FRIDAY
September 11, 2015 | doors at 9:00pm
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Triple Ds and Speakeasy Promotions present:
KING GIZZARD & THE LIZARD WIZARD
Michael Rault | reverends
  • $12
  • $12
  • ADVANCE
  • DAY OF SHOW
King Gizzard & The Lizard Wizard
Like many of the world’s greatest artists, King Gizzard and the Lizard Wizard are one of the most difficult bands to pin down. The Australian-based septet constantly zig when you think they’re about to zag.

Starting out in 2010 as a solid garage rock group, they’ve followed their collective muse wherever it chose to lead them, whether that be the bluesy alien psychedelia of their 2014 album Oddments or the expansive, almost jazzy, Dead-like head trips of Quarters! Or as frontman Stu Mackenzie puts it, “I always wanted to be a band where you would expect the unexpected each time, with each album being treated like a different phase.”

For their latest opus, they initially thought it was going to be filled with the darker, heavier material that the band has been playing live of late. But Mackenzie soon decided that it was time to put aside the longer, more conceptual pieces and go in a completely new direction. Hence, the band’s seventh album Paper Mâché Dream Balloon was recorded using nothing but acoustic instruments. The result is a lovely, lilting pop masterpiece that still evokes the same intoxicating exuberance as KGATLW’s most recent work, but with a more pastoral, communal feel to it.

That spirit came alive in the writing and recording process. Unlike the last two albums, there is no overarching theme tying it all together. So, rather than cooking the whole thing up as a group in the studio or rehearsal space, the various members of KGATLW wrote separately, bringing their songs to the group as they finished them. “There was a lot of collaboration,” says Mackenzie, “but in smaller combinations.”

That could have made for a schizophrenic batch of tunes, but the band are so deeply connected at this point that they each reached the same sonic conclusions, combining the rambling pulse of T. Rex (“The Bitter Boogie”), the free-spirited bliss of The Free Design (“Dirt”), and the countryside wanderings of late ‘60s Kinks (“Bone”, “Most of What I Like”).

While embracing the limitations of their choice of only acoustic sounds, KGATLW were able to get a little experimental as well. To fill out the sound, they borrowed a batch of instruments that they had never played before—clarinet, double bass, and cello, among them—and eked sounds and melodies out of them. That only helps to add to joyous jumble that is Paper Mâché Dream Balloon.

Too, the band eschewed traditional recording methods for most of this new LP. The bare bones of many of the songs were laid down by Mackenzie in a shipping container that sat on his parents’ farm on the Victorian coast of Australia. From there, the band stitched the rest of it together with overdubs and new recordings in their bedrooms and home studios, outside of the closing instrumental “Paper Mâché,” which was captured with the help of Unknown Mortal Orchestra bassist Jake Portrait while they were in New York.

As ever, King Gizzard and the Lizard Wizard aren’t going to rest in this acoustic wonderland for long. The band is already gearing up for another long stretch of touring, where they will be adapting some of these tunes for their electrified lineup as well as returning to the heavier material they were already working on.

“I think everyone knows what this band is about,” Mackenzie says. “I have always been afraid of being pigeonholed. The band personality is to try and do something that you wouldn’t expect.”

Mission accomplished.
Michael Rault
Canadian singer-songwriter Michael Rault is pleased to announce his new album and Wick Records debut (a Daptone Records subsidiary), It's A New Day Tonight, out May 18th. The new album has its home in the darkness, many of its songs looking at nocturnal activities, particularly sleep. "Sleeping and dreaming were attractive concepts," says Rault. "I was looking for an escape from a lot of frustrating and dissatisfying conditions in my day-to-day life."

The Edmonton-born, Montreal-based singer-songwriter-producer began working on its songs in earnest after winding down the tour supporting his 2015 full-length Living Daylight, but getting to the point of having an album was a process. "Musically it came out of a period of dissatisfaction, creatively and personally, as I found myself pushing against the limitations of my abilities and approaches to making music." But those delays eventually paid off. As he was working on Tonight's songwriting, Rault kept entering the orbit of Wayne Gordon, producer and head engineer at Brooklyn's legendary Daptone studio—first through opening stints for the late firebrand Charles Bradley, then while on tour with Aussie shredders King Gizzard and the Lizard Wizard. Sending Gordon early sketches of some songs led to Rault heading to Daptone for what was initially going to be a two-week recording stint. Midway through that Gordon approached him about signing to the Daptone Records label's fledgling rock spinoff, Wick—and becoming the first Canadian member of the Daptone family. Signing with Wick also led to Rault finishing the record at Daptone and bringing Gordon on as co-producer.

It's A New Day Tonight has the loose-limbed feel of a lost album by '70s bands that bridged the gap between folk rock's open-hearted strumming and power pop's crisp, melody-forward confections—Wings, Badfinger, Big Star, 10cc—yet possesses an energy shot through with 21st-century optimism. That vibe was assisted by the live-to-tape recording setup at Daptone. "The editing and patching together of tracks on the album was minimal compared to modern standards, which forced me to get more used to having to perform each song all the way through in the studio and then live with the imperfections afterwards," says Rault.

The album's title (and title track) comes from the most Canadian of overheard sources: a pregame interview with a hockey player coming off a rocky night. "He said, 'It's a new day tonight, we've got to put the past behind us.' At first, I thought it was an awkward phrase," says Rault. "But I quickly thought: 'Awkward turn of phrase… or a good album title?' [The title track] is almost completely describing a very positive nightlife experience, but the opening line implies that this evening is coming as a major relief after spending the majority of the day depressed." It's this idea of new hope born from a period of hardship that drives the record. Hope springs eternal when day is over it's a new day tonight.
reverends
REVERENDS are an Atlanta band founded in 2012 by Dandy Lee Strickland and Kyle Jones. Guitarist Nick Bable was found via a Craiglist ad seeking guitarists who could play “Weird Fucking Chinese Shit”. Nicky had been e-mailing Dandy Lee Strickland and "Hot" Dan Strickland at the same time not realizing they were two different people who had posted two different ads. When he figured it out Nicky and Hot Dan completed the line-up. It was later discovered that Dandy Lee and Hot Dan are cousins.

Their debut record is currently being finished. It features members of the Brian Jonestown Massacre and contains a variety of secret messages
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