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2 Nights of EOTO at the Fox Theater

From dance halls to intimate theaters worldwide comes EOTO - the nation’s top innovator in glitchy electronic, bass thumping, dub-step themed music. With performances booked well into 2010 including a special two-night run at the Fox Theater, EOTO is taking the country by storm with their innovative brand of live electronic music.

What EOTO achieves on stage is nothing short of astounding. Performed with all of the bells and whistles of a traditional electronic artist plus the addition of live drums, vocals, bass and guitar, the duo creates each and every bass ridden noise right before your eyes -without the addition of a single pre-recorded track. Known for their 100% live improvised performance, EOTO is breaking ground into a new sub culture of music while standing with some of the nations best live DJ’s in the country.

With leagues of sold-out theater performances in 2009, the project started out as an avenue for the duo to blow off steam and generally just have a good time playing around with technology with music. Now, a full time project for the pair with a seemingly endless tour featuring over 600 shows in 4 years and sold out performances in every market in the country. With no signs of stopping, EOTO fine-tunes their approach and skill with each and every show they play, leaving the next performance more unique then the last.

The project will be careening the countryside in 2010 with back-to-back performances scheduled well into late spring and festival dates booked swiftly behind it. The project will be playing along the mountain west and up the west coast before heading back to middle America, through the South, and over to the East Coast in support of their third release, Fire The Lazers, which is now available on iTunes or at a show near you.

For more information about EOTO check out the MySpace

EOTO ON TOUR NOW:

March 4.....Crystal Bay Club - Crystal Bay, NV
March 5.....103 Harriet - San Francisco, CA
March 6.....Don Quixote's International Music Hall - Felton, CA
March 7.....Hopmonk - Sebastopol, CA
March 8.....Lost on Main - Chico, CA
March 9.....Red Fox Tavern - Eureka, CA
March 10.....Cultureworks - Ashland, OR
March 11.....The WOW Hall - Eugene, OR
March 12.....Berbati's Pan - Portland OR w/ Lynx & Janover, DJ James Ho
March 13.....Nectar Lounge - Seattle, WA
March 14.....The Night Light Lounge - Bellingham, WA
March 15.....The BLVD - Spokane, WA
March 16.....Taps @ Schweitzer Mountain Ski area - Sandpoint, ID
March 17.....The Palace - Missoula, MT
March 18.....The Fillin Station - Bozeman, MT
March 19.....The Limelight - Nashville, TN
March 20.....412 Market St - Chatanooga, TN
March 21.....The Boone Saloon - Boone, NC
March 22.....The Pour House Music Hall - Raleigh, NC
March 23.....The King Plow Art Center - Atlanta, GA
March 24.....The Cider House - Knoxville, TN
March 25.....New Earth Music Hall - Athens, GA
March 26.....Ultra Music Late night at Moksha Family (7th Circuit Studio) - Miami, FL
March 27.....The Hat Factory - Richmond, VA
March 28.....Awful Arthur's - Towers - Roanoke, VA
April 9......The Fox Theatre - Boulder, CO
April 10.....The Fox Theatre - Boulder, CO

Cymbals Eat Guitars and Freelance Whales in DENVER

To call them multi-instrumentalists might be a little overdone.  The kids in Freelance whales are really just collectors, at heart. They don't really fancy buffalo nickels or Victorian furniture, but over the past two years, they've been collecting instruments, ghost stories, and dream-logs.  Somehow, from this strange compost heap of little sounds and quiet thoughts, songs started to rise up like steam from the ground.

The first performance of these songs took place in January of 2009, in Staten Island's abandoned farm colony, a dilapidated geriatric ward, in one of New York's lesser visited boroughs. A seemingly never-ending jigsaw of small rooms, the farm colony ate them whole and threatened to never regurgitate them. And even though the onlookers were only spiritual presences, the group was still palpably nervous and visibly cold.  After a bit of singing, strumming and stomping asbestos, they realized that they'd found a good crowd.  They heard a bit of clapping from an adjacent room, also some laughing, but not a single soul asked about their record.

Weathervanes, the groups debut LP, finished tracking just a few nights earlier.  Swirling with organic and synthetic textures, interlocking rhythmic patterns, and light harmonic vocals, the record works to tell a simple, pre-adolescent love story: a young male falls in love with the spectral young femme who haunts his childhood home.   He chases her in his dreams but finds her to be mostly elusive.  He imagines her alive, and wonders if someday he'll take on her responsibilities of ghosting, or if maybe he'll join her, elsewhere.

Since their brief residency at the Farm Colony, Freelance Whales have taken to city streets, subway platforms, and stages with their swirling nostalgia.  Many people who found them playing in those public spaces, managed to forget what train they were supposed to take; some of them forgot what language they originally spoke.  And so, after playing in New York City, almost exclusively, for about a year, they embarked on their first tour of the United States, and Canada.  They saw buffaloes posted on hilltops, armies of windmills, and lots of lovely people who let the music run their blood in reverse.

US Tour Dates:

3/5 - Johnny Brenda’s – Philadelphia, PA
3/6 – Rock N Roll Hotel – Washington, D.C
3/7 – Local 506 – Chapel Hill, NC
3/9 – The End – Nashville, TN
3/10 – Pilot Light – Knoxville, TN
3/11 – The Earl – Atlanta, GA
3/12 – Harvest Of Hope Festival – St. Augustine, FL
3/13 – Will’s Pub – Orlando, FL
3/14 – The Engine Room – Tallahassee, FL
3/16 – Mango’s – Houston, TX
3/22 – The Rhythm Room – Phoenix, AZ
3/23 – The Casbah – San Diego, CA
3/24 – The Echo – Los Angeles, CA
3/25 – Bottom Of The Hill – San Francisco, CA
3/28 – Crocodile Café – Seattle, WA *
3/29 – The Biltmore Cabaret – Vancouver, BC
3/31 – Kilby Court – Salt Lake City, UT
4/1 – Hi Dive – Denver, CO
4/2 – Replay Lounge – Lawrence, KS
4/3 – Turf Club - St. Paul, MN
4/4 – Schuba’s – Chicago, IL
4/6 – El Mocambo Club – Toronto, ON
4/7 – Il Motore – Montreal, QB
4/8 – The Middle East – Boston, MA

*CEG Not Playing

Anne McCue's new CD, 'Broken Promise Land,' returns to raw sound

Anne McCue describes her new album, Broken Promise Land, due out on May 18, 2010 on Flying Machine Records Records, as “a bit dirty, a bit rockin’, a bit swampy and a bit bluesy, with a touch of mysteriousness to it.”

What isn’t mysterious is McCue’s musical talent and range. She was voted the Roots Music Association’s Folk Artist of the Year in 2008, performed in a Jimi Hendrix tribute at the 2007 International Guitar Festival and was included in the Four Decades of Folk Rock box set alongside the likes of Bob Dylan and Wilco. Heart’s Nancy Wilson has described her as “my Aussie clone,” while Americana icon Lucinda Williams had this to say: “Initially, her stunning voice hooked me in. Then I got inside the songs. The first chance I got, I went to see her perform . . . I was floored! The combination of her tomboyish beauty mixed with the precision and assertiveness with which she approached the guitar, her surrounding languid and earthy vocals created an intoxicating blend.”

The new, self-produced album is one that she has long wanted to make. Combining heartfelt songwriting with gritty guitar playing, the record harkens back to McCue’s breakout Roll release, although she says that the new disc’s sound is even more raw than its predecessor. While earlier albums covered a range of roots-rock styles, Broken Promise Land focuses on McCue’s hard-charging “cosmic biker rock” sound.

The new disc lets McCue showcase her rockin’ ways and six-string virtuosity. The title track cuts loose with a blistering Hendrix-like bluesy guitar solo. The first single, “Don’t Go To Texas (Without Me),” boasts the dirty guitar sound of late ’60s English bands like the Yardbirds and the Rolling Stones, while “The Old Man Talkin’” exudes a slinky J.J. Cale vibe.

The music’s strong, visceral energy results from a strategy to record as much as possible live. “I didn’t want to have a lot of layers. I wanted it to be pretty much what I can do on stage,” McCue asserts. She sought to capture the vibe of the old Albert King albums that she loves, which were recorded in only a few days, and she included a brass section in the sessions. By recording to tape, McCue also created the textures and dimension that she admires in T-Bone Burnett’s work.

On Broken Promise Land, McCue utilized the veteran rhythm section of Bones Hillman (Midnight Oil) and drummer Ken Coomer (Uncle Tupelo/Wilco). “Bones and Ken are very developed as musicians,” she says. “It’s great to have that type of depth to the musicianship.” This powerful trio demonstrates their musical breadth throughout this disc, whether it’s building “The Lonely One” into a surging rock ballad, conjuring a spooky atmosphere in Amelia White’s “Motorcycle Dream” or roaring through a cover of Rose Tattoo’s “Rock ’n’ Roll Outlaw.”

McCue’s love for music was nurtured in Sydney, Australia, where she grew up in a house filled with music. Her father, while not a professional musician, played a variety of instruments and her mother sang in the church choir. All of her seven older siblings were heavily into music too, and sounds ranging from Billie Holiday to Led Zeppelin filled the McCue home. “Every type of music except hardcore blues,” the blues-loving McCue admits, “so I definitely didn’t get burned out on it as a child.”

Although McCue played guitar growing up, she wasn’t encouraged to be a musician. A longtime film buff, she got a degree in film studies at Sydney’s University of Technology. Her cinema studies are an influence. “To me, my songs are like short films,” she reveals, “I try to be very visual and cinematic with my music and now I am making videos for the songs too.”

After college, McCue joined an all-female band, Girl Monstar, which was very popular in the Australian indie rock scene. She later became a part of the folk-rock trio Eden AKA that performed on the Lilith Fair tour and recorded a never-released album for Columbia Records. Her ill-fated Columbia experience landed her in America, where she set up shop in Los Angeles and became a vital part of the city’s roots music scene. During her time in Southern California, she recorded two attention-grabbing albums — 2004’s Roll and 2006’s Koala Motel.
Both releases accumulated a bevy of critical accolades. Entertainment Weekly exclaimed that McCue “represents a new generation of hard-bitten, country-inflected singer-songsmiths,” while Billboard heralded her as  “the virtual definition of ‘triple threat.’ A potent singer, thoughtful songwriter and tough guitarist.” Austin Chronicle critic Jim Caligiuri noted that “these days, there are very few women working the same territory as McCue, who can combine tough and vulnerable. That she does it with poise and a self-deprecating sense of humor makes her an artist worth seeing again.”
A few years ago, McCue moved to Nashville, a place she finds quite fertile for making music. “There’s more room to think, more creative space,” she explains, “but there are so many great musicians that it really raises the bar and makes you want to get better.” Last year, she self-produced a limited-distribution acoustic album, East of Electric, on which she played a variety of instruments. A terrific example of her folkier side, it stands as a quiet side-trip to the full-bodied rock ferocity that Broken Promise Land delivers.
“This is the kind of music I love playing,” says McCue talking enthusiastically about her Broken Promise Land songs. “There’s nothing I could look more forward to than playing a whole set of bluesy, rocky, swampy music.”
See the video for McCue’s “Don’t Go to Texas (Without Me)” right here.

The Disco Biscuits Announce Pre-Order To End All Pre-Orders

The Disco Biscuits are taking the pre-order game to a whole new level. Everyone and their mother does the signed CD/poster/ticket bundle (which they'll be doing too), but that's not the good stuff.

Magnolia Row | West End Tavern | 2.16.10

Magnolia Row played to a sardine can crowd for Fat Tuesday at the West End Tavern in Boulder on 2/16/2010.  I have heard a Yonder Mountain String Band bootleg where in the middle of “My Darling One” he proclaims to the crowd how kewl they all are.

Phil and the Osophers Debut Three New Vids

Phil and the Osophers unveil three distinctive videos to titillate the senses.  Members of the International Found Footage Society, the band used newsreels from the 1920s-1940s to create the video for Propeller Jet, which narrates the thrill of America's burgeoning love with the golden age of aviation.  Avant-garde Czech films were spliced together to create the breathtaking Well Being video, the last three minutes being a visual and auditory world unto itself.  Phil and the Osophers own travel footage is showcased in the video for Wandering Soul, where cities and climates and time blur together.


Phil and the Osophers have added a new member!  C. Lizbeth Marquez, a Spaniard by birth, has been added to play keyboard, percussion and background vocals.  Come see the expanded lineup at Brooklyn's Bruar Falls on February 15, in a show curated by Pop Jew, also known as Worst Cooks In America winner Rachel Coleman.  The band will also be doing a short tour in March, more dates are TBA.


Phil and the Osophers made their sixth full length album, Parallelo, available on CD and digitally this summer on Factual Fabrications, Phil’s own sustainable label.  The album finds the Brooklyn 3 piece developing into a jingly and jangly artistic indie rock while retaining carefully crafted and philosophical lyrics.  The band has a catalog of over 100 songs, and this new album is their most impressive work to date.
THE SONGS
The 11 song cycle of Parallelo explores parallels and coincidences in our understanding of meaning.  Phil has an interesting explanation for all of these songs- “Uses Of A Man deals with equal rights for all lovers”, Creators “is a thesis on God in the time of slavery”, Propeller Jet is “about suiting up with Amelia Earhart on her last flight” “Cheap Livin is an tribute to the rich folks who lost it all”  …Tie it together with an avant-garde indie pop sound and you have Parallelo.  It is this sort of innovation that makes Phil and the Osophers such a one-of-a-kind act.
The Brooklyn 3-piece have been on a tear recently: playing SXSW and the Northside Festival in Brooklyn, as well as playing shows with Art Brut, Passion Pit, Les Savy Fav, Le Loup, the Ruby Suns, and the Dodos.
In addition, all 3 members have written and published books of poetry and non-fiction through their own publishing house called ILOANBooks. Bass player Gus has published NINE books, Drummer Kevin has published two (including a new edition entitled "Winter Doesn't Care What Your Name Is"), and Phil has written his one book of poetry entitled "SHAKE! and other rattlers".  These books are usually free at shows and otherwise available upon request.

DOUG KEITH: "The Lucky Ones"

Doug Keith, an exceptional artist and performer, is set to release his new full-length, The Lucky Ones, in March, 2010 (exact date tbc).  The Lucky Ones, an 11-song collection on indie imprint The Village Label, vividly showcases Keith’s strengths as a guitarist and songwriter, capturing significant emotional truths in every song.

The material on The Lucky Ones ranges from the acoustic starkness of "We Left Everything," to the surging electricity of "The Lucky Ones," to the buoyant textures of "Skip James Radio." His simple-yet-poignant lyrics are layered over soaring instrumental arrangements that are expertly tailored to create distinct aural atmospheres. The link connecting each track is Keith’s weathered, knowing voice, and the results are nothing short of breathtaking.

Although The Lucky Ones is only his second full-length solo album, Keith is no stranger to the studio or the life of a touring musician.  Music has been his passion for years, and it shows in the beauty and intimacy of his current work. Keith started his career playing bass with punk trio The Gods Hate Kansas, and went on to play with several other punk/avant-garde bands, including noted noise-rock combo Up the Empire.  But Keith always worked on his own material, releasing a four-song EP and half of a split 7" single under the name The First Person to See an Elephant.  Here’s to Outliving Me, his official solo debut in January of 2009, was the first release under his own name and his introduction to international audiences. With The Lucky Ones, Keith delivers a moving batch of songs that are a worthy follow-up – and natural progression – to his stunning debut.

Keith’s songs are honest and the emotions are pure, and this comes across in his raw beautiful live performances. 

Catch Doug Keith on tour:
02/10: Pittsburgh, PA @ Howler's Coyote
02/11: Columbus, OH @ The Treehouse
02/12: Ann Arbor, MI @ Hathaway Hideaway
02/16: Des Moines, IA @ Vaudeville Mews
02/20: Louisville, KY @ Sunergos Cofee
02/22: Winston-Salem @ Wake Forest Radio in studio session
02/22: Winston-Salem @ The Garage
02/26: Greensboro, NC @ The Green Bean
02/27: Chapel Hill, NC @ The Cave

WHITE RABBITS are playing Larimer Lounge on 10.30...last US tour of '09

After spending the better part of two years on the road (including festival stops at Lollapallooza, Glastonbury (UK),Sasquatch, Monolith and tours with The Walkmen, Spoon, Richard Swift, The Cribs, White Denim and Tokyo Police Club) White Rabbits hunkered down in their Brooklyn practice space to set about re-envisioning the dark pop of their debut Fort Nightly, while adding new sounds and influences to achieve an original work.  The result is It’s Frightening, their second full-length album.

White Rabbits signed to TBD Records (US home to Radiohead/Other Lives/Hatcham Social) and erected a makeshift studio in their basement rehearsal space to demo new material.  Band members popped in and out over the course of several months lending ideas and personality to a new batch of songs that defy instant categorization. After enlisting tourmate, friend and songwriter Britt Daniel (Spoon) as producer, the pair began the process of exchanging demos between Brooklyn and Portland.  White Rabbits recorded It’s Frightening over the course of four weeks, only taking a break to play the Transmusicales Festival in Rennes, France.  The sessions were recorded by visionary engineer Nicholas Vernhes (Animal Collective, Deerhunter) at Rare Book Room in Brooklyn, NY.  Taking special care to recreate the unhinged nature of the original demos, the band utilized the wide range of tools in the analog-friendly studio to shape the personal spirit infused in the new tracks.  Upon the completion of tracking, White Rabbits traveled to Austin, TX to mix the record with studio wizard Mike McCarthy (Spoon, Trail Of Dead) using his exceptional ears to transform It’s Frightening into a uniquely rewarding headphone experience.


It’s Frightening plays like a classic reel of tape from start to finish. Opening with the visceral drums of “Percussion Gun,” it is clear that time-off from the road has served the band well.  The many highlights include the emotional centerpiece “Company I Keep,” the new sonic territory of “Lionesse” and the macabre lyrics of “Right Where They Left.”  Fans of Fort Nightly will find much to go weak in the knees over and new listeners are in for an awakening as White Rabbits flip the switch on an already impressive beginning. It’s Frightening is a journey into the playfully dark musings of Everyman.

The lineup: Stephen Patterson (vox/piano), Jamie Levinson (drums), Matthew Clark (drums, guitar), Alex Even (guitar), Gregory Roberts (guitar/vox). A U.S. tour will follow the May release of It’s Frightening.

White Rabbits Tour Dates

9/23 - Grog Shop - Cleveland, OH
10/17 - Rock And Roll Hotel - Washington, DC *%
10/18 - Johnny Brenda's - Philadelphia, PA *%
10/20 - Club Hell - Providence, RI *%
10/21 - Iron Horse Music Hall - Northampton, MA %
10/22 - Higher Ground - South Burlington, VT %
10/23 - Il Motore - Montreal, QC *
10/24 - The Drake Hotel - Toronto, ON *
10/25 - Magic Stick - Detroit, MI *%
10/27 - The Firebird - St Louis, MO *%
10/29 - Blue Note - Columbia, MO *%
10/30 - Larimer Lounge - Denver, CO %
11/1 - Clubhouse - Tempe, AZ #%
11/2 - El Rey Theatre - Los Angeles, CA #%
11/4 - Slim's - San Francisco, CA #%
11/5 - Wonder Ballroom - Portland, OR #%
11/6 - The Biltmore Cabaret - Vancouver, BC #%
11/9 - Cedar Cultural Center - Minneapolis, MN %
11/10 - Turner Hall Ballroom - Milwaukee, WI %

* - with Suckers
# - with Local Natives
% - with Glass Ghost