VIDEO OF THE DAY: PARTY SUPPLIES

Name: ALL GOOD PRESENTS… AN EVENING WITH LOTUS
Start: 2018-4-21T20-20-00-00
End: 2018-4-21T23-23-55-00
Location: 9:30 Club

Emily HollandJune 10, 2014

Music 00 min read

NAT GEO AFTER HOURS is this Friday *cue all kinds of excitement*

Get more familiar with production duo Party Supplies before their live set by watching this sick video mash-up that features Patrick Swayze, a questionable Ronald McDonald and lots of other old footage. It’s pretty dope.

Buy event tickets online here.

21apr8:00 pmALL GOOD PRESENTS… AN EVENING WITH LOTUS8:00 pm 9:30 Club

22apr7:00 pmTHE WEEPIES-HIDEAWAY 10 YEAR ANNIVERSARY TOUR Curtis Eller’s American Circus7:00 pm 9:30 Club

23apr7:00 pmSTARSw/ Dan Mangan7:00 pm 9:30 Club

23apr8:00 pmYung Gravybbno$ • Global Dan • Kamiyada8:00 pm U Street Music Hall

24apr7:00 pmSTEVEN WILSON7:00 pm 9:30 Club

Event Details

“Once we’ve made sense of our world, we want to go and fuck up everybody else’s, because his or her truth doesn’t match mine…”

To The Bone, opening dialogue

Twenty something years ago – around the time that the first records bearing Steven Wilson’s name began attracting critical interest – the big message in rock’n’roll was that modern life was rubbish. Soundtracking a politically grey country stuck in a technological rut, popular music seemed to echo the underlying thought of the time. Something’s got to change.

Fast-forward to the second decade of the 21st century. Politics are in a state of self-inflicted turmoil; the connective technology that was meant to free us has become weaponized. It’s like everybody’s got the start of the millennium psychosis blues and modern life is out of control.

With that in mind, how should music in 2017 react to the flux and uncertainty of the here and now? If you’re Steven Wilson – now unarguably the UK’s biggest underground artist – the response is less about trying to make a state of the nation address and more about holding up a well-polished mirror to reflect back the chaos.

Lyrically, the eleven tracks on Steven Wilson’s fifth album To The Bone tackle such era-defining themes as everyday fanaticism; self-loathing caused by the pressures of online life; displacement by war and the hope that we try to pass on to future generations. Musically, the whole thing sparks and flashes in arcs of glorious colour, fusing driving futurist rock and spectral electronics to elegiac hyperspace ambience and dizzying squalling guitars.

Co-produced by Paul Stacey (Oasis, the Black Crowes), To The Bone is a bold, forward-thinking rock record. From the thunderous swampy rhythms of the album’s titular opener and the glimmering, stratospheric climb of Nowhere Now through the album’s two tales of unstinting home grown fundamentalism (People Who Eat Darkness, Detonation) via the gorgeous, acoustic break-up narrative of Blank Tapes and Pariah’s volcanic coda, the record presents eleven of Steven’s most concise, tightly melodic songs to date.

“This album has a much stronger pop sensibility than anything I’ve done before,” says Steven. “But I wanted to make a pop record that you could still engage with on a deeper level, whether that’s though the lyrics, the musicianship, or the layers in the production. I don’t hear too many records like that these days.”

For anyone who’s followed Steven’s career since the early ’90s – four times Grammy nominated, the founder and front man of adored outsider rock band Porcupine Tree; as a remixer for acts like Roxy Music, Simple Minds and XTC or as a self-sufficient solo artist, hugely respected for a series of visionary LPs starting with 2008’s Insurgentes – To The Bone might sound like a departure. In fact, it’s a lovingly crafted paean to the progressive pop records that heavily influenced the formative years of his youth.

“People generally think my music is rooted in the ‘70s but really I came of age in the ’80s, and grew up with post punk, new wave and Trevor Horn’s productions. Recently I found myself going back to listen to albums like So by Peter Gabriel, Hounds of Love by Kate Bush, Tears for Fear’s Seeds of Love and Talk Talk’s Colour of Spring. They were mainly made by musicians who’d come out of the crucible of innovative, experimental ’70s music but still wanted to write great songs that people could hum on the bus. They’re unapologetically accessible but with not even the slightest sense of dumbing down, they have a huge sense of ambition. And for me the more ambitious they were, the more I loved them.”

While 2015’s masterful Hand. Cannot. Erase. immersed the listener in a singular theme (the bleak true story of Joyce Carole Vincent), To The Bone takes multiple different paths to reach one central conclusion.

“If there’s an over riding theme to the record, it’s, ‘what a fucked up world we live in’. That said, in a broader sense I think pretty much everyone is writing about that these days. If you’re someone that thinks even slightly about the state of the world you’re living in, it’s impossible not be affected by what’s going on right now.”

With lyrics by one of Steven’s cornerstone inspirations – XTC’s Andy Partridge – the album’s opener and title track takes its inspiration from the Oxford Dictionary’s word of 2016: post-truth.

“To The Bone touches on the nature of truth, about how it recent times it has become a flexible concept. That should be an oxymoron – it’s absurd to suggest that it can be open to interpretation, truth should be an absolute. But that’s exactly what has happened, so the song talks about trying to get to the core of what actual truth is – and when you get there, what are you going to find? The spirit of that track sets the tone for the whole record.”

Elsewhere, the horrifying spectre of terrorism in everyday situations hangs over two of the album’s most ferocious tracks.

“People Who Eat Darkness is about living next door to a terrorist – someone who you pass on the stairs, on the school run, or while they’re taking out the bins, but then you’ll find yourself on the news after that same person has perpetrated a gun or terrorist attack, saying ‘He always seemed so pleasant, quiet and ordinary.’ From the flip side, Detonation is about someone justifying hate crime through religion. The opening line, ‘Great God, I don’t believe in you; but still I will do what you want me to’ is about that guy that walked into a gay club in Orlando with an automatic weapon last summer. Even though he shouted ‘Allah Akbar’ (‘God is Great’) while he was killing people, it transpired he’d had no contact with any fundamentalist group, so religion was just an excuse for him to justify his own deep-rooted irrational prejudice and hatred. Those two songs connect back to that idea of truth being a flexible concept too – those people have engineered their own reality to support their skewed logic.”

To The Bone’s rays of light come from Nowhere Now and Permanating (where each track looks back at the Earth from outside the exosphere, “seeing the beauty with all the depressing shit removed, seeing the great in the small”) and the album’s closing track, Song of Unborn.

“I wanted to write something from the perspective of an unborn child who’s looking out from the womb at the wreckage of modern civilization and thinking to itself; why would I want to be born into this place? And the answer is, “You have the chance to do something extraordinary, the arc of your life can be profound, it’s all about how you use the gift of your life. I think these songs stop it being a really depressing record!”

Far from being a desolate experience, To The Bone is a hugely exhilarating collection of songs. Like those inspirational records of the ’80s, it loses none of the scope of the artist’s previous records. Instead, like them, it hones myriad ideas into a collection of perfectly formed modernist pop songs, finding order, hope and melody in the chaos of the present.

Time

(Tuesday) 7:00 pm

Location

9:30 Club

815 V ST NW, Washington, DC 20001

Cost

$40

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25apr7:00 pmThe Cadillac Threew/ Sam Grow7:00 pm 9:30 Club

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It may be a ballsy move for The Cadillac Three to name their new album LEGACY, but if any country band has the shared history to lay claim to such a weighty title, it’s the longhaired trio of Nashville natives.

Singer-guitarist Jaren Johnston, drummer Neil Mason and lap-steel player Kelby Ray have known one another
since they were teens and have been sharing stages together for nearly 15 years. This summer, they’ll headline
their hometown’s most famous venue, the Ryman Auditorium, just a few blocks from where Johnston and Ray sat in high-school math class daydreaming about one day playing the legendary hall. Johnston’s connection to the Ryman goes back even further: his father has been a drummer at the Grand Ole Opry since Jaren was a child. And now he has a son of his own, who, like his old man, will be well-versed in all the sounds that make up both Music City and The Cadillac Three, from country and blues to rock & roll.

So, yeah, “legacy” looks good on this band.

“We’re trying to build something and do it our way, which is always harder,” says Johnston. “If you’re going to leave something that people are actually going to remember, you can’t take the easy way. So we took all of our history, mixed it with the energy of The Cadillac Three and put it into a record that makes sense of where we’ve been and where we’re going.”

After nearly a full year on the road in support of 2016’s BURY ME IN MY BOOTS, their first full-length album recorded for Big Machine Records, the group returns with a more mature perspective. Johnston, Mason and Ray have experienced a lot on tour, whether opening arenas across the country on Florida Georgia Line’s Dig Your Roots Tour or headlining their own consistently sold-out string of sweaty club and theater shows in the U.K. and Europe. As they prepare to head back in November for another big run, for The Cadillac Three, the old saying
really is true: this band is huge overseas.

“Europe showed us that we should bet on ourselves. It was a big gamble the first time we went over there,” says Mason, “but the shows and the fans have continued to grow.”

“And going overseas reinforced that we wanted to get more music out more quickly,” adds Ray. “They go through singles really quickly over there. They want more, more, more and that encouraged us to go into the studio, knock this album out and keep going.”

All that travel, from city to state, country to continent, could decimate a lesser band, but it only served to creatively inspire the mighty TC3. They wrote many of the 11 songs that make up LEGACY on the road, cut the tracks on rare days off in Nashville and then recorded all of Johnston’s vocals – one of the most “country” voices in the genre – in the back lounge of their bus in between shows, adding a crackling sense of vitality to LEGACY.
They also produced the album themselves.

“We knew what we wanted to do with this record. Instead of putting it together in bits and pieces, we started with
a batch of songs and then picked a single,” Johnston says. “That’s how this shit should be done.”

That back-to-basics approach to making music yielded the band’s most infectious single to date: the woozy sing-
along “Dang If We Didn’t.” Written, as is most of the album, by Johnston and Mason (here, with Jonathan Singleton; other times with songwriters like Laura Veltz and Angelo Petraglia), “Dang If We Didn’t” teases fans with its ambiguous title, before revealing what the guys actually did in the chorus: get drunk last night.

“When you’re a songwriter, you can be critical of song titles,” says Johnston. “But with ‘Dang If We Didn’t,’ I thought it was a little bit mysterious. It makes you wonder, ‘Dang if we didn’t do what?'”

“Eat pizza last night,” quips Mason. “It could be anything.”

“American Slang” rivals “Dang If We Didn’t” in its grandeur. It’s a huge song, akin to Tom Petty’s “Free Fallin'” or The Cadillac Three’s own “Graffiti,” off BURY ME IN MY BOOTS. Lori McKenna (Little Big Town’s “Girl Crush”) began writing the tune with the intention of having The Cadillac Three finish it. “We are vampires on Hollywood Boulevard / angels and sinners of our hometown streets,” go the lyrics, painting a picture of life’s rebels, before a
massive country-radio chorus kicks in: “We are the back roads, dirty water shore banks…we are born and raised on American slang.”

The constant throughout LEGACY, however, lies in the players: as on all three of The Cadillac Three’s albums, only Johnston, Mason and Ray are the musicians. There’s no guest keyboard player, no second percussionist and certainly no bassist. Ray holds down the low end on his lap steel.

Especially on the standout LEGACY track “Take Me to the Bottom,” which features Johnston reaching high for a
breathtaking falsetto. “‘Take Me to the Bottom’ has the best bass sound of anything I’ve ever done,” says Ray, who also keeps things greasy on the intense “Tennessee.” A thrashing love song, it evokes the stomp of ZZ Top – a favorite of TC3 – and features a lyrical shout-out to progressive country hero Sturgill Simpson, a kindred spirit of the band.

No matter the influence, though, the trio stays faithful to their own unique sound throughout LEGACY. “Hank & Jesus” glides along with Tennessee twang; “Demolition Man” is distinguished by the space between the notes; and the swaggering “Cadillacin'” is a band anthem. “We don’t put anything on our albums that we can’t re-create live,” says Mason. “If there is a TC3 rule, it’s that: keep it honest.”

Honesty, or authenticity, is a favorite buzzword around Nashville. But few artists come to it as naturally as The
Cadillac Three. These guys couldn’t fake it if they tried. In the album’s title track, they offer a heart-on-the-sleeve testimony to what’s really important at the end of one’s days: love and a family tree.

When Mason and Ray heard “Legacy,” co-written by Johnston, they flipped, and pushed for it to be the title of the record. “We’re far enough along in our careers where doing an album called LEGACY doesn’t feel presumptuous to me,” says Mason.

Not when you run through The Cadillac Three’s milestones. It’s all there, from boundary-pushing albums, Grammy-nominated No. 1 songwriting across genres and fan-favorite singles to sold-out club shows and massive festival gigs alongside Aerosmith.

“With this album, we’re continuing to build this thing we’ve created. We’re touring nonstop, headlining shows in the U.K., playing the Ryman, and putting out a new record,” says Johnston. “Shit, that’s a pretty good legacy so far.”

Time

(Wednesday) 7:00 pm

Location

9:30 Club

815 V ST NW, Washington, DC 20001

Cost

$20

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26apr6:30 pmAN ACOUSTIC EVENING W/ ANDREW MCMAHON IN THE WILDERNESS & FRIENDSFEATURING ALLEN STONE, ZAC CLARK, AND BOB OXBLOOD (OF JACK'S MANNEQUIN)6:30 pm 9:30 Club

26apr(apr 26)6:30 pmBeck (First Night Sold Out! Second Night Added!)Kimbra6:30 pm The Anthem

Event Details

Super Excellent Seats are non-transferable. The ID of the person attending must match the purchaser’s name, which will be printed on the ticket face.

Beck has traveled light years from being pegged as a reluctant generational spokesperson when “Loser” metamorphosed from a rejected demo in 1992 to a ubiquitous smash by 1994. In the decades since, he has crystallized much of the post-modern ruckus of the ‘90s alternative explosion, but in his own unpredictable manner: Beck’s singular career has been one that’s seen him utilize all manners and eras of music, blurring boundaries and blazing a path into the future while simultaneously foraging through the past.

Surfacing just as alternative rock went mainstream, no small thanks to his 1994 debut Mellow Gold, Beck quickly confounded expectations with subsequent releases including the lo-fi folk of One Foot in the Grave. But the album that truly cemented Beck’s place in the pantheon was 1996’s multi-platinum Best Alternative Grammy winner Odelay, that touched upon all of his obsessions, providing a cultural keystone for the decade from the indelible hook of “Devil’s Haircut” to the irresistible call and response of the Grammy-winning anthem “Where It’s At.”

**** From the world-tripping atmospherics of 1998’s Mutations (his second album to win the Best Alternative Grammy) and the florescent funk of 1999’s Midnite Vultures through the somber reflections of 2002’s Sea Change, 2005’s platinum tour de force Guero and 2006’s sprawling The Information, no Beck record has ever sounded like its predecessor. In the interim following 2008’s acclaimed Danger Mouse-produced Modern Guilt and the Grammy-nominated standalone single “Timebomb,” Beck eschewed the typical album/tour/repeat cycle of the music business. Instead, he expanded into multi-media endeavors including a one-time-only live re-imagining of David Bowie’s “Sound and Vision” utilizing 160 musicians in a 360-degree audiovisual production, and the equally unprecedented Beck Hansen’s Song Reader, originally released December 2012 by McSweeney’s as 20 songs existing only as individual pieces of sheet music–complete with full-color original art for each song and a lavishly produced hardcover carrying case (and since recorded as an actual album by the likes of Jack White, Juanes, Norah Jones, David Johansen, Beck himself and many others).

Beck’s creative tide continued unabated throughout 2013 with three standalone singles released digitally and on 12-inch vinyl (“Defriended,” “I Won’t Be Long,” Gimme”), custom-created performances for Doug Aitken’s Station to Station series of transient happenings, life-affirming headline dates, and special Song Reader events in which Beck and eclectic line-ups brought the book to life for a few unforgettable evenings staged in San Francisco, London, and at Disney Hall in Los Angeles.

Beck opened 2014 with the 12th–and possibly most well received―album of a peerless career: Morning Phase. Likened by some to a companion piece of sorts to his 2002 masterpiece Sea Change, Morning Phase featured many of the same musicians who played on that record–and who also accompanied Beck for the rapturously received world tour supporting the record: Justin Meldal-Johnsen, Joey Waronker, Smokey Hormel, Roger Joseph Manning Jr., and Jason Falkner. Featuring the hits “Blue Moon” and “Heart Is A Drum” along with instant classics like “Waking Light” and “Wave”, Morning Phase harkened back to the stunning harmonies, classic Californian song craft and staggering emotional impact of that record, while surging forward with infectious optimism.

Morning Phase debuted at #3 in the U.S., selling nearly 90,000 copies in its first week—besting Modern Guilt’s debut week despite the market being down more than 70% since that record’s release six years prior—and generating a rare unanimous chorus of critical acclaim from the likes of THE NEW YORKER (“a triumph… After listening to Morning Phase 50 times, I can’t find a single thing wrong with it… You don’t get many albums like this in your lifetime… I can’t imagine someone who couldn’t find some succor or beauty here”), ROLLING STONE (“an instant folk-rock classic… feels as personal as it does universal”—4 ½ STARS), THE NEW YORK TIMES (“The record’s beauty approaches slowly, floats, surrounds and shuts off external awareness in the brain stem”), NPR (“If we needed any proof that albums still matter in this short-attention-span world, Beck’s flawless 12th album, Morning Phase, is a triumphant testimony”), and more. Morning Phase closed out 2014 atop year-end best lists, with highlights such as #1 Album of 2014 in ESQUIRE (“no album in recent memory taps into our cultural zeitgeist as effortlessly. This is what it sounds like to come to peace with everyday ambiguity and indecision.”) and a slew of others including ENTERTAINMENT WEEKLY (“Each song swims by with gorgeous melancholy, as though he’d found the only acoustic guitar on the moon”).

Beck rolled into 2015 taking the Album of the Year top honor at the 57th Annual Grammy Awards, as well as the prize for Best Rock Album. Morning Phase also won in the Best Engineered Album (Non-Classical) category. With three previous Grammy wins to his credit, Beck walked away from attending and performing at the 2015 ceremony with double his previous Grammy tally.

The music has flowed from Beck without pause since: from globe-spanning live shows consistently hailed as the best of his storied career to the 2015 psych-dance summer jam “Dreams” that NPR hailed as “urgently contemporary and irresistibly vintage,” USA TODAY labelled “a strong contender for song of the summer,” and ROLLING STONE raved “This funky little groove is giving us Midnite Vultures flashbacks in the best way possible.” This creative watershed couldn’t even be confined to Beck’s output under his own name, as evidenced by sublime collaborations including the Chemical Brothers’ “Wide Open” and Flume’s “Tiny Cities.”

“Dreams” gave Beck his second #1 single at AAA radio (the first being Morning Phase’s “Blue Moon”) as he continued feverishly working up sketches at home to be fleshed out with producer Greg Kurstin (coincidentally a veteran of Beck’s live band circa Sea Change). It seemed there was a literal embarrassment of riches from which to carve out the diamond of a new album—but then Beck noticed that a track he’d been demoing at home had “gone viral”… amongst his children and their friends, that playdates were morphing into dance parties punctuated by refrains of “Wow”…

“Wow” was unveiled to the world June 2, 2016 in all its fluorescent mutant hip hop glory. And accompanying the retro-futuristic earworm was a virtual “Wow” world built with the help of a global collective of creators on Instagram. If “Dreams” was the post-Morning Phase party we’d all been waiting for but just didn’t know it until the invite showed up, “Wow” kicked off the afterparty for the next generation—coming at you live from the future courtesy of Beck. Reactions to “Wow” and its accompanying video have been as fast and furious as its release and as joyous and enthusiastic as the song itself:

“The sweetest mix of his lovingly absurdist hip hop side and his slyly gorgeous singer-songwriter side since Odelay”—ROLLING STONE Playlist #1

“Gloriously kooky… a weird-yet-welcome departure, playing with hip hop production and goofy rhymes before regaining its composure on a kaleidoscopic chorus… bring on the full album.”–USA TODAY Song of the Week

“A 2016 version of the bemused surrealist funk of Odelay…has a big, sweet incandescent hook. It’s a great song!”—STEREOGUM

“All hail the return of Party Beck.”—ESQUIRE

Most recently, Beck confirmed that his 13th studio album, Colors, hailed in advance by ROLLING STONE as a “euphoric blast of experimental pop,” would be released October 13, 2017 on Capitol Records. Possibly the most aptly titled work in Beck’s storied discography, Colors unfolds in an intoxicating rainbow of auditory tricks and treats, making it a shoo-in for the summeriest smash of the fall season. The newest advance taste of the album is the captivating piano-driven “Dear Life,” which elicited Beatles and Beach Boys comparisons from THE NEW YORK TIMES amongst a slew of generation spanning critical raves including:

“‘Dear Life’ makes good on Beck’s promise, with waltzing pianos, a killer guitar riff, and am immediately memorable chorus.”—ENTERTAINMENT WEEKLY

“Leave it to Beck to craft a sunny, upbeat pop song that doubles as a scream into the void… the kaleidoscopic new single from his forthcoming album, Colors, has something for partiers and wallflowers alike…when Beck asks on the buoyant chorus about the thrill being gone, the answer is: not yet—not in his career, not in this life-affirming song.”—PITCHFORK

“Fans of Beck will have even more to love in the perennial hitmaker’s latest… a dark pop-rock sound that hints at influences from everyone from The Beatles to Spoon.”–TIME 5 Songs You Need To Listen To This Week

Colors was produced by Greg Kurstin and Beck, with the exception of “Wow” produced by Beck and Cole M.G.N., and “Fix Me” produced by Beck. The album was mixed by Serban Ghenea, except “Dreams” and “Up All Night”—the latter previously leaked from the FIFA 17 videogame soundtrack–which were mixed by Greg Kurstin and Beck.

The touring regimen around Colors recently kicked off with a headlining run that has generated yet more of the most enthusiastic notices of Beck’s live career, including:

“An electrifying Beck worth the wait at first Milwaukee concert in 20 years… at his sold-out show at the Riverside Theater Wednesday, he proved that in his case, time is irrelevant… His strongest songs are imaginatively created, impeccably executed, incredibly catchy and as alive as music can be… Beck also proved he’s still an innovative craftsman with two newer songs. ‘Dreams’ was awash in fuzzed-out synthesizers, celestial backing vocals and gentle acoustic guitar strums… And ‘Wow’ live was a wonderfully weird, and captivating, blend of hip-hop beats and dreamy pop melodies… Yet another song only Beck could pull off.”—MILWAUKEE JOURNAL-SENTINEL
“You wouldn’t have known nine years had passed between Beck’s last Twin Cities concert and his rascally show Thursday night at the Palace Theatre in St. Paul. At 47, the Californian hippie hip-hop rock hipster — who’s already due back Sept. 8 opening for U2 at U.S. Bank Stadium — looked as spry, slender and elfin as he did back in 2008… he and his seven-piece band walloped the audience with an almost nonstop string of funky, rowdy fan favorites… the harmonies soared… spirited and irresistible.”—MINNEAPOLIS STAR TRIBUNE
“Beck has a style and a sound that could suit any era and fit any occasion… He playfully eludes easy categorization, and remains one of the most distinctive songwriters of the modern era… On Thursday night at a sold-out Palace Theatre, all of Beck’s many creative sides were on full display, as he and his cracking seven-piece backing band delivered a lively 95-minute set that mixed his big radio hits in with tender, unguarded moments… he seemed rejuvenated, enjoying himself as much as he did during his alt-outsider early days. Beck can bring the party with the best of them, while also soothing your broken heart if you need it. He did plenty of both on his grand return to Minnesota.”—CITY PAGES
Next up, Beck will join U2 as special guest on The Joshua Tree Tour 2017. Beck recently accepted U2’s invite to support the band on a series of stadium dates beginning September 3 at Ford Field in Detroit and winding up September 22 at San Diego’s Qualcomm Stadium.

For a full list of upcoming Beck shows and updates of all colors, continue to check Beck.com.****

Time

26 (Thursday) 6:30 pm

Location

The Anthem

901 Wharf St SW Washington, DC, 20024

Cost

$55

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27apr7:00 pmTwin Shadow9:30 Club Presents @ U St Music Hall w/ Yuno7:00 pm U Street Music Hall

27apr8:00 pmOvid’s VineyardMusic of the French Baroque8:00 pm Folger Theatre

VIDEO OF THE DAY: PARTY SUPPLIES

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