of the ashes of several diverse CT groups. The power-trio's quirky, avant-garde sound delivers to the ear, a sense of hugeness and urgency. Bringing their jangly rock show throughout New England, France, Germany and the United Kingdom, it was clear that audiences were interested in Kimono's unique sound. They've locally supported several national acts including The Mr. T Experience, Richard Lloyd (Television) and Philo Cramer (FEAR). In late 2007, the band toured Europe making notable stops at Alan Raw’s BBC Radio show and Zappanale 18 where they shared the stage with several Frank Zappa/Mothers of Invention alumni. Currently, Kimono Draggin' has 3 self-released albums under their belt and are currently writing a fourth LP set for release in late 2010.
Chumps live up to their name by making it impossible to dig up any jibber jabber about who or what they are. Fuck you for wasting my lunch hour on researching you when I could have been reading about something important like Lindsay Lohan going to jail. Dicks. We can listen instead:
Dirt
Swamp Rats
Black
Location:
Rudy's
372 Elm Street
New Haven, CT
10PM - 21+ - Cover?
Here's a recap about these guys from their Myspace page:
Kimono Draggin' formed back in 2003 out of the ashes of several diverse CT groups. The power-trio's quirky, avant-garde sound delivers to the ear, a sense of hugeness and urgency. Bringing their jangly rock show throughout New England, France, Germany and the United Kingdom, it was clear that audiences were interested in Kimono's unique sound. They've locally supported several national acts including The Mr. T Experience, Richard Lloyd (Television) and Philo Cramer (FEAR). In late 2007, the band toured Europe making notable stops at Alan Raw’s BBC Radio show and Zappanale 18 where they shared the stage with several Frank Zappa/Mothers of Invention alumni. Currently, Kimono Draggin' has 3 self-released albums under their belt and are currently writing a fourth LP set for release in late 2010.
Chumps live up to their name by making it impossible to dig up any jibber jabber about who or what they are. Fuck you for wasting my lunch hour on researching you when I could have been reading about something important like Lindsay Lohan going to jail. Dicks. We can listen instead:
Dirt
Swamp Rats
Black
AEM109 Hallelujah the Hills (Supporting Titus Andronicus 7.10 at Lily's Pad)
This post syndicated from Ampeater Music
Albums, posters and other assorted promotions for Boston's everything-but-the-kitchen-sink-aw-fuck-it-let's-mic-up-the-sink indie rock band Hallelujah the Hills all bear the same distinctive collage style. In it, color and grayscale are mixed freely. Perspectives crash into one another, creating a mindfuck of Escher-esque intensity, only without that cute, logic-puzzle element of resolution. Photographs and drawings and computer graphics join forces to create single figures. Ragged edges show. Enormous pencils rain down on a boat that looks to have arrived directly from a renaissance painting. A man drowns another in a pond next to what looks sort of like a filled in multiple choice test. Scientists cribbed from a technicolor film still point to a hand drawn arrow. Stray ink splotches show around the letters that make up the band name, remnants from stamps. It's loose and surreal and unpredictable, but it somehow manages to sustain a consistent mood: an eerie melange of pulp novels, playful non-sequitors, conspiracy theories and David Lynch's nauseous unreality, tempered with the occasional moment of beautiful clarity. It's one of the things I've always admired about Hallelujah the Hills, because it manages to be a perfect illustration of what the band sounds like. Rough-edged, surreal, funny, eerie, packed with lyrics that sound like they were lifted from a pamphlet run off in someone's basement, and dotted with those moments of epiphany (said epiphanies being created by ingenious arranging touches and/or stirring, shouted choruses). For example, there's the moment in “Allied Lions” (a track from the bands most recent album, Colonial Drones) in which a frothy, building rock song suddenly disappears, leaving the line everything's a dream except for this moment we're in now hanging over the void, the lyric broken into three equal parts with audibly different effects on each, collage-style. Then an alarm clock rings.
The art and the songs are both the product of the mind of lead singer Ryan Walsh, formerly of The Stairs, though the arranging is done by the full band together, who between the seven of them can cover all the usual rock band bases with the addition of trumpet, trombone, cello and sampler. The arrangements are often what catapult the songs out of the realm of rock-with-smart-and-weird-lyrics into a fully formed, coherent, mood-inducing sound, complete with the occasional epic crescendo, for which, as we all know by now, I am a grade A sucker. Take their Ampeater B-side “That Ticking Sound You Hear,” which commences with some minimal two-note guitar strumming, the gentlest mallet-struck cymbals, and a cascading melody fragment that's Walsh at his softest and most lyrical. After making a brief appearance earlier, muted trumpet and cello appear to punctuate the lines out of context / on a substance with startling clusters that disappear just as fast as they arrived. Like Shai Erlichman's songs, the moment is memorable for what it leaves out (the parallel clusters that don't appear after the next two lines) as for what it contains. Soon afterward there is a rising, discordant guitar and trumpet trill which dies into a found sound squeal which abruptly breaks into a bridge that sounds tailor-made for some pounding drums and enormous guitars. Instead, we get more high pitched noises and arhythmic cymbals that fight the core of the song in a way that makes its ominous lyrics all the more ominous, and the full band crash we'd expect is reserved for the very last repeating chorus, where its anthemic potential runs up against the fact that the last repeating chorus is built in elusive five-bar phrases. The arrangement is brilliant because “Ticking” isn't a song that should soar. It's the lament of a conspiracy theorist who's either correct or batshit crazy, and either way things aren't going to turn out well. Even in the last moments of the song, when the vocals have landed safely on the root, the tension remains in the trumpet, which hangs on the major 7 and refuses to resolve upwards the way our western ears want it to.
Walsh's lyrics are full of brilliant and rhythmic one-liners like the master painters all look ashamed / they don’t know the thrill of a jukebox fade, which call to mind the non sequiturs of The Silver Jews' David Berman, with whom Hallelujah the Hills has shared bills (and shares some stylistic markers), only steeped in disaster movies instead of wry, cowboy toughness, and John Ashbery poems instead of whiskey. This attention to words (I have it on good authority that Walsh has been known to perform “Google Purity tests,” a concept coined and invented by Berman which involves searching for lyrical ideas to make sure that they are entirely original) pays off in spades, for where most bands in the indie rock world get stuck exploring the same ideas with the same words and making them sound cool via loud guitars or some such, Hallelujah the Hills's lyrics are full of couplets that are clever and funny and touching and use words that you have probably not recently heard in a rock song, like, say, documentarian or cohorts, without sacrificing any of the rhythm that lyrics have to have to carry a rock song. AND they have loud guitars. What more could you ask for?
A-side “Introductory Saints” (another classic Hallelujah the Hills title) showcases the less moody side of the band, laying those propulsive lyrics over a bouncy backbeat, garnished with some some light country (those twangy lead lines over in your left ear, the way the melody dips from the root up an octave at the end of the chorus, that last ringing major 6 chord) and soul-pop touches (organ smears, those repeating guitar stabs in your right ear, the fat brass longtones), and ending in the Hallelujah the Hills staple of an enormous, rousing gang-vocal chorus (something about Walsh's trebly voice becomes electric when he jumps up the octave into a shout at a climactic moment; it always gets me, (you can also hear it leaping out from the gang vocal mix on Titus Andronicus' The Monitor). From the first line, this song really brings out the way Walsh's lyrics fit together just loosely enough to leave endless space open for potential meaning. The opening couplet of "Gentlemen / he said forever" opens so many possibilities it's easy to project your own meanings onto it, something that's so often true of his songs.
Hallelujah the Hills have released these two songs to celebrate their departure on a summer tour opening for Titus Andronicus (who members of Hills will also be joining onstage to provide cello, brass, keys and gang vocals), a one two punch you'd be wise to check out. With so many members, Hallelujah The Hills have the ability live to create an enormous, euphoric wall of sound, especially when all of the members are not only playing at top volume but shouting a big, unison hook that hangs over the entire room. You'll find it hard not to feel the upward pull of those enormous clouds of melody, and it will bring a little joy to your heart.
Tour dates
July 8 – Allston, MA – Great Scott
July 9 – Brooklyn, NY – Union Hall
July 10 – New Haven, CT – Lily's Pad*
July 11 – Northampton, MA – Pearl Street*
July 12 – Albany, NY – Valentine's*
July 13 – Buffalo, NY – Ninth Ward at Babeville*
July 14 – Toronto, ON – Horseshoe Tavern*
July 15 – Grand Rapids, MI – Intersection Lounge*
July 16 – Chicago, IL – Subterranean*
July 18 – Youngstown, OH – Lemon Grove Cafe
* = Opening for Titus Andronicus
The art and the songs are both the product of the mind of lead singer Ryan Walsh, formerly of The Stairs, though the arranging is done by the full band together, who between the seven of them can cover all the usual rock band bases with the addition of trumpet, trombone, cello and sampler. The arrangements are often what catapult the songs out of the realm of rock-with-smart-and-weird-lyrics into a fully formed, coherent, mood-inducing sound, complete with the occasional epic crescendo, for which, as we all know by now, I am a grade A sucker. Take their Ampeater B-side “That Ticking Sound You Hear,” which commences with some minimal two-note guitar strumming, the gentlest mallet-struck cymbals, and a cascading melody fragment that's Walsh at his softest and most lyrical. After making a brief appearance earlier, muted trumpet and cello appear to punctuate the lines out of context / on a substance with startling clusters that disappear just as fast as they arrived. Like Shai Erlichman's songs, the moment is memorable for what it leaves out (the parallel clusters that don't appear after the next two lines) as for what it contains. Soon afterward there is a rising, discordant guitar and trumpet trill which dies into a found sound squeal which abruptly breaks into a bridge that sounds tailor-made for some pounding drums and enormous guitars. Instead, we get more high pitched noises and arhythmic cymbals that fight the core of the song in a way that makes its ominous lyrics all the more ominous, and the full band crash we'd expect is reserved for the very last repeating chorus, where its anthemic potential runs up against the fact that the last repeating chorus is built in elusive five-bar phrases. The arrangement is brilliant because “Ticking” isn't a song that should soar. It's the lament of a conspiracy theorist who's either correct or batshit crazy, and either way things aren't going to turn out well. Even in the last moments of the song, when the vocals have landed safely on the root, the tension remains in the trumpet, which hangs on the major 7 and refuses to resolve upwards the way our western ears want it to.
Walsh's lyrics are full of brilliant and rhythmic one-liners like the master painters all look ashamed / they don’t know the thrill of a jukebox fade, which call to mind the non sequiturs of The Silver Jews' David Berman, with whom Hallelujah the Hills has shared bills (and shares some stylistic markers), only steeped in disaster movies instead of wry, cowboy toughness, and John Ashbery poems instead of whiskey. This attention to words (I have it on good authority that Walsh has been known to perform “Google Purity tests,” a concept coined and invented by Berman which involves searching for lyrical ideas to make sure that they are entirely original) pays off in spades, for where most bands in the indie rock world get stuck exploring the same ideas with the same words and making them sound cool via loud guitars or some such, Hallelujah the Hills's lyrics are full of couplets that are clever and funny and touching and use words that you have probably not recently heard in a rock song, like, say, documentarian or cohorts, without sacrificing any of the rhythm that lyrics have to have to carry a rock song. AND they have loud guitars. What more could you ask for?
A-side “Introductory Saints” (another classic Hallelujah the Hills title) showcases the less moody side of the band, laying those propulsive lyrics over a bouncy backbeat, garnished with some some light country (those twangy lead lines over in your left ear, the way the melody dips from the root up an octave at the end of the chorus, that last ringing major 6 chord) and soul-pop touches (organ smears, those repeating guitar stabs in your right ear, the fat brass longtones), and ending in the Hallelujah the Hills staple of an enormous, rousing gang-vocal chorus (something about Walsh's trebly voice becomes electric when he jumps up the octave into a shout at a climactic moment; it always gets me, (you can also hear it leaping out from the gang vocal mix on Titus Andronicus' The Monitor). From the first line, this song really brings out the way Walsh's lyrics fit together just loosely enough to leave endless space open for potential meaning. The opening couplet of "Gentlemen / he said forever" opens so many possibilities it's easy to project your own meanings onto it, something that's so often true of his songs.
Hallelujah the Hills have released these two songs to celebrate their departure on a summer tour opening for Titus Andronicus (who members of Hills will also be joining onstage to provide cello, brass, keys and gang vocals), a one two punch you'd be wise to check out. With so many members, Hallelujah The Hills have the ability live to create an enormous, euphoric wall of sound, especially when all of the members are not only playing at top volume but shouting a big, unison hook that hangs over the entire room. You'll find it hard not to feel the upward pull of those enormous clouds of melody, and it will bring a little joy to your heart.
Tour dates
July 8 – Allston, MA – Great Scott
July 9 – Brooklyn, NY – Union Hall
July 10 – New Haven, CT – Lily's Pad*
July 11 – Northampton, MA – Pearl Street*
July 12 – Albany, NY – Valentine's*
July 13 – Buffalo, NY – Ninth Ward at Babeville*
July 14 – Toronto, ON – Horseshoe Tavern*
July 15 – Grand Rapids, MI – Intersection Lounge*
July 16 – Chicago, IL – Subterranean*
July 18 – Youngstown, OH – Lemon Grove Cafe
* = Opening for Titus Andronicus
[[[Download the 7-inch]]]
Sailfest 2010
Cool out this weekend at Sailfest in New London. It's a huge outdoor event with all kinds of food, fun, rides and best of all there's gonna be fireworks. Check out sailfest.org for more info.
There's usually a huge music lineup full of all kinds of interesting tunes. This year Friday looks like the night to go, as the band lineup will include:
5pm - The Tawny 12
6pm - Anderson Family Picnic
7pm - Diamond Twins
8pm - Matt Gouette
9pm - Estrogen & Tonic
10pm - The Hempsteadys
Wednesday, July 7, 2010
Popeye's Garage Lives
Nice to hear that Popeye's Garage is not closing. Brushback talked up the recent Judge's Cave release here. There are a few more dates listed on Popeye's MySpace too. And of course there's the Wordpress page here.
Dates to bring your grandmama to:
Saturday July 10 7PM $5 Suggested Donation
Caboladies (Chicago Noise)
Radio People (Cleveland synth noise from Sam Goldberg)
Neckhold (Australian Harsh Noisers)
Medication (CT downer punks)
Colorguard (New Haven Noise)
Sunday July 11 7PM $5 Suggested Donation
Ana Lola Roman (Brooklyn/Germany)
Polygons (Baltimore weirdness)
If Jesus Had Machine Guns (New Haven Hero’s)
Monday July 12 7PM $5 Suggested Donation
Altered States (Baltimore Wham City associated)
Female (New Haven genius)
Supernaturalle (New Haven Noise)
Wednesday July 14 7PM $5 Suggested Donation
EVERYBODY GETS RICH TRAVELING RECORD STORE by Rich from Florida’s Dying
Estrogen Highs (New Haven pukers)
Medication (CT downer punks)
Dead Wives (Danbury indie-pop)
Friday July 16 7PM $5 Suggested Donation
Fat History Month
+ more TBA
Saturday July 17 7PM $5 Suggested Donation
Pigeon Religion (Arizona weird sludge)
Hell-Kite (Arizona weirdness)
Bellalator (Bella Reese/Escalator Collab)
Reviver (CT Harsh Noiser)
Family Treasures (CT Noise)
Friday July 23 7PM $5 Suggested Donation
Body Morph (Detroit 1/2 of Uneven Universe)
Sky Limousine (Drone-y Noise - AKA Josh Burke)
Criminals (Noise)
Jon Eriksen (New Haven Noise via Sweden)
Saturday July 24 7PM $5 Suggested Donation
Sick Llama (Michigan Noiser who runs Fag Tapes)
Weirding Module (Michigan Noise, members of Awesome Color)
Dog Lady (Michigan Noise)
Colorguard (New Haven Noise)
Titus Andronicus, Hallelujah The Hills, Bomb the Music Industry!
Saturday, July 10 2010, Manic Productions presents
Location:
Lilly's Pad (Toad's Place Upstairs)
300 York Street Street
New Haven CT
$12 - 7:00PM - All Ages (21+ to drink)
Directions
Buy tickets now or pick them up at Redscroll Records
Titus Andronicus is an indie rock band from Glen Rock, New Jersey formed in 2005. The group takes its name from the Shakespeare play Titus Andronicus. Their debut album, The Airing of Grievances has received widespread acclaim.The album's loud, heavily distorted guitars are influenced greatly by shoegaze while the lyrics and song titles are references to various books and other forms of entertainment (such as the album title, from the Seinfeld episode, "The Strike", about Festivus). XL Recordings
Hallelujah the Hills arose from the ashes of Boston's late lamented the Stairs. When the Stairs collapsed at the end of 2005, lead singer/songwriter Ryan Walsh and drummer Eric Meyer announced the formation of their new band. Named after Adolphus Mekas' 1963 cult comedy, Hallelujah the Hills settled on an initial lineup of Walsh and Meyer, David Bentley (cello, guitar), Joe Marrett (bass), and Matt Brown (synth, samples, guitar, melodica). Trumpeter Brian Rutledge joined a few months later, and Elio DeLuca replaced Brown on keyboards in early 2007. Hallelujah the Hills incorporates the elements of Guided by Voices' lo-fi power pop, the woozy marching band music of Neutral Milk Hotel, and the off-kilter warblings of David Byrne.
Bomb the Music Industry!:
BTMI! is a musical collective originally from Baldwin, Nassau County, New York. They write, produce, record, and distribute all of their music under the leadership of songwriter and producer Jeff Rosenstock. They are known for their DIY punk ethic, embodied in such actions such as distributing six albums worth of their own material for free on their website, and offering free stencils and paint for fans to create their own T-shirts. They also offer their fans a chance to perform on stage if they learn a song and bring their instrument to the show.
Tour dates:
Jul 10 Lilly's Pad w/ Hallelujah the Hills New Haven, CT
Jul 11 Pearl Street w/ Hallelujah the Hills Northampton, MA
Jul 12 Valentines Albany, NY
Jul 13 Ninth Ward w/ Hallelujah the Hills Buffalo, NY
Jul 14 Horseshoe Tavern w/ Hallelujah the Hills Toronto, Toronto
Jul 15 The Intersection Lounge w/ Hallelujah the Hills Grand Rapids, MI
Jul 16 Subterranean w/ Hallelujah the Hills Chicago, IL
Jul 17 Union Park - Pitchfork Music Fest Chicago, IL
Aug 19 Maxwell's Hoboken, NJ
Aug 21 Royale w/ Free Energy Boston, Massachuse Find Tickets
Aug 22 Il Motore w/ Free Energy Montreal, Quebec, CANADA
Aug 23 Maverick's w/ Free Energy Ottowa, Ontario, CANADA
Aug 25 Castaway's w/ Free Energy Ithaca, New York
Aug 26 The Summit w/ Free Energy Columbus, OH
Aug 27 Mickey Finn's Pub Toledo, OH
Aug 28 LOUfest Music Festival Saint Louis, MO
Aug 29 Hi-Tone Cafe Memphis, TN
Aug 30 Revolution Music Room Little Rock, Arkansas
Aug 31 Sons of Hermann Hall Dallas, TX
Sep 1 Emo's Lounge Austin, TX
Sep 2 The Percolator El Paso, Texas
Sep 3 Trunk Space Phoenix, Arizona
Sep 8 The Independent San Francisco, CA
Sep 10 Biltmore Cabaret w/ Free Energy Vancouver, BC, CANADA
Sep 11 Musicfest NW @ Backspace Portland, OR
Sep 12 Tractor Tavern Seattle, WA
Sep 13 Neurolux w/ Free Energy Boise, Idaho
Sep 14 Kilby Court w/ Free Energy Salt Lake City, Utah
Sep 15 Bluebird Theater w/ Free Energy Denver, CO
Sep 16 Waiting Room w/ Free Energy Omaha, Nebraska
Sep 17 Triple Rock Social Club w/ Free Energy Minneapolis, Minnesota
Sep 18 Metro w/ Free Energy, Best Coast, Male Bonding Chicago, IL
Sep 18 Metro w/ Free Energy, Best Coast, Male Bonding Chicago, IL
Sep 19 Southgate House w/ Free Energy Newport, Kentucky
Sep 20 The Earl w/ Free Energy Atlanta, GA
Sep 21 Duke Coffee House w/ Free Energy Durham, NC
Sep 22 Jefferson Theater w/ Free Energy Charlottesville, Virginia
Sep 23 First Unitarian Church w/ Free Energy Philadelphia, PA
Sep 24 Rock And Roll Hotel w/ Free Energy Washington, Washington
Sep 25 Webster Hall New York, NY
Location:
Lilly's Pad (Toad's Place Upstairs)
300 York Street Street
New Haven CT
$12 - 7:00PM - All Ages (21+ to drink)
Directions
Buy tickets now or pick them up at Redscroll Records
Titus Andronicus is an indie rock band from Glen Rock, New Jersey formed in 2005. The group takes its name from the Shakespeare play Titus Andronicus. Their debut album, The Airing of Grievances has received widespread acclaim.The album's loud, heavily distorted guitars are influenced greatly by shoegaze while the lyrics and song titles are references to various books and other forms of entertainment (such as the album title, from the Seinfeld episode, "The Strike", about Festivus). XL Recordings
Hallelujah the Hills arose from the ashes of Boston's late lamented the Stairs. When the Stairs collapsed at the end of 2005, lead singer/songwriter Ryan Walsh and drummer Eric Meyer announced the formation of their new band. Named after Adolphus Mekas' 1963 cult comedy, Hallelujah the Hills settled on an initial lineup of Walsh and Meyer, David Bentley (cello, guitar), Joe Marrett (bass), and Matt Brown (synth, samples, guitar, melodica). Trumpeter Brian Rutledge joined a few months later, and Elio DeLuca replaced Brown on keyboards in early 2007. Hallelujah the Hills incorporates the elements of Guided by Voices' lo-fi power pop, the woozy marching band music of Neutral Milk Hotel, and the off-kilter warblings of David Byrne.
Bomb the Music Industry!:
BTMI! is a musical collective originally from Baldwin, Nassau County, New York. They write, produce, record, and distribute all of their music under the leadership of songwriter and producer Jeff Rosenstock. They are known for their DIY punk ethic, embodied in such actions such as distributing six albums worth of their own material for free on their website, and offering free stencils and paint for fans to create their own T-shirts. They also offer their fans a chance to perform on stage if they learn a song and bring their instrument to the show.
Tour dates:
Jul 10 Lilly's Pad w/ Hallelujah the Hills New Haven, CT
Jul 11 Pearl Street w/ Hallelujah the Hills Northampton, MA
Jul 12 Valentines Albany, NY
Jul 13 Ninth Ward w/ Hallelujah the Hills Buffalo, NY
Jul 14 Horseshoe Tavern w/ Hallelujah the Hills Toronto, Toronto
Jul 15 The Intersection Lounge w/ Hallelujah the Hills Grand Rapids, MI
Jul 16 Subterranean w/ Hallelujah the Hills Chicago, IL
Jul 17 Union Park - Pitchfork Music Fest Chicago, IL
Aug 19 Maxwell's Hoboken, NJ
Aug 21 Royale w/ Free Energy Boston, Massachuse Find Tickets
Aug 22 Il Motore w/ Free Energy Montreal, Quebec, CANADA
Aug 23 Maverick's w/ Free Energy Ottowa, Ontario, CANADA
Aug 25 Castaway's w/ Free Energy Ithaca, New York
Aug 26 The Summit w/ Free Energy Columbus, OH
Aug 27 Mickey Finn's Pub Toledo, OH
Aug 28 LOUfest Music Festival Saint Louis, MO
Aug 29 Hi-Tone Cafe Memphis, TN
Aug 30 Revolution Music Room Little Rock, Arkansas
Aug 31 Sons of Hermann Hall Dallas, TX
Sep 1 Emo's Lounge Austin, TX
Sep 2 The Percolator El Paso, Texas
Sep 3 Trunk Space Phoenix, Arizona
Sep 8 The Independent San Francisco, CA
Sep 10 Biltmore Cabaret w/ Free Energy Vancouver, BC, CANADA
Sep 11 Musicfest NW @ Backspace Portland, OR
Sep 12 Tractor Tavern Seattle, WA
Sep 13 Neurolux w/ Free Energy Boise, Idaho
Sep 14 Kilby Court w/ Free Energy Salt Lake City, Utah
Sep 15 Bluebird Theater w/ Free Energy Denver, CO
Sep 16 Waiting Room w/ Free Energy Omaha, Nebraska
Sep 17 Triple Rock Social Club w/ Free Energy Minneapolis, Minnesota
Sep 18 Metro w/ Free Energy, Best Coast, Male Bonding Chicago, IL
Sep 18 Metro w/ Free Energy, Best Coast, Male Bonding Chicago, IL
Sep 19 Southgate House w/ Free Energy Newport, Kentucky
Sep 20 The Earl w/ Free Energy Atlanta, GA
Sep 21 Duke Coffee House w/ Free Energy Durham, NC
Sep 22 Jefferson Theater w/ Free Energy Charlottesville, Virginia
Sep 23 First Unitarian Church w/ Free Energy Philadelphia, PA
Sep 24 Rock And Roll Hotel w/ Free Energy Washington, Washington
Sep 25 Webster Hall New York, NY
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