*At the request of the artist, proof of COVID vaccination or negative COVID test required for entry. In addition, masks must be worn in the venue when not actively eating or drinking. Details here*
A Place To Bury Strangers originally scheduled for February 12th, 2022 at Mississippi Studios has been rescheduled to May 24th, 2022 at Mississippi Studios. Tickets purchased for the original date will be honored at the rescheduled show.
w/ Glove & The Prids
A Place To Bury Strangers
In 2003, Brooklyn’s A Place To Bury Strangers emerged on the scene out of Oliver Ackermann’s psychotropic vision. Often cited as ‘ the loudest band in New York’, APTBS is known for their vicious live performances overloaded with all-consuming visuals, experimental sonic warfare, and treacherous stage antics.
2021 welcomes a lineup change for A Place To Bury Strangers. New members John Fedowitz (bass) and Sandra Fedowitz (drums) of Ceremony East Coast cement the most sensational version of the band to date. John and Oliver were childhood friends who had played in the legendary underground shoegaze band Skywave, crafting futuristic punk music together. This next phase is a sonic return to APTBS’s most raw and unhinged endeavors, pushed even further into a new chaotically apocalyptic incarnation.
During the on-going global pandemic, Ackermann spent his time building this new band, raising money and awareness for those in need, establishing the record label Dedstrange, designing futuristic space synthesizers for his company Death By Audio, and producing a brand new A Place To Bury Strangers EP. The new EP, Hologram was released on July 16, 2021 to universal acclaim:
“Hologram’s meticulous sound drives home how much finesse goes into making noisy music sound distinctive. A Place to Bury Strangers lift us off the ground and into a cracked sky.” — Pitchfork
“Hologram is both rougher and rawer than we've heard APTBS be in a while, and more melodic, too...One of the most striking things about the EP is Ackermann's vocals which are less buried in the mix, revealing a terrific, emotive singer. Anxious to see where this leads them next.” — BrooklynVegan
"The trio creates a racket here that seems to outmatch anything that’s come out of New York in the past decade. Yes, you read that correctly and I’ll stand by it. " — Ghettoblaster Magazine
“[Hologram is] a truly arresting EP—one that bodes incredibly well for the future, even if, as that last song fades into a sad oblivion, there’s very little future to be found in here.” — FLOOD Magazine
“ A Place to Bury Strangers is intentionally not easy, and the concluding wall of noise that crashes upon the listener may overwhelm some, but for a band that has repeatedly built upon previous success, Hologram is, thus far, the pinnacle of what APTBS can achieve." — Jersey Beat
w/ Kelli Schaefer & Field Drums
Slang’s debut COCKROACH IN A GHOST TOWN is a force of nature that came, seemingly, out of nowhere. Lyricist/singer/guitarist Drew Grow and drummer/singer Janet Weiss started the band over a decade ago in Portland, OR—both having spent more than half their lives dedicated to making and performing music. Through the years, Weiss has played with everyone from her bands Quasi, Wild Flag, and Sleater-Kinney, to collaborators like Elliott Smith, Stephen Malkmus, and others.; Grow has fronted his own groups Modern Kin and the Pastors’ Wives, producing other bands along the way. Starting as a moonlighting collaboration, the meeting of this particular group was kismet if not totally cosmic.
In their first iteration as a duo, Slang hammered the Everly Brothers inside-out; they put a keen new light on songs by the Traveling Wilburys and Jackson C. Frank—setting out to harmonize together and just play. Following a homespun two-song cassette, the band grew to include Kathy Foster (Roseblood, The Thermals) on bass and Anita Lee Elliot (Viva Voce) on guitar/vocals—with record appearances made by Sam Coomes (Quasi), Stephen Malkmus (Pavement), Mary Timony (Helium, Ex Hex, Wild Flag) and others.
Map of Dawn
Feeding Tube / Cardinal Fuzz LP
For their great third LP, this Portland OR sextet heads deep into the scalding sun of what feels like the Sonoran Desert. There is an edge to the fried guitar and the ever more massive drumming that evokes a parched ritual of psychedelic worship. Perhaps this has something to do with the fact initial rehearsals took place outdoors, during which time the Pacific Northwest was on fire (both in the forests and on the streets). When you know this fact, you can begin to appreciate the smoke as a compositional component.
Abronia's line-up has not changed since 2019's The Whole of Each Eye(FTR 498), but their sound keeps evolving in terms of both depth and connection. The percussion achieves a true otherness here. Both Shaver's Big Drum, and the additions of pedal steel player Rick Pedrosa, create a central pulse that's impossible to resist. The bass and guitars, slither through the haze, raising up for massive strikes at times, just laying back and waiting at others. Different instrumental slices of this album might remind you of anyone from the Gun Club to Savage Republic to Amon Duul II. But Keelin Mayer's vocals are more of a presence this time as well.
Occasionally, there's a way her voice combines with the coiling Eastern-tinged string parts and lazy propulsion that reminds of Grace Slick's pre-Airplane band, the Great Society. But she is just as likely to conjure up visions of Scream-era Siouxsee, surrounded by gauzy clouds of guitar.
Still, the collective brunt of Map of Dawn is bracingly original. It doesn't really sound like anyone else. Abronia have developed a nuanced and totally addictive approach to creating song forms. I'm just hoping I'll get a chance to see them live some time soon. Music this good should be a fully immersive experience.
--Byron Coley 2022
Laura Gibson is a multi-instrumentalist singer-songwriter and producer, born and raised in the small Oregon logging town of Coquille. Her most recent album Goners (Barsuk/City Slang) was praised by NPR as “a gripping collection of songs about accountability and grief.” The Fader called it, "so incessantly beautiful that one cannot help but want to gently crack it open to get to its beating core.” The New York Times described her music as, “longing and instinct, and whether they can ever converge.”
Both literary and raw, with a love of traditional folk music and a bent toward experimentation, Gibson has performed across four continents and had the distinct honor of playing the very first (and 200th) NPR Tiny Desk Concert. Between albums, she earned an MFA in fiction writing from Hunter College, completing her thesis in the back of a tour van. She's an enthusiastic collaborator in the Portland community with major arts organizations as well as her indie rock peers. She written songs for theatre and film, scored the award-winning Timber Wars Podcast and has lent her voice to many beloved bands. She is currently working on both a book and a new album.
At this very special show at Mississippi Studios, her first since before the pandemic, Laura will be sharing brand new (perhaps slightly wobbly) songs as well as old favorites. She will also debut a new project with Rachel Blumberg called Encouragement Friendship Band and will collaborate onstage with Oregon Poet Laureate Anis Mojgani.
w/ Foxes in Fiction
Still Corners is the musical project of Tessa Murray and Greg Hughes. The group formed shortly after Murray met Hughes by chance at a London train stop in 2009. Over the past decade, the band has delivered a steady stream of music that is at once reflective, searching and romantic.
Sub Pop quickly signed the band after their first few singles and went on to release their debut album Creatures of an Hour in 2011 and followed that with Strange Pleasures in 2013. Shortly thereafter the band started their own record label Wrecking Light Records and have gone on to release albums Dead Blue in 2016 and Slow Air in 2018 to critical acclaim.
Taken from Strange Pleasures, The Trip became a streaming phenomenon with one YouTube video acting as a virtual community for like-minded fans around the world. Lead singles from 2018’s Slow Air, The Message and Black Lagoon have followed suit and helped contribute to the band’s growing profile and most expansive touring schedule yet across North America, Europe and Asia in 2018 and 2019.
Building on Slow Air, Still Corners return with The Last Exit, an album about the myth and folklore of the open road. In a world where everyone thinks all the corners of the map are filled in, Still Corners believe there's something beyond what we see and feel, something eternal in the landscape of those never-ending drives.
With the shimmering desert noir sound the band has become known for, The Last Exit takes you on a hypnotic journey, one filled with dilapidated towns, rolling unconcerned skies, and long trips that blur the line between what’s there and not there.
The Last Exit was released worldwide on 22nd January 2021.
Like pausing a VHS tape, music freezes the frenetic motion of daily existence. Even if just for an instant, it calms the feedback loop of routine, engages respite, and provides perspective. Siphoning guitar transmissions and a dynamic vocal push-and-pull through a lens of cinematic production, Lo Moon deftly balance expansive soundscapes and eloquent songcraft. The Los Angeles based quartet—Matt Lowell, Crisanta Baker, Sam Stewart and Sterling Laws - ultimately use music to make sense of each day on their sophomore offering, A Modern Life [Strngr Recordings/Thirty Tigers].
“It’s about survival’’ observes Matt. “Navigating through all that’s thrown at us. Maintaining who we are and where we want to be. Music itself has been so powerful for us in our own survival, it can change everything in an instant. As a band, we’ve got a lot of reverence for it and strive for it. We don’t take it for granted.”
They never have either...
In 2016, Lo Moon materialized as a fan and critical favorite with the buzzing “Loveless.” It paved the way for their 2018 self-titled full-length, Lo Moon, which NPR hailed as ‘’shimmering, immersive and otherworldly. As intimate as it is anthemic’’. Meanwhile, Variety attested, “It possesses a rare balance of pop-inflected songwriting and dense atmospherics that hold each other in check rather than clashing.” Beyond acclaim from The New York Times, NPR, Los Angeles Times, The Sunday Times, NME, Noisey and more, Billboard named them among “10 Rock & Alternative Artists to Watch.” Between amassing over 50 million streams, the band performed alongside The War On Drugs, Glass Animals, Phoenix, and Air in addition to gracing the bills of Governors Ball, Lollapalooza, SXSW, All Points East and more. The group also made their late-night television debut on Jimmy Kimmel LIVE! followed by The Late Late Show With James Corden.
In the end, Lo Moon might just inspire you to enjoy A Modern Life a little more.
‘’The journey of making a record is always winding, every artist will tell you that. We found that all we needed was the connection to each other and the commitment to believe in the music and emotion in the four of us. Great art has the ability to transform, and transport and we know how powerful that can be. We hope this record does that for you and can’t wait to play it live. That will be the moment this journey feels truly complete.’’ says Matt.
In early 2019, a few months before the release of her breakthrough album Golden Days, Haley Johnsen had just about wrapped her first solo tour of Europe when she arrived in London for her final concert and learned the unsettling news that the artist she was supposed to open for had scrapped the show. The multitalented singer songwriter thought she would have a three day UK vacation, but her manager, Warren Wyatt, had what she calls a “trick up his sleeve” – a serendipitous single evening recording session at the historic Abbey Road Studios which is now being released as Haley’s first guitar and vocal only album London Sessions. Its lead single, “Feel the Water,” was released March 13.
In a whirlwind of pure artistry, Haley knocked out eight songs, most of which she was confident in after performing them on so many tour dates. The eight track set on London Sessions features vocal and guitar only (with some foot percussion) takes of previously released singles and tunes from her earlier EPs.
Growing up in Beaverton, Oregon, Haley realized she could sing and following along with melodies by age three but kept her talent largely to herself, obsessively trying to teach herself how to sing from any music she could get her hands on. She cites her greatest influences as Brandi Carlile, Grace Potter, Eva Cassidy, Bonnie Raitt and other powerhouse Americana singers.
After launching her solo career with the release of the EP Through the Blue, she followed up with a few more singles and EPs, then began writing for her critically acclaimed album Golden Days, released in 2019. One of the project’s key tracks, “Weekend,” features Allen Stone on vocals. Last year, Haley toured with Portland based sister power trio band Joseph and currently works with EDM/Indie pop artist Big Wild, as his bassist and backup singer. One of the stops on the Big Wild tour was a sold-out show at Red Rocks in Colorado last September.
“I want my music to encourage people to push through their challenges and continue to have hope and belief in themselves and their authenticity,” Haley says. “London Sessions allows people to see me at my most raw and authentic. The opportunity to record there as an unsigned artist is one of the greatest gifts I have ever received. Topping my tour of Europe with that evening was a surreal time capsule of a moment I will never forget.”
Artist Biography by Vish Khanna
If you boil down Shad’s trajectory as a hip-hop artist up to this point, it all comes down to love. At a show, his people stare up at him with unconditional amounts of the stuff and he has used his platform as a rapper, a musician, and a writer, to search for and highlight all the love this hard world has to offer.
Shad’s family settled in London, Ontario after fleeing the Rwandan genocide. He came up like a lot of first generation Canadian kids, with this cultural duality and the sense that this good country had some baggage that he’d have to unpack some day. It was complicated, but he was raised well and he studied and contemplated the world. He has a Master’s degree, which he earned living in Vancouver for a few years but has since settled in Toronto.
He has released five solo albums: 2005’s When This Is Over; 2007’s The Old Prince; 2010’s TSOL; 2013’s Flying Colours; and 2018’s A Short Story About A War. The middle three were all nominated for Canada’s prestigious Polaris Music Prize and TSOL won the 2011 Rap Recording of the Year at the Juno Awards. With a rare combo of humour and substance, Shad’s records are a joy to listen to, full of pop craftsmanship that doesn’t turn a blind eye to human nature. Oh, and on a strange whim, he explored late eighties/early nineties chart-topping R&B vibes, on 2016’s Adult Contempt, as Your Boy Tony Braxton. Shad likes pop music.
In the past five years, Shad has elevated his profile and practice by emerging as a vital broadcaster: after departing his hosting gig on CBC Radio’s q, he went on to host the Hip-Hop Evolution docu-series, whose 2016 season was released by HBO Canada and earned both a prestigious Peabody Award and an International Emmy Award. Shad is on an Award Tour.
With all sorts of flows, a gorgeous singing voice, and a mind full of musical ideas, Shad is one of rap’s most significant artists. He’s on a mission of sorts that involves some soul searching of his own but is also about connection. His powerful work has galvanized fans and, after flying into the sky, always lands on common ground. Love is love.
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