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Arbouretum Announce US Winter Tour With Endless Boogie

Arbouretum are thrilled to announce their 2011 Winter tour with fellow indie rock guitar heros, Endless Boogie. They will start out celebrating the release of their epic new LP The Gathering in their hometown of Baltimore, Maryland on February 13th. From there, they will be traveling to the west coast to in support of their highly anticipated new new album. Don't worry east coast, they will be there soon!

The Gathering has garnered early support from Pitchfork, NPR, The Fader, The NME and Stereogum. In November, Arbouretum released new album details and a live video for "When Delivery Comes".  While Pitchfork broke the news of the new LP and premiered the video, both The Fader and NPR picked up the news, posted the new acoustic video, and set the tone for this truly amazing album.
In December, Stereogum premiered their debut single, “Destroying To Save” and raved about its “gorgeous guitar sound and stately vintage psych pacing.” And on the other side of the pond, UK's The NME and premiered the single in their Top 10 Daily Download.
From the truly poetic opener "The White Bird", to the amazing cover of The Highwaymen's "Highwayman", Arbouretum have really delivered a masterpiece of epic proportions. The "Song of the Nile" was a collaboration between Rob Wilson and lead singer/guitarist Dave Heumann; “the song talks about someone on a mythical hero quest who seems to go through all these scenarios quite by accident." The Gathering takes the listener on a journey filled with a plethora of imagery and narrative context lifted from the Gnostic myth of "The Song of The Pearl".


The Gathering, was to a large extent, inspired by The Red Book by Carl Jung, or more specifically, Jung’s pursuit of the inner images that led to the book’s writing. Dave Heumann has long been a fan of experiences that surpass comprehension and describe the numinous. The narrative of “losing one’s way and finding it again” resonated deeply and it was in this context that the songs that comprise The Gathering came to be.  The attention to detail in recording and in writing, in concert with the performance, result in the other-worldly experience of The Gathering.

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US Winter 2011 Tour:

Feb 13  Baltimore, MD   Ottobar Upstairs w/Secret Mountains

Feb 17  San Diego, CA   Tin Can Ale House w/Endless Boogie

Feb 19  Santa Cruz, CA  105 Pioneer w/Endless Boogie

Feb 20  San Francisco, CA Hemlock Tavern w/Endless Boogie

Feb 22  Vancouver, BC Biltmore Cabaret w/Endless Boogie, Nathan Wheeler

Feb 23  Olympia, WA Northern w/Endless Boogie, Eternal Tapestry

Feb 24  Portland, OR Mississippi Studios w/Endless Boogie, Eternal Tapestry

Feb 26  Seattle, WA Comet Tavern w/Endless Boogie, Eternal Tapestry

Feb 28  Oakland, CA  TBA w/Endless Boogie

Mar 1   Los Angeles, CA The Satellite w/Endless Boogie

Mar 5   Baltimore, MD 2640 Space w/Future Islands, Celebration

The Fader's 'Here We Go Magic' Streets 2/24 + Preview Track

The Fader''s

To date, Luke Temple has been unconfined by genre. His full-length debut Hold a Match for a Gasoline World presented heartfelt folk tunes and expansive pop numbers filtered through a unique outsider perspective. Last year's follow-up Snowbeast was an avant statement full of interwoven light and dark imagery recorded entirely in his Brooklyn bedroom. 

Developed over a two-month period of stream-of-consciousness recording in Greenpoint, Brooklyn, Luke's self-titled debut under his new moniker Here We Go Magic is a remarkable departure from his signature singer-songwriter material.  Luke recorded the album at home using analog synths, a cassette 4-track, and his trusty SM-57 mic, coloring the sound with warmth and creating textures you want to wrap yourself in.

The album opens with the trance-inducing polyrhythm's and gorgeous multi-layered vocals of "Only Pieces."  What follows is an album oozing with sounds maternal and subconscious...like floating in amniotic fluid, ripe, hiccup-y and desperate to emerge. Many of the songs pulse with infectious afro-beat and kraut-rock influenced grooves, calling to mind classic albums like Remain in Light and Graceland.  In contrast, the instrumental tracks conjure mystical introspective landscapes reminiscent of Popol Vuh's unforgettable ambience.

Despite the album's murky aquatic underpinnings it's hard to resist shakin what you got to ebullient blissed-out tracks like "Fangala" and "Tunnelvision." The album closes with "Everything's Big", a bleak commentary on weakness and fear birthed of opulence and gluttony.  Luke's fragile tenor delivers this absurd carnival waltz with the fervor and abandon of a teetotaler under the influence, never breaking the spell of the album's mood of rejuvenation and release. 

Luke is joined by fellow Brooklynites Baptiste Ibar (bass) and Peter Hale (drums) for Here We Go Magic's psychoactive live incarnation.

THE FADER IS DEAD

- for the Grateful Web

The FADER magazine—the definitive voice of emerging music—releases its annual Icon Issue, this time taking an in-depth look at one of the most consistently relevant forces in popular music: Jerry Garcia. The Grateful Dead was an incredible musical force that defined its generation, with Garcia as its de facto leader, to the point that the band is almost synonymous with the '60s. Yet the Dead—and Jerry especially—remained an active force well into the '90s, and the band's power and influence has anything but diminished since their final show. In fact, Jerry and the Dead are as relevant now as they've ever been—a constant inspiration and obsession for the current generation of musicians that The FADER celebrates issue after issue.

It is also telling that The FADER's 46th issue hits newsstands on the 40th anniversary of the Summer of Love, and notable that The FADER's tribute focuses on the early years of the Grateful Dead, when Garcia was a young rocker obsessed with authentic American music like folk, bluegrass, the blues and the jug bands of the '20s. The photographs in the feature come exclusively from 1966, 1967 and 1968, including never before seen images. The entire feature is comprised of "as told to" style interviews full of untold stories and reflections on Garcia's life from those who knew him best, including Carolyn "Mountain Girl" Adams Garcia, the Grateful Dead's Bob Weir, Bill Kreutzmann and Mickey Hart, his friend David "Dawg" Grisman, his collaborator Ornette Coleman, his manager Richard Loren, and the Dead's legendary soundman Dan Healy, among others. Artists from The FADER generation also give accounts of their experiences with Garcia's life and music and the impact it has had on them. Contributors include Devendra Banhart, Brightblack, Modest Mouse, Animal Collective, Dungen, the Hold Steady, the Meat Puppets and many more.

"There are so many misconceptions and prejudices regarding Jerry and his legacy," said Alex Wagner, Editor in Chief of The FADER.  "We wanted to dig deep and show our readers that he's an incredibly relevant and inspiring figure—an honest to goodness rock star who very much deserves his place in the canon of modern music."

As the Icon Issue also doubles as The FADER's Photo Issue this year, the rest of the feature well of The FADER's 46th issue focuses on extensive photo portfolios from some of the magazine's most dynamic contributing photographers. The photo features includes stories on underground eco leaders in Philladelphia, gang life in the shadow of Wounded Knee, South Dakota, and the golden days of the itinerant gypsy community known as the Roma. As always, F45 will also be available via iTunes in its entirety, with corresponding audio podcasts, and as a free download at www.thefader.com.

HIGHLIGHTS INCLUDE :: JERRY GARCIA, with contributions from:

Carolyn "Mountain Girl" Adams Garcia
"There was an aspect of his playing that kind of reached through the dimensions and affected how people felt about things. There was a certain kind of musical catharsis going on sometimes when he played. After a while things became so fluid and sparkling and sort of gorgeous, I found it very touching and moving and loved it. I still do."

Bob Weir
"We lived together in Watts…Everybody brought their own music for everybody else to enjoy…at the same time we were all listening to the radio and deconstructing what we were hearing. We just had no idea what we were up to, every possible direction was a possible direction. The world was full of endless possibilities."

Mickey Hart
"I remember the end of it. We were sitting in a meeting saying, 'What are we gonna do?!' and Jerry drew this snake that was eating its tail. He said "This is us. We're eating ourselves.'

Richard Loren
"I was riding a camel around the Pyramids and the Sphinx when suddenly I looked over to my left and saw a stage. It all kind of hit me. A light bulb went off in my head and I thought God, you know, the band should play here!"

Devendra Banhart
"The Grateful Dead are the reliable band. They are the sonic, aural equivalent to warm water. They give you these options and choices and it's all a world of maybe. And the realm of maybe is what really makes a trip comforting. They are that comfort. Suddenly the water isn't going to boil and it isn't going to turn ice cold, it's going to stay warm."

Geologist, Animal Collective
"There's also the parking lot. I try and say this to Animal Collective fans. In the indie world or whatever, there is a lot of pretension and exclusion in the attitude, like, 'This band and this music are mine, and I have no interest in anyone else being a part of it.' At Dead concerts, these old hippies would be like, 'Oh is this your first show? Welcome to the party! Congratulations, that's great!' One day I hope the parking lot of an Animal Collective Show will feel like the parking lot at a Grateful Dead show, just an overwhelming sense of fun and community."

About The FADER
Founded by Rob Stone and Jon Cohen in 1998, The FADER magazine is the definitive voice of emerging music and the lifestyle that surrounds it. Through in-depth reporting and a distinct street sensibility, The FADER aggressively covers the most dynamic breadth of music and style emanating from the fringes of the mainstream to the heart of the underground, and was also the first publication in history to be released on iTunes. The FADER is the authority on what's next.

TRACKLIST
"Cryptical Envelopment" 3/1/69 - Fillmore West
"Turn On Your Lovelight" 1/24/71 - Seattle Center Arena
"New Speedway Boogie" 5/15/70 - Fillmore East
"Tore Up Over You/Legion of Mary" 4/7/75 - Keystone, Berkeley

"Candyman" 6-11-76 - Boston Garden
"Terrapin Station" 12-29-77 - Winterland, San Francisco