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DTSTART;TZID=America/New_York:20200429T200000
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SUMMARY:Lemon Twigs
DESCRIPTION:GO TO SCHOOL \nDo Hollywood\, The Lemon Twigs’ 2016 debut LP\, was an invigorating\, much-needed blast of fresh air that whipped across the arid landscape of contemporary rock. If that stunningly accomplished recording\, which flew in the face of current musical trends\, wasn’t surprising enough on the face of it\, the fact that Do Hollywood was the handiwork of two teenagers—brothers Brian and Michael D’Addario—rendered the achievement utterly mind-boggling. Now\, with the follow-up full-length\, Go to School (4AD\, Aug. 24)\, the siblings\, now 21 and 19\, respectively\, have set the bar dizzyingly high even by their own lofty standards\, and proceed to soar over it into the stratosphere. Listening to this wildly ambitious album is like entering and inhabiting a parallel universe. \nGo to School’s subtitle is A Musical\, and that turns out to be an accurate description of the 15-song extravaganza\, which tells the tale of the pure-of-heart chimpanzee Shane\, who’s adopted by a childless couple—played by the brothers’ musical hero Todd Rundgren and their mom\, Susan Hall—and raised as a human boy. Michael describes Go to School as “a fairy tale with a dark edge\,” as Shane is ostracized\, bullied and rejected by the girl he falls for\, erupts in an extreme act of retribution for being robbed of his innocence. The libretto is played out in a series of intricate\, wildly eclectic musical settings ranging from spot-on throwback rockers to traditional Broadway-style production numbers. \n“We had enough songs to work on a straight-pop\, more obviously autobiographical album—which didn’t feel like much of a risk—or this one\,” Brian says of the decision-making that set them off in this envelope-ripping direction. “These [Go to School] songs come from the same place our autobiographical songs come from\, so we decided to trust our instincts and to really commit to making it a musical.” \nMichael continues the thought. “We weren’t gonna do it half-assed—we were gonna do it full-on and not shy away from the concept\,” he says. “For me\, it felt completely like the obvious thing to do\, which sounds ridiculous\, but everything about it is more advanced to me\, and further along. What I think would be really disappointing for our most dedicated fans is if we just did a straight-pop album next.” \nFor Brian and Michael\, working in the musical-theater mode wasn’t that big a stretch\, because both had been child actors. Along with the brothers’ roles in TV series\, Brian had appeared in a Broadway production of The Little Mermaid\, while Michael performed in Coast of Utopia and All My Sons. “We were literally raised on Broadway\,” is how Michael puts it. \nWhen the brothers are working on a project\, they typically immerse themselves in a handful of albums as a trigger for inspiration. In this instance\, they were listening to Rodgers & Hammerstein’s Oklahoma and The King and I\, as well as Stephen Sondheim’s A Little Night Music and Assassins. \n“Our mom introduced us to Assassins when we were kids\,” Brian recalls\, “and me and Michael would do all the different parts with the different characters in the car. We didn’t understand certain parts of the plot\, but we knew all the words. I hadn’t heard it for years\, but when we were doing this project\, I rediscovered it. At that point I’d gotten kind of numb to a lot of rock music\, and I was ripe for emotionally connecting to musicals. So I felt like that was where I was meant to be.” \n“With any musical\, you’ve gotta first believe that people breaking into song every five minutes is normal—there are no rules\,” Michael says of the cosmology of musical theater. “There’s no reason why nobody realizes that Shane is not a human. They just know he’s a little bit different. You don’t ask\, ‘Well\, does he not have a mirror?’ That doesn’t matter. You’ve gotta believe it in order to enjoy the music and absorb the weight of the lyrics. The ‘why’ is just because it gets you to the next part. It’s supposed to make you feel something.” \nThey recorded Go to School at the dedicated analog studio they’d installed in the Long Island home they shared with their parents. They used a chunk of the advance to upgrade their gear\, picking up a vintage 24-track console and two-inch tape machine\, and another chunk for orchestral sessions encompassing strings\, horns and woodwinds. Brian composed the arrangements and conducted the musicians\, while Michael manned the console. \n“‘Born Wrong/Heart Song’ is where we went full musical\,” says Brian. “We decided that we weren’t going to put any drums or guitars on it and just have it all be orchestral instruments. I’ve always been a firm believer that production is everything\, and arrangement is everything\, and the song is variable depending on how you arrange it.” \nAt the other extreme\, Rundgren appears on “Rock Dreams” and takes the lead on the swelling ballad “Never Know\,” which puts the legend in his early-’70s sweet spot. “It helped that ‘Never Know’ was something that was natural for Todd to sing\, although I didn’t write it with the intention of him singing it\,” Brian points out. “We’d just performed with Todd at Coachella [in 2017]\, which we figured would probably be the one thing that we ever did with him. And then we were like\, ‘It’d be great to get him on the record somehow.’ And it ended up working out in this fortuitous way\, where it was really easy to fit the pieces together.” \nBig Star’s Jody Stephens\, another musical hero\, drums on “Student Becomes the Teacher\,” while Michael—who’d been obsessively dissecting the iconic Big Star albums—channels Alex Chilton on “Queen of My School\,” an uncannily detailed homage to the great Memphis band circa Radio City. But the song is more than a musical homage\, as Michael explains. “In ‘Queen of My School\,’ I like the idea of the nerd and the most popular girl getting together. I wasn’t a nerd\, I guess\, but I don’t think anybody wanted to date us. Because we were into music and not sports\, it was kinda like nobody looked at us as cool.” \nIn fleshing out the characters\, the brothers decided none of them should be completely good or evil. Says Brian\, “In ‘The Bully\,’ you get the bully’s perspective: The father has a PhD and his son is slow\, so he resents his son. And his wife died in childbirth\, so he blames his son for her death. Then you even understand the bully’s father\, because he had to deal with this horrific thing. And Shane’s parents sort of blame the kid for their lost dreams\, and you see why that’s sad. The whole time we were growing up\, my mom always said\, ‘I feel like you could really love everybody if you knew enough about them and understood where they were coming from.’ \nBrian got through middle school and high school in what he describes as “a comfortable sort of isolation\,” adding\, “I knew it was probably better to separate myself then become corrupted in some way. And that’s a big part of what the record’s about.” \n“When I was going to school\,” Michael remembers\, “there was so much negativity and so many ignorant people that I’m kind of surprised that I was able to keep it away from me to the extent that I did. So\, in that sense\, I felt like Shane\, and I think we got that angle from our own experiences.” \nMichael wrote the climactic song “The Fire” early in the process\, and that gave the brothers a clearer sense of the narrative trajectory as well as its relevance. “It was an important subject that hasn’t been touched on\,” Michael explains. “And it’s so prevalent in the modern world that it needs to have a presence in art.” \nWhen asked if the brothers had topicality in mind when they were concocting the narrative\, Brian offers an unsettling response. “We had an uncomfortable realization after we’d finished the record that [school violence] has always been a reality for us\,” he says. “I mean\, Columbine happened in 1999\, the year Michael was born. It’s so commonplace that we wouldn’t even question the idea of Shane burning the school down and a hundred people dying. So it didn’t even feel topical to us\, because it’s something we’ve always known.” \nIt’s hardly unusual for artists to gain greater perspective about their work after they’ve completed it\, and that was true for the authors of Go to School. “Initially\, we thought it would be more dramatic if Shane really intended to hurt people\,” Brian explains. “But now\, the way I think of it is that he obviously intends to set fire to the school\, but it gets out of hand really quickly\, and he doesn’t necessarily realize that it’s going to do what it does. So it’s definitely supposed to be destructive\, but his intention is open to interpretation.” \n“Everything that the story’s about would seem frivolous and pointless if there’s no message\,” Michael asserts. “Shane is put in a situation where everything around him is negative\, and there are so many evil forces that he has to keep it out of his mind and see if he can stay spiritually sound\, and eventually he breaks. If you’re growing up in a house or working in a place where people around you are depressed and negative and cynical\, is there any way to shield yourself from that and keep your soul intact without just running away?” \nBrian has his own feeling about the nature of the message. “People are so reactionary these days\,” he reflects\, “and it’s really easy for people to look at something that someone did and go\, ‘They’re a terrible person’; there’s some sort of sick joy in that. And that’s another big part of this record—that to really feel love and empathy\, you have to have an understanding of what people go through. And I think it makes the most sense to get the message across in a metaphorical way—because if you talk about it in the wrong way\, then you’re going down a one-way street to the wrong side of history.” \nIn creating Go to School\, The Lemon Twigs have taken on an immense\, multileveled challenge and pulled it off with a degree of insightfulness and sophistication far beyond their years. The challenge now falls on listeners to willingly suspend their disbelief and join Brian and Michael D’Addario on this unprecedented musical fantasia\, which takes us to the heart and soul of present-day reality. \nLinks: Website | Facebook | Instagram | Twitter \n\n\n	Related
URL:https://artsorange.org/event/lemon-twigs/
LOCATION:Motorco Music Hall\, 723 Rigsbee Ave\, Durham\, NC\, 27701\, United States
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DTSTART;TZID=America/New_York:20200414T200000
DTEND;TZID=America/New_York:20200414T235900
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SUMMARY:Deafheaven
DESCRIPTION:Deafheaven is a California-based act that has garnered acclaim for their signature hybrid sound of black metal\, shoegaze\, and post-rock. On October 2 the band will release their next album New Bermuda on ANTI-. \nGeorge Clarke (vocals)\, Kerry McCoy (guitar)\, Dan Tracy (drums)\, Stephen Lee Clark (bass)\, and Shiv Mehra (guitar) recorded New Bermuda live to tape at 25th Street Recording in Oakland\, CA and Atomic Garden Recording in East Palo Alto\, CA in April 2015. It was produced\, engineered\, mixed\, and mastered by Jack Shirley who has worked with the band on their previous releases. Clarke says that he came up with the idea of “New Bermuda” to describe a new destination in life\, a nebulous point of arrival\, and an unknown future where things get swallowed up and dragged into darkness. The album artwork for New Bermuda is an oil painting\, dense in brush strokes of darker tones and deep blues\, by Allison Schulnik. The layout was designed by art director Nick Steinhardt. \nFormed in 2010 in San Francisco\, California\, the band has released two studio albums on Deathwish; Roads to Judah in 2011 and their lauded Sunbather in 2013. Sunbather received accolades from NPR on their Favorite Albums of 2013 list\, a coveted Best New Music at Pitchfork\, the Best Metal Album of 2013 per Rolling Stone\, a 9/10 star review from Decibel Magazine\, and it was the highest rated album of 2013 according to Metacritic. Deafheaven have spent the last two years touring extensively nationally and around the world with shows in Australia\, Japan\, Asia\, Europe\, Russia\, the UK\, and Canada with festival appearances at Pitchfork\, Bonnaroo\, Primavera\, Roskilde\, Fun Fun Fun\, FYF Fest\, SXSW\, Basilica Sound Scape 14\, Corona Capital\, ATP Iceland\, amongst others. Deafheaven will perform August 8 at Heavy Montreal in Canada. Details on a forthcoming North American tour are soon to be announced. \nLinks: Website | Facebook | Twitter | Instagram \n\n\n	Related
URL:https://artsorange.org/event/deafheaven/
LOCATION:Motorco Music Hall\, 723 Rigsbee Ave\, Durham\, NC\, 27701\, United States
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200325
DTEND;VALUE=DATE:20200326
DTSTAMP:20260529T223741
CREATED:20200313T161016Z
LAST-MODIFIED:20200313T161016Z
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SUMMARY:Tiny Moving Parts
DESCRIPTION:Family band from Benson\, Minnesota. \n\n\nLinks: Website | Facebook | Twitter | Instagram | Bandcamp | Spotify \n\n\n	Related
URL:https://artsorange.org/event/tiny-moving-parts/
LOCATION:Motorco Music Hall\, 723 Rigsbee Ave\, Durham\, NC\, 27701\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200318T200000
DTEND;TZID=America/New_York:20200318T235900
DTSTAMP:20260529T223741
CREATED:20200313T161013Z
LAST-MODIFIED:20200313T161013Z
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SUMMARY:Post Animal
DESCRIPTION:This show has been cancelled\, but will be rescheduled for a future date. \n— \nThe sophomore full-length from Post Animal\, ​Forward Motion Godyssey ​unfolds with a frenetic momentum\, mercurial and unhinged and gloriously volatile. In a bold leap forward both artistically and sonically\, the Chicago-based alt-prog band sets their existential questioning to a wildly kinetic sound\, mining inspiration from genres as divergent as electronic and psych-rock and—at one particularly sublime point—achieving both stoner-metal brutishness and dreamy R&B elegance in the very same instant. At turns rhapsodic and unsettling\, meditative and chaotic\, the result is anything but subtle: a body of work that beckons deep involvement from the listener\, a richly layered experience primed to leave its audience indelibly transported. \nWith its maximalist arrangements and larger-than-life scale\, ​Forward Motion Godyssey ​came to life in a fittingly majestic location: a mountain-adjacent home in Big Sky\, Montana\, lent to the band by a friend of Reyes. Holing up in the house for eight days—after spending 36 hours stranded in Fargo due to a devastating snowstorm—Post Animal took full advantage of the splendor of their environment. “We recorded one of the songs around sunset\, and set up everything so we could look out over the mountains as this crazy pink sun-glow fell over them\,” Hirshland recalls. “The whole place was just a really inspiring space to play around in.” \nThroughout the recording of ​Forward Motion Godyssey​\, Allison joined forces with longtime Post Animal collaborator Adam Thein to handle production duties\, shaping a sonic landscape that’s unpredictable but never wayward. “Making this record\, we wanted to go extreme in a lot of different directions—we wanted to be as poppy as we’ve ever been\, as over-the-top as we’ve ever been\, as grandiose and heavy and dramatic as we’ve ever been\,” Toledo notes. \nTo that end\, ​Forward Motion Godyssey ​encompasses such moods as the dance-ready radiance of “Safe or Not\,” a song about “feeling like you can’t be yourself” according to Reyes. There’s also the disquieting intensity of “Fitness\,” a sprawling exploration of what Hirshland refers to as “persistence in the face of loss.” The groove-driven “How Do You Feel” channels both confused longing and irrepressible hope in its soulful overtones\, while the synth-heavy “Schedule” embodies an undeniable pop appeal. And on “Sifting\,” ​Forward Motion Godyssey ​closes out on a moment of otherworldly beauty that the band traces back to the song’s conceptualization. “We really wanted ‘Sifting’ to sound like you’re floating through space on an asteroid\,” says Williams. “It’s meant to capture that experience of feeling so small compared to the massiveness of something else\, and how that can be kind of haunting but incredibly calming at the same time.” \nDespite its endless shapeshifting\, ​Forward Motion Godyssey ​bears a cohesive grace\, a factor undoubtedly tied to Post Animal’s ever-growing connection as creative partners. With their origins lying in a near-lifelong friendship between Allison and Williams\, the band formed in 2015 and got their start as a six-piece also featuring guitarist Joe Keery\, then released their debut album ​When I Think of You in a Castle ​in 2018. (Though Keery has since taken a key role on “Stranger Things” and left the lineup\, he continues to collaborate with his former bandmates in various side projects as time permits.) Over the years\, Post Animal have achieved a profound closeness that Hirshland likens to communicating in their own language. “When one of us goes \n\n\n\n\n\n\n\n\nthrough something\, everyone else goes through it too—to the point where I can listen to a song that Dalton or Matt penned the lyrics for\, and feel like it was written about me\,” he says. \nIn the making of ​Forward Motion Godyssey​\, that sense of unity emboldened the band as they shared their most emotionally revealing lyrics to date\, with much of the album touching on what Allison describes as “the ways that your work or your passion drives you\, sometimes to the detriment of yourself and of others.” And through that relentless self-examination—as well as the album’s deeply immersive complexity—Post Animal ultimately inspire a similar introspection within the listener. “I feel like almost everyone can relate to the things we were going through on this record\, even if their circumstances are different\,” says Allison. “One of the things we want most for the album is for people to think about their own lives and their own journey\, and maybe try to live in a more purposeful or mindful way.” \n\n\n\n\nLinks: Website | Facebook | Twitter | Instagram | YouTube | Spotify \n\n\n	Related
URL:https://artsorange.org/event/post-animal/
LOCATION:Motorco Music Hall\, 723 Rigsbee Ave\, Durham\, NC\, 27701\, United States
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DTSTART;TZID=America/New_York:20200306T210000
DTEND;TZID=America/New_York:20200306T235900
DTSTAMP:20260529T223741
CREATED:20200212T160958Z
LAST-MODIFIED:20200212T160958Z
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SUMMARY:Ellis Dyson & The Shambles
DESCRIPTION:Ellis Dyson & the Shambles expertly blends old-time influences ranging from early New Orleans jazz to Piedmont murder ballads. The result: foot-stompin’ and eccentric original songs that bring party music of departed eras to crowds both young and old. The Shambles have made waves with their theatrical live shows and dazzling musicianship. The original compositions evoke a bygone era while contributing to the vast tradition of storytelling through songwriting. The group released their 3rd full-length album “Greetings from Shambylvania” in April 2019. The album\, deliberately written as a full group\, is a series of whimsical vignettes from the fictional town of Shambylvania. \nEllis Dyson & the Shambles have performed hundreds of shows throughout the east coast and midwest and have shared a bill with national acts such as Lake Street Dive\, Rebirth Brass Band\, Pokey Lafarge\, and Mipso\, to name a few. The band consists of Ellis Dyson (banjo\, vocals)\, Eli Wittmann (acoustic guitar)\, Butler Knowles (upright bass)\, Danny Abrams (soprano/alto/baritone saxophones\, clarinet\, vocals)\, and Danny Grewen (trombone\, vocals). They came together through a series of fortuitous meetings in Chapel Hill\, N.C. Beginning back in 2013 as a saxophone and banjo duo\, Ellis Dyson & the Shambles has grown into a freight train string band with a flashy horn section. \nWebsite | Facebook | Twitter | Instagram | Spotify | YouTube | Apple Music \n\n\n	Related
URL:https://artsorange.org/event/ellis-dyson-the-shambles/
LOCATION:Motorco Music Hall\, 723 Rigsbee Ave\, Durham\, NC\, 27701\, United States
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DTSTART;TZID=America/New_York:20200211T200000
DTEND;TZID=America/New_York:20200211T235900
DTSTAMP:20260529T223741
CREATED:20200113T160142Z
LAST-MODIFIED:20200113T160142Z
UID:14088-1581451200-1581465540@artsorange.org
SUMMARY:We Were Promised Jetpacks
DESCRIPTION:Sometimes you have to go back to basics in order to find yourself again. This is something Scottish rock band We Were Promised Jetpacks realized over the course of creating their fourth full-length album\, The More I Sleep The Less I Dream. \nAfter the musicians finished touring 2014’s Unravelling\, they decamped home to Scotland and took a breath. They reverted to their original four members and dealt with several behind the scenes changes. They celebrated a few marriages and tried to remember who they were when not on the road. A decision was made. No more touring until a new album had been written. \nIt wasn’t until early 2018 that they finally felt they had a collection of songs they were proud of. But only after taking a few wrong turns along the way. \n“The first batch of songs were written for the wrong reason\,” Mike says. “We put a lot of pressure on ourselves and ended up writing a certain kind of song. Focusing more on choruses and structure\, trying to simplify everything.” \n“We scrapped probably a full album\,” Adam adds. “Something just felt off about them. They didn’t work at all.” So\, they regrouped. Instead of focusing on external expectations\, they decided to write for themselves. To write songs that made them happy. \nRead More \n“The More I Sleep\, The Less I Dream” was one of the first songs to help shift the band in the right direction. It didn’t take long to write with all members quickly connecting with its darker vibe. “All of the songs we scrapped were very calculated\, whereas this song just flowed. It was instinctive. That gave us the confidence to believe that we could actually do this\, just the four of us\,” Mike notes. “After that everything else just clicked.” \n“I’m glad we got that out of our system.” Adam says. “A lot of the songs on the album are a reaction to that. We wouldn’t have arrived at them without going the wrong way first.” \nFrom there\, they focused on making sure each song was fully realized before even thinking about studios or recording. After meeting up regularly and writing constantly at their rehearsal space in Leith\, Edinburgh for two years\, the band made sure they knew all of their songs inside out. Every single detail of everyone’s parts poured over\, refined\, built on. “We didn’t want to fall back on studio tricks or extra sounds\,” Mike says. “If it wasn’t right in the room\, then it wasn’t right. If a section needed to sound bigger we’d have to find a way to make it sound bigger live in the room. No excuses.” \nThe musicians connected with producer Jonathan Low (The National\, Sufjan Stevens\, Kurt Vile\, The War on Drugs) and were inspired by his approach to their vision and his grounded style. After making their prior albums in England\, Scotland and Iceland\, it felt like a good opportunity to try crafting songs in the U.S. The album was recorded over the course of five weeks at Minor Street in Philadelphia and Long Pond in New York’s Hudson Valley in early 2018. The preparation turned out to be essential\, helping the musicians keep each song simple and minimal. “Jon was totally onboard with us only adding things that underlined what we wrote together in the rehearsal space. We wanted it to sound like it was alive and he really helped us realize that” Adam says. \nLyrically\, The More I Sleep The Less I Dream reflects a group of people who have grown up since they first emerged on the scene with These Four Walls in 2009. During the making of this album all four members turned 30\, and felt like vastly different people to the four 20-year-olds that they were when they first started releasing music. Concepts of miscommunication and self-doubt thread throughout the songs\, beginning with the surge of the album’s opening track “Impossible”\, carrying through to the emotionally wrought\, slow-burner “Hanging In”\, and onwards to the relentless drive of “Repeating Patterns” and the menacing album closer “The More I Sleep\, The Less I Dream.” \n“The album is so much about us going back to our basics and relying on our instincts.” Mike says. “There’s a range of songs that span everything we do as a band\, and we’re the connection between them. It feels like this album is us.” \nThe More I Sleep The Less I Dream marks a new chapter in We Were Promised Jetpacks’ career. It’s about going back to the heart of who they are\, a high school band that never stopped. It’s about four people who have grown up together\, making a conscious choice to keep writing music and seeing where that takes them. \nSometimes you must go back to basics in order to find yourself again. But once you have\, then what? It’s one thing to say you want to take a step forward\, it’s a much more daunting prospect actually doing so. The More I Sleep The Less I Dream contains the essence of what the band have grown into\, both as artists and as people. They’ve taken their experiences\, both from their ten years as a touring band and from the changes in their personal lives and forged them into an album that represents a new phase for the band. \n\n\n	Related
URL:https://artsorange.org/event/we-were-promised-jetpacks/
LOCATION:Motorco Music Hall\, 723 Rigsbee Ave\, Durham\, NC\, 27701\, United States
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