Dave Pirner from SOUL ASYLUM May 25th and Sixteen Tons May 26th (Play Or Pose Part Deux!)
SAT 5/18… POWER-N-SOUL PRESENTS: DE NOCHE
SAT 5/25… “PLAY OR POSE” w/DAVE PIRNER (FROM SOUL ASYLUM)
SUN 5/26… “PLAY OR POSE” w/16 TONS + BREEDERS (IL) + LONELY TRAILER
FRI 5/31… WWHP 98.3 PRESENTS: LINCOLN DURHAM
MON 6/03… WPCD 88.7 PRESENTS: ARIEL PINK + PURPLE PILGRIMS
FRI 6/07… PETER CASE (SOLO ACOUSTIC) + DAN HUBBARD
WED 6/12… WPCD 88.7 PRESENTS: LORD HURON + ESCONDIDO
FRI 6/14… CAVEMAN + COMMON LOON (NEW!!!)
SAT 6/22… CU IN THE 90’S FEATURING MY BROTHER’S KEEPER
SAT 8/17… KICKSTAND PRESENTS: BARONESS (NEW!!!)
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SATURDAY MAY 25TH… DAVE PIRNER (FROM SOUL ASYLUM)
Doors/Bar Open 7:00pm
The Self-Righteous Brothers & Friends* 8:00-8:40pm
Dave Pirner (from SOUL ASYLUM) 9:00-10:30pm
(DJ to follow at 11:00pm)
*members of Bowery Boys, Titanic Love Affair, Hot Glue Gun, Honcho Overload, and more to be added soon hopefully (stay tuned!)
tickets $20.00 in advance (and $25.00 at the door)
NET PROCEEDS FROM THIS SHOW WILL BE DONATED TO:
Josh Gottheil Memorial Fund For Lymphoma Research and the Jay Bennett Foundation
Formed in the summer of 1981 by high school friends Dan Murphy, Karl Mueller, and Dave Pirner, Soul Asylum (named Loud Fast Rules up until 1983) quickly became frontrunners of American college rock, following in the tradition of fellow Minnesota bands Hüsker Dü and The Replacements.
Landing their first record deal with Twin/Tone in 1984, Soul Asylum recorded a total of four albums for the local label: Say What You Will… Everything Can Happen in 1984 (later re-released as Say What You Will, Clarence… Karl Sold the Truck), Made To Be Broken, and While You Were Out in 1986, and the EP Clam Dip & Other Delights in 1988. The band then switched to A&M, releasing Hang Time in 1988 and And the Horse They Rode In On in 1990. Although they enjoyed some success as a live band, Soul Asylum suffered from low album sales and considered disbanding.
In 1992, they signed with Columbia Records to produce Grave Dancers Union, a record that would come to transform them from underground college rockers to international superstars. The first two singles off the album, “Somebody To Shove” and “Black Gold”, both came in at high positions at the Modern Rock and Album Rock charts, but it was the album’s third track that led them to their major breakthrough. “Runaway Train” peaked at #5 on the Billboard Hot 100, raised album sales to double-platinum level, and won Soul Asylum the Grammy Award for Best Rock Song in 1994.
In 1995, Soul Asylum followed up the success of Grave Dancers Union with Let Your Dim Light Shine, which climbed to #6 on the Billboard 200 and featured the #1 Modern Rock track “Misery”. After releasing Candy From a Stranger in 1998, the band members took a break from recording and did not release a new studio album for the better part of seven years.
They reunited in 2004 to record their ninth full-length album. Shortly thereafter, Karl was diagnosed with throat cancer. Up until this point, Soul Asylum had always included Dan, Karl, and Dave, despite several line-up changes. This changed on June 17th, 2005, when Karl passed away after finishing his work on the new album. The Silver Lining was released in 2006 and dedicated to Karl Mueller’s life and memory, with Dan expressing that, “For me, this record is Karl.”
On July 17th, 2012, the band released a new album: Delayed Reaction.
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Doors/Bar Open 7:00pm
Lonely Trailer 8:00-8:40pm
Breeders (Illinois Zen Punks)* 9:00-10:00pm
Sixteen Tons 10:30-11:30pm
*Please note… this is the early 80’s Champaign band called Breeders, NOT Kim Deal’s post-Pixies group of the same name later on =)
tickets $10.00 in advance (and $10.00 at the door)
NET PROCEEDS FROM THIS SHOW WILL BE DONATED TO:
Josh Gottheil Memorial Fund For Lymphoma Research and the Jay Bennett Foundation
Sixteen Tons lit the fuse in Charleston, IL in 1988, or thereabouts. Labeled “plow-punk” in the golden age of hyphenation it described their sound and attitude purty well.
Sixteen Tons’ debut, Turbophallic, was recorded in Matt Allison’s unheated attic and released on cassette on Trashcan Records in 1989. The band recorded a 4-song 7″ for John Mohr’s No Blow Records in 1990 at Steve Albini’s home studio. These ‘4 Songs‘ were later released as a 12″ in the UK on Abstract Sounds/Plastichead along with the band’s full-length album Headshot, also recorded by Albini, which was released on CD and LP. In 1992 Mud Records release the Triggerhappy/Bonesaw 7″ single, featuring two songs culled from a weekend recording session at Kent Whitesell’s Club House Studio on Harvard Street in Champaign.
All available recordings are streamable/downloadable at the band’s Bandcamp page: http://16tons.bandcamp.com/
Ed Schell sang. He never won any of the fights he got into with audience members (every show), but he never lost one either.
Darin Strack played a 13 lb Les Paul guitar and only very rarely whipped the pavement with his belt while shirtless.
Tony Jones played bass and wore a horned helmet that was only somehow somewhat reminiscent of vikings.
Todd Wade played guitar and Jim Kelly played drums and neither had anything to do with Matt Allison’s car catching fire outside of Eddie’s that one time.
Sixteen Tons finally detonated on stage in Champaign, IL in early 1993. Their last performance was an literally incendiary set of Big Black covers at The Great Cover Up, preceded by a brick of Black Cat firecrackers.
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FRIDAY MAY 31ST… LINCOLN DURHAM
Doors/Bar Open 7:00pm
Cody & The Gateway Drugs 8:00pm
Lincoln Durham 9:00pm
(DJ to follow at 10:30pm)
PRESENTED BY WWHP 98.3 THE WHIP!
tickets $10.00 in advance (and $12.00 at the door)
He is an intense-looking young man who seems to have settled in the wrong era. An old bastardized Gibson acoustic, seen-better-days dress slacks held up by old suspenders. A misshapen bowler hat atop a crop of long, wavy hair. But there is something in his eyes, something that suggests he knows something most people don’t. The eyes of an old soul. The soul of an old bluesman, withered, weathered, worn but primed and ready to burst out of this young man and preach the news of some new kind of depraved music.
Lincoln’s current album, “The Shovel vs. The Howling Bones” is an album of self-destruction. “It is my agony put into words and music via 11 songs,” Lincoln explains. “It is the story of building dreams and tearing down those dreams all in the same moment. I am both the shovel and the howling bones. Burying while at the same time howling and contesting my own burial. It is my existence.”
Live, Lincoln Durham simply owns the stage. Equipped with old, makeshift 1950s amps, resonators, fiddles, harmonicas, cigar box guitars, tin can microphones, slides, kick drums and you name it, Lincoln gives birth to a sound that transcends genres. His dark, poetic and raw writing style is reminiscent of his mentor R.W. Hubbard, telling tales that Poe would have been proud of. His guitar work is like a locomotive pumping and driving the runaway train that is Lincoln Durham and his music.
“Ringing Gibson guitars are paired with Durham’s pained, gripping vocals that sound as if Ray LaMontagne swallowed razor blades and took vocal lessons from Howlin’ Wolf.” (Brad Beheler/Galleywinter.com)
“If you dig Son House and Townes Van Zandt… Lincoln Durham is your man. Don’t come no cooler.” (Ray Wylie Hubbard)
www.lincolndurham.com
www.wwhp.com
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MONDAY JUNE 3RD… ARIEL PINK
Doors/Bar Open 8:00pm
Purple Pilgrims 9:00pm
Ariel Pink 10:00pm
PYGMALION SUMMER CONCERT SERIES PRESENTED BY WPCD 88.7
tickets $15.00 in advance ONLINE (and $TBA at the door)
Ariel Pink’s music began its strange journey early in the last decade, as a CD-R lying on the floor of Animal Collective’s tour van. Before then, he’d been heard by almost no one, despite that he’d recorded hundreds of songs, by himself, in what sounded like a windowless dungeon. The quality of those early recordings was poor, but something shone from the murk: Pink became the first artist signed to the band’s Paw Tracks label, which reissued his album The Doldrums in 2004. The path of his career since then has been wayward and strange, culminating in the highly professional Before Today in 2010. But there are through-lines. Whether you tuned into his world during the Paw Tracks era or after Before Today’s “Round and Round” became an indie anthem, you probably sensed an intriguing off-note lurking in the L.A. home-recording savant’s music.
In Pink’s hands, the boundless sunshine of 1970s AM pop grows queasy, even malevolent, splitting the difference between a grimace, a smirk, and a smile. Even at its loveliest, his music radiates a mesmerizing sense of bad faith: Pink often incorporates humor into his songs, but it’s hard to be sure if you’re in on the joke. He may express seemingly sincere sentiments in one moment while mocking them in the next. In his most compelling material, these impulses curl around each other until his “fuck you’s” sound like “I love you”, and vice versa.
Before Today was Ariel Pink’s breakout record, a leap to a new stage from his cult beginnings that made his skill as a songwriter and craftsman clear. Free of the lo-fi grit that characterized his Paw Tracks material, you could suddenly hear his uncanny knack for fusing together unlikely parts with no visible seams. Mature Themes, Pink’s grittier, gristlier, and funnier follow-up, clarifies that Before Today was not a sign of things to come but rather just a signpost along his unknowable path. The production has hardened, as if Pink has found a midpoint between the warped, warbly sound of his tape releases and what he can now afford. The songs themselves, while still catchy, are often opaque, antisocial, and confounding. The mood of the record veers closer to the melted emotional nowhere of The Doldrums‘ “Good Kids Make Bad Grown Ups” or the arch piss-take of Worn Copy‘s “Artifact”.
http://menopausemen.tumblr.com/
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FRIDAY JUNE 7TH… PETER CASE
Doors/Bar Open 7:00pm
Dan Hubbard 7:30pm
Peter Case 8:30-10:00pm
(DJ to follow 10:30pm)
tickets $15.00 in advance (and $17.00 at the door)
Peter Case’s work sets the bar for authenticity, passion and imagination and spans a number of genres, including folk, blues, and rock. Raised in Buffalo, NY, Case came to the Bay area in 1973 and worked as a street musician and played in the seminal power pop group The Nerves, before moving to Los Angeles to form the Plimsouls, landing a deal with Geffen Records.
The Plimsouls achieved success with the single, “A Million Miles Away,” but broke up shortly after. Case’s 1986 solo Geffen record revealed deep roots in folk and blues, and earned him his first Grammy nomination for the song “Old Blue Car” as well as the Number 1 spot on the NY Time’s 1986 Best CDs list. Six CDs later, Case earned another nomination for Let Us Now Praise Sleepy John, a remarkable collection of songs that features Case’s voice and a single guitar. It’s clear that Case is a major talent on the Americana troubadour landscape.
Case’s 2010 CD, Wig emphasized the rock and blues side of Case’s repertoire, while 2007′s Let Us Now Praise Sleepy John demonstrates what Case can do with just his voice and a guitar. With or without a backing band, Case delivers his songs with both intense passion and introspective nuance.
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WEDNESDAY JUNE 12TH… LORD HURON
Doors Open 7:00pm
Escondido 8:00pm
Lord Huron 9:00pm
(DJ to follow 10:30pm)
PYGMALION SUMMER CONCERT SERIES PRESENTED BY WPCD 88.7
tickets $12.00 in advance ONLINE (and $14.00 at the door)
Lord Huron is a musical and visual project created by Ben Schneider. Originally a solo project, collaborators now include Mark Barry (percussion, vocals), Miguel Briseno (bass, percussion) and Tom Renaud (guitar, vocals). Ben Schneider was born in Michigan and started playing music as a child, on his father’s acoustic guitar. The senior Schneider wasn’t a musician by trade, but he had learned a bit during his downtime on ships in the Navy. Schneider’s father would bring the instrument out from time to time most often on summer nights around the campfire up on Lake Huron to strum and hum the songs he knew. After learning the basics, Schneider began his formal training in the school orchestra. He played upright bass and fiddled with many other instruments, both acoustic and electric, and began recording original music on a four-track cassette machine.
On November 4th, 2010, Schneider released his second EP, Mighty. The four-song recording received immediate attention from critics and fans, bolstered by an 8.0 rating from Pitchfork. Lord Huron’s first official music video, for the single “The Stranger,” was released in January 2011 and the band toured heavily including performances at South by Southwest, Outside Lands and Lollapalooza. Barry and Renaud, childhood friends of Schneider, moved to Los Angeles to join Lord Huron, as did Miguel Briseno who also originally hails from Michigan. The band has worked hard to recreate the densely layered recordings in the live setting. Barry was principal in this effort, particularly early on as the band was still forming. He plays several instruments during the course of a performance (often at the same time) and is a guiding force in the arrangement of the show.
In January 2012, Lord Huron signed with independent label, IAMSOUND Records. The first full-length album from Lord Huron, Lonesome Dreams was released in September 2012. The group will perform at highly prestigious music festivals this summer such as Coachella, Firefly, and Bonnaroo.
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FRIDAY JUNE 14TH… CAVEMAN
Doors/Bar Open 7:00pm
Common Loon 8:00-8:40pm
Caveman 9:00-10:15pm
(DJ Night to follow 11:00pm)
PYGMALION SUMMER CONCERT SERIES PRESENTED BY WPCD 88.7
tickets $10.00 in advance ONLINE (and $10.00 at the door)
Caveman-a five-man vibe collective from NYC-released their first album in 2011. As first albums go, CoCo Beware was something akin to a moody statement of intent, a blueprint for a band quickly learning how to create horizon-wide rock songs that were equal parts intimate and expansive. Initially self-released and later snatched up by Fat Possum for re-release in early 2012, the record brims over with four-part harmonies, crystalline guitar lines, and tracks that see-sawed between echoey lullaby (“A Country’s King of Dreams”) to shoegaze-by-way-of classic-FM-radio sprawl (“Old Friend”). The album quickly elevated Caveman from local band to watch to a sizable touring draw and formidable live act, as evidenced by stints on the road with the likes of The War on Drugs and Built to Spill. Despite being the work of a brand new band, CoCo Beware displayed a kind of Zen-like ease. It was the sound a five friends settling into a nice groove; the music that happens when, for whatever reason, a lot of seemingly disparate elements finally fall into place.
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SATURDAY JUNE 22ND… CU IN THE 90′S REUNION
Doors/Bar Open 6:00pm
Spicy Clamato 6:30-7:25pm
Two Rivers 7:30-8:15pm
Soulstice 8:30-9:15pm
My Brother’s Keeper 9:30-11:00pm
PROCEEDS GO TO FIRST GIG ROCK-N-ROLL CAMP FOR KIDS!
www.facebook.com/firstgigdanville
tickets $15.00 in advance (and $15.00 at the door)
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SATURDAY AUGUST 17TH… BARONESS
Doors/Bar Open
Royal Thunder 7:30-8:00pm
Baroness 8:20-10:00pm
(DJ Night 11:00pm)
PRESENTED BY KICKSTAND PRODUCTIONS
tickets $15.00 in advance (and $17.00 at the door)
BARONESS’ mission statement has always been simple: keep an open mind, confront challenges, avoid repetition and take the music to diverse audiences. BARONESS toured constantly and extensively for two years straight with Blue Record, sharing the stage with such bands as METALLICA, MASTODON, DEFTONES, and ISIS. The band also played a variety of festivals, including Coachella (US), Oya (Norway), Bonnaroo (US) and Soundwave (AUS).
BARONESS took the year off in 2011 for the first time in nearly a decade in order to focus on writing a new and more challenging third full-length. After a year of writing and refining, the band entered Water Music Studios in Hoboken, NJ with co-producer John Congleton to record their highly anticipated third full-length, Yellow & Green. Tracked in both Hoboken and Congleton’s own Elmwood Studio in Dallas, TX, the new full-length was released in July 2012 via Relapse Records and debuted at #30 on Billboard’s Top 200 Album chart. The double-album was dubbed a “thrilling hard-rock epic” by Rolling Stone, the New York Times said the 18-track release included “a grand sprawl of riffs and ruminations” and Artist Direct, after awarding the band “Rock Band of the Year” honors said “they epitomize the spirit of the greats like Led Zeppelin and Black Sabbath, while remaining wholly unique. It’s something we need more of. Baroness are everything that a rock band should be — and more.”
The band supported the album with a sold-out North American tour as direct support for Meshuggah and a main stage appearance at Metallica’s inaugural Orion Music + More Fest. In late July, they headed to Europe for a round of summer festival appearances and headlining dates which was tragically cut short due to a near fatal bus accident in Bath, England. The band and crew suffered a variety of injuries in the 30 foot plummet and have been at different stages of recovery since.
As the year came to a close, Baroness dominated year-end lists with Entertainment Weekly and Spin both naming Yellow & Green their #1 metal release of 2012 and iTunes awarding “Take My Bones Away” the distinction of best metal song of the year. Decibel (#2), Guitar World (#15), Loudwire (#4), Magnet (#12), Pitchfork (#3 on Metal Albums, #25 Best Albums of 2012), Revolver (#4), Stereogum (#18) and the Village Voice (#6) also gave the album top honors.
Internationally, the album fared similarly, receiving top honors from Terrorizer (#2), BBC Music (#13), Metal Hammer Germany (#4), Metal Hammer Norway (#4), Metal Hammer UK (#14), Close Up Sweden (#4) and Visions Germany (#4).
2013 is the year that Baroness will get back on their feet and come back stronger than ever. The band is planning a series of shows and festival appearances to show the world that even the worst of tragedies cannot hold them back.