We’re back with our weekly Manic Presents Redscroll Blog! Here’s all the exciting announcements from this week! Just announced at College Street Music Hall – North Carolina alt rock/indie band Rainbow Kitten Surprise on (9/20)! At Space Ballroom we just announced – Nashville folk musician William Tyler on (6/15), Illinois alternative rock duo Local H on (7/19) L.A. retro/punk oufit The Regrettes on (8/10), Northampton, MA synthwave duo Boy Harsher on (9/16), Boston folk collective Darlingside on (9/21), and dream pop veterans Luna on (10/3)! Finally at Cafe Nine – Ports of Spain tour kickoff show on (7/8), Seattle doom metal band UN on (7/22), NYC ska/punk band The Toasters on (9/17)! Don’t forget to grab your tickets!
This week’s show schedule begins Saturday (5/4) with Johnny Marr (of The Smiths) at College Street Music Hall! On Monday (5/6) at Cafe Nine we have Brooklyn alternative rock band TEEN as part of our Manic Mondays music series and on Wednesday (5/8), sludge metal legends EYEHATEGOD returns to Space Ballroom! Brighten your week with one of our awesome shows!
CONTEST TIME! Enter for a chance to win a pair of tickets to Turnover w/ Turnstile, Reptaliens, and Illusion at College Street Music Hall on (5/9), a t shirt, and a copy of “Good Nature” on vinyl!
Enter here: https://forms.gle/
Keep an eye out for more announcements and we’ll see you back here next Thursday!
$25-$39.50/All Ages/Doors at 7:00PM
College Street Music Hall – New Haven
INFO: The early 1980s weren’t the best of times to be an aspiring guitar player. Twenty years earlier, the head of Decca records, Dick Rowe, had made the biggest A&R gaff in pop history with the legendary clanger “Guitar groups are on their way out, Mr Epstein”. But in 1982, Rowe’s apocalyptic prophecy suddenly sounded frighteningly real. After the initial roar and storm of punk, British pop music had succumbed to a synthesizer-driven pursuit of new waves and new romanticisms. In an age of Vienna’s, Tainted Love’s and Too Shy’s, the pure sound of six-stringed, melodic pop – be it as amorous as The Beatles, as lascivious as The Stones or as giddy as T.Rex – was fast becoming a lost cause with few willing to fight its corner. That all changed with Johnny Marr.
Born in Manchester on Halloween 1963, of Irish heritage, Marr’s earliest musical memories are the get-togethers of his extended family, perhaps – as his early guitar idol Marc Bolan would sing – dancing himself out of the womb to the traditional strains of Black Velvet Band. As a child he’d be spellbound by his parents’ record collection: the forlorn dramas of Del Shannon, the prison doldrums of Johnny Cash and the heart-popping bliss of his mother’s Four Tops singles. All these influences would linger at the back of the boy Marr’s brain, waiting for the command to attack his finger tips at a later date.
That date finally came during the early summer of 1982 when Marr, just 18 years-old, formed The Smiths after seeking out the reclusive and elusive Stretford poet, Morrissey. Musically, the sound of The Smiths was a guitar noise nostalgically familiar yet equally dumbfounding in its pristine newness. The tunes were giant, euphoric and instantaneous but woven together with such nimble flair it appeared as if the guitar was playing Marr instead of the other way round. Lost for words, early critics of the day undersold him with the words “jingle” and “jangle” when, had they tried, they might better have described the sound of Johnny Marr as that of Van Gogh’s Starry Night in angry animation. Or the echo of diamonds raining down upon zinc-plated cobblestones. Or the sound of kitchen cutlery bouncing off a gaffer-taped Telecaster (which, ridiculous as it sounds, is how Marr achieved some of the resonant clangs in This Charming Man.)
TICKETS AVAILABLE HERE: https://ticketf.ly/2V7XYi7
Free with RSVP (or $5 at the door)/21 and over/Doors at 7:00PM
Cafe nine – New Haven
INFO: The band TEEN came together at the turn of the decade, but its members have known each other their whole lives. Teeny, Lizzie, and Katherine Lieberson are sisters. Although they grew up in a musically vibrant Halifax home—their father was the esteemed composer Peter Lieberson—their first band jelled once they all lived in New York.
Teeny officially conceived TEEN in 2010 while on break from touring as part of renowned band Here We Go Magic. Following her self-recorded 2011 release Little Doods, she invited her sisters to join the project, transforming TEEN into a full-blown band. Carpark records caught wind of Teeny’s work, and TEEN signed to the label for its proper debut album, 2012’s In Limbo. The sisters’ unsurprising, inevitable chemistry manifests across the record’s sprawling, lo-fi psychedelia; the familial bonds that formed it gave it a strength that resulted in acclaim from publications including Rolling Stone, which claimed, “the matter-of-fact beauty of [Teeny’s] sweetly somber voice and the album’s unapologetically fat synths…proves highly evocative.”
It was with their 2014 follow-up The Way and Color, though, that the sisters solidified their accessible but complex, psychedelia- and synth-informed pop lens through which they explore romance, womanhood, and social constructs. Of the album’s more outré, electronic-influenced sounds, The New York Times raved: “The band’s new songs bloom with vocal harmonies and double down on intricate counterpoint…. TEEN’s music never [loses its balance].”
Good Fruit, the band’s fourth and newest album, is its sharpest thesis yet. A meditation on life after love, it’s thematically the opposite of its predecessor, 2016’s Love Yes, which The Guardian praised as “reminiscent of…inventive late-70s to mid-80s pop groups.” Musically, though, Good Fruit is the logical evolution of Love Yes’ massive uptick in synth use and sticky-hot choruses. The album boasts self-assured, skyrocketing synthpop anthems including “Only Water” and “Runner,” which betray the crucial lessons the sisters took from experiencing the distinct, enlivening ways that their myriad Love Yes tourmates employed synths. As with all TEEN albums, there are haunting ballads, most notably “Pretend,” which swells into a roaring synthetic climax as it details a relationship’s failure. A precise analysis of life after love, it’s an ideal note on which to end Good Fruit, a bold statement on moving forward and letting go of the past.
RSVP HERE: https://ticketf.ly/2NOUizx
$30 ($28 adv)/All Ages/Doors at 7:00PM
Space Ballroom – Hamden
INFO: EYEHATEGOD (also known as EHG) is an American rock band from New Orleans, founded by Jimmy Bower and a different line up in 1988. Soon after the group formed, Mike IX Williams became the 2nd vocalist and Joe LaCaze became the 2nd drummer, followed by Brian Patton on guitar. The band solidified in sound and style except for a revolving bassist position. Gary Mader joined in that capacity for a Japanese tour in 2002 and has remained there ever since. As one of the most influential bands to come from NOLA, they have noted Black Flag, The Melvins and Black Sabbath as a domineering and significant influence to their sound today. That combined with the sound of Southern Rock, Blues riffs and Hardcore Punk has made EYEHATEGOD one of the most reputable and distinctive bands ever, even defining a brand new genre now known as Sludge, though the band strays away from being labeled as such.
Drummer Joey LaCaze died on August 23, 2013 from respiratory failure. Earsplit PR issued a press release on the life and death of LaCaze. The release states, “Doctors confirmed to family members that the cause of death was respiratory failure. He also suffered from long term asthma.” He had recently come back from a European tour and had celebrated his 42nd birthday.
On October 31, 2013, the band announced that Aaron Hill would be taking LaCaze’s place as drummer.
TICKETS AVAILABLE HERE: https://ticketf.ly/2GalM1v
$15/All Ages/Doors at 7PM
Space Ballroom (Front Room) – Hamden
INFO: Guitarist William Tyler was born and bred in Nashville and has played with Lambchop, Silver Jews, Bonnie ‘Prince’ Billy, Charlie Louvin, and Candi Staton. He currently resides in Los Angeles, most recently released Modern Country, his fourth full-length album, on Merge in 2016. This entirely instrumental recording features an ensemble backing group consisting of multi-instrumentalist Phil Cook (Hiss Golden Messenger, Blind Boys of Alabama), bassist Darin Gray (Tweedy, Jim O’Rourke), and percussionist Glenn Kotche (Wilco). Modern Country is a collection of songs about the vanishing America that still exists on back roads, in small towns, on AM radio stations. Tyler doesn’t offer optimism or pessimism but rather a calm and measured commentary in our age of anxiety.
TICKETS AVAILABLE 10AM FRI 5/3 HERE: http://bit.ly/2XVpfWK
Friday, July 19th
Local H w/ Marvelous Liars
$18 ($15 adv)/All Ages/Doors at 7PM
Space Ballroom – Hamden
INFO: Local H, the iconic alt-rock duo known for their blistering live shows and pioneering the two-piece band set-up, is at the top of their game more than two decades after they first burst onto the music scene. Frontman Scott Lucas, who covers both guitar and bass (through an extra pick up in his guitar), and drummer Ryan Harding have enjoyed a resurgence in recent years, buoyed by global touring along with the release of some of their most critically acclaimed work to date.
Local H’s first major release was 1995’s Ham Fisted, but it was their follow up album As Good As Dead that positioned the band as one of the elites in what was a groundbreaking decade for rock music. With multiple radio hits on the album, “Bound For The Floor” emerged as a generational anthem and remains a staple on playlists around the country over two decades later. Their widely praised 1998 concept album Pack Up the Cats, produced by the legendary Roy Thomas Baker, solidified Local H as a leader in the genre and the albums that followed were reflective of not only the band’s definitive character, but as well their relentless effort to give their audience as much of themselves as possible. While recipients of numerous accolades over the years, Local H has always kept the focus on their fans, which can be seen by the awe inspiring and often times daunting tour schedule the band has kept up year after year.
The last three years have seen a multitude of releases from the band in various forms. In 2015, Local H celebrated the 25th anniversary of their first show and released a career-spanning coffee table book, “Local H: Twenty-Five Years of Skin In The Game”. That same year they released Hey, Killer, their eighth full length studio album, to near unanimous acclaim. In 2016 the band celebrated the 20th anniversary of the release of As Good As Dead with a successful three month national headline tour (partnered with their first live Blu-Ray DVD, “Straight Outta Zion”, shot at the Metro in Chicago during a weekend of sold out shows).
2017 was perhaps Local H’s busiest year yet, as the band continued to tour extensively not only as headliners, but on hugely successful tours with The Toadies and Helmet and —perhaps most exciting of all— career highlight performances on Metallica’s sold out stadium tour. The band also found time to publish another book “The Last Picture Book Outta Zion or: How We Learned To Stop Worrying About Cell Phones And Love The Photos Of John Oakes”, an intimate behind the scenes portrait of the band shot by photographer John Oakes.
2018 shows no sign of slowing down. In February, Local H released their second live record — the ferocious Live In Europe— to coincide with their second European tour in the space of a year. A new single produced by Ken Andrews of Failure, simply titled “Innocents”, is being released to digital platforms to coincide with the band joining the Summerland Tour with Everclear and Marcy Playground this May.
TICKETS AVAILABLE 10AM FRI 5/3 HERE: http://bit.ly/2J3UWJf
Free with RSVP (or $5 at the door)/21 and over/Doors at 7:00PM
Cafe Nine – New Haven
INFO: From the back of the bar, Ports of Spain instantly scan as a full band, so it’s a shock to discover their mathy shoegaze-pop is constructed by just two musicians . Ilya Gitelman uses octave pedals and loops to play lead, bass and rhythm guitar simultaneously, while Sam Carlson contributes vocals, keyboards and drums. Don’t be fooled — Ports of Spain are not another band that trades directionless loopy jazz odysseys for pure songcraft. Their equipment never gets in the way of their complex melodies. They write actual songs, consistently avoiding complication for the sake of complication. They juggle tons of ideas in every song, creating a noise that’s consistently about to fall apart. That it doesn’t is incredible by itself. Their brilliant songs may seem like a bonus under these circumstances, but don’t underrate Ports of Spain. Even as these two guys spew chaos into crowded clubs, their songwriting is always there to remind you why a grounding in planned songcraft keeps so many of the best bands tethered to excellence. Ports of Spain belong in their company. Ports of Spain have played with bands like Tera Melos, Hospitality, Beach Fossils, Fang Island, Pissed Jeans, Pile, ONWE, Speedy Ortiz, Morning Teleportation, Kal Marks, The Paper Kites, and Solids.
RSVP HERE: http://bit.ly/2vA5Q1e
$25/All Ages/Doors at 7PM
Cafe Nine – New Haven
INFO: Aetherical Funeral Doom band from Seattle.
RSVP HERE: http://bit.ly/2Lxi2uL
$15/All Ages/Doors at 7PM
Space Ballroom – Hamden
INFO: Perfectly imperfect – that’s one way to describe LA based punk act, The Regrettes. Writing songs that proudly bear a brazen and unabashed attitude in the vein of acts Courtney Barnett or Karen O – with a pop aesthetic reminiscent of 50’s and 60’s acts a la the Temptations or Buddy Holly – the LA based four piece create infectious, punk driven tracks.
Led by outspoken frontwoman, Lydia Night, and comprised of Genessa Gariano on guitar and drummer Drew Thomsen, the group have left the LA rock scene floored, managing to capture the hearts of jaded rock critics while opening for acts like Sleigh Bells, Twin Peaks, Cold War Kids, The Breeders, Kate Nash, Bleached and more.
From the opening moments on a track by The Regrettes, we’re greeted with a wall of guitars, infectious melodies and a wistful nostalgia that continues right until the final notes. Taking cues from acts like Hinds and Hole, there’s a wistful sense of youth and vulnerability that lies at the heart of each song.
A song by The Regrettes is, essentially, a diary entry into Lydia’s life. “My music is a spectrum of every emotion that I have felt in the last year, and you can hear that when you hear the songs. Everything that is happening in my life influences me. It’s everything from boys, to friends, to being pissed off at people, to being really sad. Just everything.”
The most intoxicating draw of The Regrettes is their bashful, heart-on-your-sleeve temperament – writing urgent and fast-paced pop songs with a punk rock mentality. “The way that we write, it’s all based on honesty,” muses Lydia on the group’s punk aesthetic. “If I finish a song, I’ll just leave it – I won’t really go back to it. I like things to feel in the moment and I don’t want it to be perfect. If I work on something too much I lose it and get bored and I want to do the next one..”
TICKETS AVAILABLE 10AM FRI 5/3 HERE: http://bit.ly/2LcWDXj
$14 ($12 adv)/All Ages/Doors at 7PM
Space Ballroom – Hamden
INFO: You make me feel like falling through. I disappear, in my mind.
Boy Harsher return with their second LP Careful – a wild ride that celebrates abandon, while mourning attachment + love.
Boy Harsher began as an urgent need to produce and consume. In the winter of 2014, Jae Matthews and Augustus Muller started to experiment with sound, video, and text. The advent of Boy Harsher! Born out of this tumultuous relationship in swampy Georgia, their first EP Lesser Man is sexy as it is sulking. Lesser Man determined their morose, pop sound. In their second album, the full length Yr Body is Nothing, Matthews and Muller took that dark and ran with it. Both releases reflect the fervor present in their adolescent lust and anger. Yet, before Matthews and Muller recorded any song, their chaos made the project vulnerable and invariably lead to momentary destruction . In what was at the time believed to be their last performance, Matthews had “careful” tattooed across her back, while Muller fried the speakers. A lit candle was thrown. They were not on speaking terms.
At that time “Careful” was meant as a warning: the cautionary understanding of love. The duo felt as though they were disappearing within one another. But, if Boy Harsher’s first two releases narrated the pain and desperation that follows after something goes awry, then this LP, Careful, describes what loves gives you: fear and joy, tenderness and pain. For Boy Harsher, Careful attempts to detail the enveloping trauma of loss combined with the fantasy of escape (a reckless abandon).
Matthews and Muller certainly made amends since that fateful live tattooing, loud as hell performance, however both still have complex relationships to attachments. In 2017 Matthews’ mother was diagnosed with dementia and as the symptoms began to take hold the essence of “careful” became relevant in a new way. Matthews’ relationship with her parents has always been complicated: her father past away when she was a teenager and her mother is an alcoholic, consistently unpredictable with affection and stability. The loss of her father was extreme, yet acute, whereas the persistent sadness of losing her mother (the memories that defined their relationship) is a slow, chronic suffering. The trauma of losing someone is almost in tandem to Matthews’ understanding of love. It with these intensely personal struggles Matthews and Muller began developing their new album. With Careful, Boy Harsher use the medium of minimal electronics to create a compelling narrative of a deteriorating family and the reaction to run away from it.
Careful splits its time between songs that study the trauma imbedded within loss and the compulsion to flee. The track “The Look You Gave (Jerry)” is named after Matthews’ deceased step-father, who passed right before her mother was diagnosed with dementia. The song mourns Jerry, as described through her mother’s perspective: “I close my eyes and I can almost see: The look u gave / when u / you ran from me.” For Matthews the fiercest pain in relation to her mother’s disease is her mother’s loss of comfort, a grasping at an image that slowly fades away. Death for Matthews and her mother has become synonymous with abandonment. Not unlike the pain of losing her father, Matthews conceives the hollowness where intimacy once was – the melancholy of disappearance.
The message of “careful” also plays out as universal warning in these Boy Harsher’s tracks — do not be fooled, loss is inevitable. “Fate” describes the willing lover who knows that there is nothing their love can do to keep their partner. “Hi Hi / Oh No / In spite of me / you always go. Forget the crying / tempt the pain / hi hi / gone again.” In Careful affection vanishes as quickly as it arrives. To understand love, you must accept that it dissolves, leaving sorrow and disappointment in its wake. Yet, Careful reconciles the deterioration of love with the gilded expectation of escapism.
TICKETS AVAILABLE 10AM FRIDAY 5/3 HERE: http://bit.ly/2WiIKYV
$12/21 and over/Doors at 7PM
Cafe Nine – New Haven
INFO: In their 37th year the Toasters are hitting the gas, not the brakes. With an international all-star line-up their whirlwind global tour continues unabated across the continents with performances scheduled in Costa Rica, Hong Kong (HK International Ska Festival) and Estonia (Live Nation Showcase at Tallinn Music Week). The band also returns to Japan, China, Russia, Hawaii, South America and Mexico on top of regular touring in the USA and Europe playing over 60 shows in 24 countries from Sweden to Bulgaria.
Formed on the Lower East Side of NYC in 1981 the band is the longest running US SKA formation. They bridge the gap between England’s 2-Tone movement and the American Ska explosion of the 90’s which they are rightfully credited with starting. During the 3rd Wave Ska revival The Toasters formed the famous Moon Records label and kick-started the careers of dozens of bands.
The Toasters will return to the studio later this year to record songs for a new 7” vinyl 45 project.
TICKETS AVAILABLE HERE: http://bit.ly/2LgkK7q
$32.50-$45/All Ages/Doors at 7PM
College Street Music Hall – New Haven
INFO: Rainbow Kitten Surprise and all five of its members hail from the mountains of Boone, North Carolina. With chilling harmonies, dynamic instrumentation, and introspective lyrics, their genre-defying sound takes influence from artists like Modest Mouse and Kings of Leon as much as Frank Ocean and Schoolboy Q. Independently, they have over 75 million streams across digital platforms, and notched over 45 sold out shows on their first U.S. headline tour. Their engaging and distinct live performances have led to stand out sets at festivals such as Bonnaroo, Firefly, Shaky Knees, Hangout, Sasquatch, and Austin City Limits among others. The band worked with GRAMMY award-winning producer Jay Joyce (Cage The Elephant, Sleeper Agent) on their 2018 Elektra debut, How to: Friend, Love, Freefall.
TICKETS AVAILABLE 10AM FRIDAY 5/3 HERE: http://bit.ly/2WfgQwS
$25 ($20 adv)/All Ages/Doors at 7PM
Space Ballroom – Hamden
INFO: The word “extraordinary” is defined as something beyond, amazing, or incredible. The word “extralife” doesn’t exist. But in the world of Darlingside—another previously non-existent word—it’s all about invention, expansion, and elevating everything into the realm of the extraordinary both conceptually and through musical performance.
The band’s new album Extralife intensifies the journey begun on its critically acclaimed 2015 album Birds Say. On that project, Darlingside’s quartet of bassist Dave Senft, guitarist/banjoist Don Mitchell, violinist/mandolinist Auyon Mukharji, and cellist/guitarist Harris Paseltiner fused assertions (“Go Back”), assumptions (“God Of Loss”), predictions (“The Ancestor”), projections (“Do You Ever Live?”) and reflections (“White Horses”). “We put our four heads together and created this collective consciousness about bits and pieces from our past and how we saw the world based upon reminiscences,” explains Paseltiner about that sojourn. It having been the Massachusetts group’s second full-length outing, Birds Say mastered a musical and lyrical path that led to the more challenging territory explored on Extralife. Mukharji describes the “Extralife” concept as “…a life beyond where we are now, whether that’s a brand new thing, a rebirth, or just a new version of ourselves as we move forward.” So by abandoning Birds Say’s nostalgia and its tales of “what once was,” Darlingside created its polar opposite with Extralife, the new album exploring “what is now” and “what might be” simultaneously in the brave new world.
“A lot of the album has to do with the present and the future,” Mukharji reveals, “that future being a completely unknown quantity and the present being a new and bizarre place to be living in. I think we’re grappling with a number of aspects of reality we had not expected.” That reality, surviving a dystopian landscape, constructs the new album, the band killing many of its prior darlings (the name Darlingside being a reference to non-attachment) in the process. Their Birds Say, wide-eyed innocence is now bloodshot for the better. As the title track “Extralife” informs in four-part harmony, “It’s over now / The flag is sunk / The world has flattened out,” it loosely sets the new album’s premise. However, the recording also delivers hope through Beach Boys-inspired vocals that contrast with lyrics such as “The fiery flower beds above / Mushroom clouds reset the sky.” “Eschaton” uses a similar formula, this time immersing its Waterworld imagery in fun, fluid synthesizer runs, concluding with the rally, “No matter what we’ve been / We are the upshot now.” Its axis-flipped, Escher-mimicking lyrics sketch a variation on the End Times that suggests it’s actually preventable. Even the “Taps”-inspired trumpet mourn and harmonica cries of “Hold Your Head Up High” are held at bay by the uplifting, anthemic chorus chants of the song title’s message.
As seen throughout the above, Extralife is not shy about employing metaphysics to prove its flexible theses. Perhaps the most blatant example would be in “Futures.” Despite despondent references to “futureforests in the sea,” “bikini snow,” (a historical nickname for nuclear fallout) and even the Thermocene Epoch, we’re encouraged through time-traveling radio transmissions that “It’s not ever too late,” undeniable when empowered by those powerful four-part harmonies. Even the song’s tiny interpolation of The Beatles’ “I’ve Just Seen A Face”, “Falling, yes I’m falling, and she keeps calling me back again,” is a reassurance that, yes, as even The Fab Four suggested, we will find our way back. And if doom and gloom is reversible, perhaps whatever darling is emerging on “Indian Orchard Road” can be killed or contained by the sheer beauty of a Darlingside musical assault.
Although Darlingside’s signature superpower is considered to be their vocal prowess, it perhaps can overwhelm their presentations’ subtleties, both live and in the studio. After all, the mind gravitates to that which is charming, and their harmonies could seduce the rings off Saturn. But Extralife is the first Frankensteining—as the band puts it—by the group’s four equal-status members. Each one now equally contributes to something way bigger than his individual part. Equal contributions of vocals, lyrical altruism and wisdom, and effortless musicianship are what empower today’s Darlingside and animate Extralife’s twelve reality-benders.
TICKETS AVAILABLE 10AM FRI 5/3 HERE: http://bit.ly/2XUXHR4
$30 ($25 adv)/All Ages/Doors at 7PM
INFO: Luna was a New York band formed in 1991 by singer/guitarist Dean Wareham after the breakup of Galaxie 500. The band made seven studio albums before disbanding in 2005. After a ten-year break, they reunited and toured in 2015, and in 2017 released a new LP — A Sentimental Education and an EP of instrumentals — A Place of Greater Safety.
Other recent reissues include a deluxe 2xLP version of their classic Penthouse album (on Rhino) and another 2xLP set Lunafied that collects all the covers the band record-ed in the 1990s.
Now scattered around the country (Los Angeles, New York and Austin) the band retains the same lineup that operated from 1999 to 2005: Dean Wareham on vo-cals/guitar, his wife Britta Phillips on bass, Sean Eden on guitar, and Lee Wall on drums.
TICKETS AVAILABLE 10AM FRI 5/3 HERE: http://bit.ly/2vskbwJ
**Tickets are available for all these shows in the shop (cash only for ticket sales) without the online fees. **