Shaking Through Season 5 Launch & Weathervane Music Benefit

Johnny Brenda's Presents

Shaking Through Season 5 Launch & Weathervane Music Benefit

The So So Glos, Lushlife / CSLSX, Torres

Sat, March 1, 2014

Doors: 8:00 pm / Show: 9:15 pm

$8.00 - $12.00

This event is 21 and over

All shows are 21+ Proper I.D. required for admission

The So So Glos - (Set time: 11:15 PM)
The So So Glos
The So So Glos are a punk rock band based in Brooklyn, New York. The band consists of Alex Levine (vocals, bass), Ryan Levine (guitar, vocals), Matt Elkin (guitar, vocals) and Zach Staggers (drums, vocals). They have toured the U.S. and Europe extensively on their own and are recognized for their active participation in New York’s all-ages venues and the DIY movement. “[They are] hometown heroes,” says Blackbook Magazine of the band’s high level of community involvement, “They rule the underground, all-ages music scene in the city.” The So So Glos are currently touring with pals Titus Andronicus to promote their latest album, Blowout, released in late April on Shea Stadium Records.
Brothers Alex and Ryan Levine, originally from Bay Ridge, met drummer Zach Staggers in pre-school. Through divorces and remarriages, Zach became their step-brother and they began playing music at a very early age. Over the course of their childhood, the three brothers moved around the New York metropolitan area frequently, yet always devoted time to writing and playing music together.
The So So Glos adopted their current name in 2007, the same year they self-released eponymous debut, recorded after-hours in a Staten Island studio with childhood friend Adam Reich. Guitarist Matt Elkin joined the band late in the year, just prior to their first cross-country tour. They returned in early 2008 and co-founded all-ages Brooklyn venue The Market Hotel with DIY show promoter Todd P.
The So So Glos released their EP, Tourism / Terrorism, in fall 2008 through Warner subsidiary Green Owl Records. Consisting of nine tracks, the EP received an A- from Robert Christgau and won the “Best Punk Album” category of the 9th Annual Independent Music Awards. After several D.I.Y. tours of the U.S. in support of the album, the band toured Europe as an opening act for …Trail of Dead.
During the summer of 2009, The So So Glos teamed up with Shea Stadium founder Adam Reich (who is also a touring member/producing collaborator of New Jersey band, Titus Andronicus) to establish the all-ages performance space/recording studio in Brooklyn affectionately called Shea Stadium. They toured the U.S. and Canada for six weeks with New Jersey heroes Titus Andronicus and embarked on their second European tour (supporting the Virgins) shortly afterward.
In June 2010 the band recorded new material with Nicolas Vernhes at the Rare Book Room in Greenpoint, Brooklyn. They released their 7-inch EP Low Back Chain Shift on October 12th that same year. They supported both Matt & Kim and the Futureheads during their North American tours that autumn.
Their 2nd full length, Blowout, was released in partnership with Shea Stadium records April 23rd, 2013. Garnering 4 out of 5 stars from Rolling Stone and glowing reviews from Consequence of Sound, Pitchfork, Blackbook Magazine and Stereogum among others, the band began their tour with Titus Andronicus after their Network television debut on the Late Show with David Letterman.
Blowout is available for purchase now at iTunes and Amazon.
Lushlife / CSLSX - (Set time: 10:15 PM)
Lushlife / CSLSX
From the moment you hear the bristling boom-bap chorus on album-opener, “Totally Mutual Feeling,” it becomes apparent that Lushlife’s third full-length finds the Philadelphia rapper-producer at his most introspective. Themes of isolation and mortality permeate Ritualize, a cinematic hour-long odyssey co-produced by enigmatic production trio, CSLSX (pronounced “Casual Sex”) and featuring contributions from Ariel Pink, Killer Mike, Freeway, Marissa Nadler, RJD2, and more. With CSLSX at the boards, an entire universe opens up for Lush, where the pulsating Juno synths of ‘80s LA night music sit side-by-side with gorgeously propulsive indie-leaning jams, and low-fi soul burners too. The resulting LP is a post-blog-era joint that seems to exhale the whole of the 20th century in a single, fascinating breath.

“After toiling over two self-produced LPs in the last half-decade, I felt compelled to bring on an outside production team for Ritualize,” Lushlife explains. “Not only did I want to broaden the musical palette, but I felt like the group production effort would give me a depth of focus on lyrical content and emotion that I hadn’t previously been afforded.” After a chance encounter with CSLSX, who had been quietly self-releasing low-fi dance gems to remarkable organic blog buzz, the newly-formed team set out on a three-year journey that would eventually yield their new joint album. By the time work began on Ritualize, Lush had already been riding a small wave of critical acclaim for his 2012 full-length, Plateau Vision, an album that made several year-end lists and was described by the Sunday New York Times as a melding of, “captivating rhymes with audacious, gorgeous production.“ Still, with Ritualize, Lushlife and CSLSX seem to have gone one deeper.
Torres - (Set time: 9:15 PM)
Torres
TORRES knows the darkness. The Brooklyn-based singer-songwriter otherwise known as Mackenzie Scott waits until anything—an idea, an emotion, a memory—gnaws at her, tearing at her fingers and throat until she releases it in song. Her husky voice strains against its human biological constraints like a wild-eyed horse, whispering desperately “Don’t give up on me just yet” on one end and yowling about jealousy with unnerving intensity on the other. Following her self-titled debut in 2013, TORRES pushes herself to even noisier extremes on Sprinter, a punishing self-examination of epic spiritual and musical proportions.
“There’s so much I want to sing, but there’s no room for toothbrushes in poetry,” Scott murmurs in a resilient quaver while barely fingering the strings of her guitar on “The Exchange,” the final song and the heart of her second album. “That was the one that brewed the longest in my subconscious before I wrote it,” says Scott. “It was just a tough one, no getting around it.” The reason is right there in the beginning: she sings of her adopted mother losing her biological mother twice—once at birth and again when she discovered her adoption papers had been lost in a basement flood.
A keen awareness of Scott’s place in her family and in the world suffuses Sprinter, contributing to themes of alienation throughout. “You’re just a firstborn feeling left behind,” she sings on the ominously brewing “Son, You Are No Island,” which references one of Scott’s influences on this record: English poet John Donne’s 1624 poem Devotions upon Emergent Occasions. Scott’s tortured wailing circles spirals downward around itself, reflecting in a dark mirror the feelings of an adopted child.
“Whether it be abandonment, or fear of rejection, or perhaps inability to connect with people, comes down to that fear of isolation, of not being good enough,” she says. “Those are themes that have cropped up in my personal life, in my writing, and my mom can definitely understand that herself.”
But Scott escaped the confines of her churning mind in order to find herself by recording Sprinter in the market town of Bridport in Dorset, England; and then at the Bristol studio of Portishead’s Adrian Utley. With his guitar riffs and synthesizers lingering in the background like a lowland mist and PJ Harvey’s Robert Ellis and Ian Olliver on rhythm—the two fortuitously reuniting 23 years after the release of Dry, and in Scott’s 23rd year of living—she crafted a “space cowboy” record. “That’s as simply as I can say it,” says Scott, who cites inspirations as diverse as Funkadelic and Nirvana, Ray Bradbury and Joan Didion. “I wanted something that very clearly stemmed from my Southern conservative roots but that sounded futuristic and space-y at the same time.”
It seems like an odd thing to look for in the picturesque seaside green, rolling hills in the south of England, but Scott had never been there before, and as a stranger in a strange land she found what she was looking for: a lost childhood. Sprinter was recorded in a room that had formerly been used as a children’s nursery, which combined with the alien landscape fuels the self-searching that roils TORRES’ music. “Cowboy Guilt” perfectly encapsulates the contrast of Deep South conservatism with future sounds, juxtaposing George W. Bush parodies with wearing one’s Sunday best, bouncing on a mechanically whimsical melody.
After all, it was Scott’s Baptist upbringing 4,000 miles away in Macon, Ga. that gave her a voice in the first place. When her parents gave her an acoustic guitar at age 15, after giving her flute and piano lessons before that, she would sing church hymns at the local nursing home to get over her stage fright. As Scott moved away from organized religion toward something far more real and personal (“I still think of myself as quite God-fearing,” she says), she ranged farther from home, to Nashville—where she grappled with her outsider status yet again, faced with an insular music scene as hard to break into as if it were surrounded by England’s famous hedgerows—and then to New York, where she finally felt another semblance of being at home.
“Nashville was just a bit too small for me,” she says. “I don’t really like walking down the street and knowing everyone that I see along the way. I was raised in a small town and there are very special things about it, but I don’t prefer to live that way. I like the chaos of the city.”
Venue Information:
Johnny Brenda's
1201 N. Frankford Ave
Philadelphia, PA, 19125
http://www.johnnybrendas.com/