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Événement
MENZINGERS + MEWITHOUTYOU + PIANOS BECOME THE TEETH + RESTORATIONS
Menzingers
https://www.facebook.com/themenzingers?fref=ts
The Menzingers formed in the wake of Scranton ska-punk/pop punk bands "Bob and the Sagets" (featuring Tom May, Joe Godino, Eric Keen, and non-Menzinger members Lee Hartney & Curtis Irie, currently of Irie Idea) and Kos Mos (featuring Greg Barnett, Adam Mcilwee of Tigers Jaw, and Leo Vergnetti of Captain, We're Sinking!). Their first release was a self-titled demo tape made in 2006, which made its way onto many top ten lists of that year.
Their debut full length, "A Lesson in the Abuse of Information Technology" (released on Go-Kart Records), was produced by Jesse Cannon. According to Cannon, "I record bands every day and almost all of them are missing something. The Menzingers have it all the songs, the aggression, the heart, and the passion that most only dream of."
In 2009, the band released a 4-song EP titled "Hold On Dodge" through Red Scare Industries, their first vinyl release (including a 600-run olive edition.)[5] A bonus track for the EP titled "Kentucky Gentleman" is available through iTunes.
Early in 2010, the band did a brief stint with Anti-Flag. April 13 saw the release of their second full length, "Chamberlain Waits", through Red Scare Records. In March and April they also toured in support of Against Me!.
On May 17, 2011 they announced that they had signed to Epitaph Records. Brett Gurewitz, founder of Epitaph Records and guitarist of Bad Religion said this about the signing of the band:
"These guys play the kind of pure punk rock that I grew up with. They are seriously talented songwriters and I'm happy to welcome them to the Epitaph family. I think the band is a great fit here."
They released On the Impossible Past on February 20, 2012, and it was met with critical acclaim. A music video was shot and released for the song "Nice Things."
On the Impossible Past went on to be voted "Album Of The Year" 2012 for both Absolutepunk.net and Punknews.org. It was also voted "Album Of The Year" by RockZone magazine in Spain.
On Nov 29, 2013, while performing at the Bowery Ballroom, Greg Barnett said that the band hand just come out of the studio. The new album, Rented World, was released on April 22, 2014. A music video for a song from the new album, "In Remission", was released on February 18, 2014
mewithoutYou
https://www.facebook.com/mewithoutyou?fref=ts
It is no mistake that mewithoutYou have become one of today's most fascinating experimental rock acts. The last 15 years have borne witness to the Philadelphia five-piece exercising stylistic evolutions and aerial dynamics with humbling dexterity and untamed ambition. At their roots may be a theatrical progressive punk/post-hardcore band, but they've never been content to remain comfortably within a familiar genre. Their continuous multi-directional movements have left them increasingly difficult to classify, the growth of their branches impossible to predict. The group's sixth full-length album, Pale Horses, is the best evidence to date of their eclectic agility.
The one constant in mewithoutYou's storied career has been lead singer Aaron Weiss' ability to sketch ornate, thought-provoking narratives. Seamlessly weaving his signature holler amidst whispered storytelling and stream-of-consciousness outpourings, his latest offerings vacillate between the emotionally wracked, vibrantly symbolic, and ambiguously metaphysical. His meandering, technicolor vision of a world apocalypticpopulated with werewolves and vulturemen, shape-shifters and apparitions, android whales and an Idaho bridecombines the fantastic opulence of the group's recent albums with the vulnerable personal confessions of their earliest work.
Longtime band-mates Mike Weiss, Rickie Mazzotta and Greg Jehanian continue to craft dramatic, nightmare soundscapes which lavishly complement their singer's ecstatic hallucinations. The addition of Brandon Beaver (of Buried Beds, the Silver Ages) allows the group as a 5-piece to revisit its earlier intricate, layered fretwork, while adding new depths of vocal harmonies and ever-peculiar arrangements. Musically, the group hearkens boldly to the raw intensity of 2004's Catch for Us the Foxes, while building on the rich imagery of 2006's Brother, Sister. Epic in scope, Pale Horses is mewithoutYou at their best, breathing fresh life into the end times, gloriously terrifying and hauntingly iconic.
Their latest album also marks a new beginning for the band, as it's their first to be released on Run for Cover Records. Teaming with the rising Boston independent label was the outgrowth of their partnership with Will Yip, whose masterful production transforms the band's transcendental musings into a widescreen experience. Drums and bass lines quake with the faults of the earth, as an army of guitars and multi-instrumental nuances ring in the paranoia, mass hysteria and peaceful exaltation. The result is a stunning collagefitfully disturbing, steadily bizarre, uniquely celebratoryundoubtedly the grandest musical adventure yet conceived within mewithoutYou's expanding tapestry.
Pianos Become The Teeth
https://www.facebook.com/pianosbecometheteeth?fref=ts
Pianos Become The Teeth is an American post-hardcore/emotive hardcore band that formed in 2006. They perform a style of music inspired by post-rock and early screamo acts, and are a part of "The Wave" an in-joke began by friends Touché Amoré, La Dispute, Defeater, and Make Do And Mend, all playing a form of post-hardcore music. The group reissued their well received debut album Old Pride in 2010 through Topshelf Records.
Restorations
https://www.facebook.com/RestorationsTheBand/info?tab=page_info
Massive pedaled-out blasts of sound tied to delicate riffs. Echo & the Bunnymen songs played by Wilco. Biscuits swimming in gravy. George Clooney's salt and pepper beard.
LP3 is a rare achievement: It doesn't fail at being anything. It's a collision of influences, not a contrived mixture of them. You could say this record is Tom Petty meets Spiritualized or you could say it's Hot Snakes doing Swans, and you'd be right in both cases. It's music from people who listen to, and love, music.
Compare the unapologetic rock swell of album-opener 'Wales' to the understated lyrics-first approach to the next track, 'Separate Songs'. Clearly the same band, but exercising different ghosts on each song. That's what LP3provides. A spectrum broad enough for the swaying drunk at the show and the introspective headphone commuter. Wistful; hopeful; direct; coy; bombastic; pensive. It's a human experience, or at least a French film.
The band returned to Miner Street Studio and longtime friend/collaborator Jonathan Low for the recording of LP3. It was a good choice. Every instrument is bigger on this album than on previous efforts. The vocals often puncture quiet moments to such perfect, unnerving effect that you could believe its happening in your head. The trust Low and the band has been building over the years is absolute these days and the result is a record that fills a room even when coming out of laptop speakers.
The difference between a genre band and a band that cuts its own path lies in the latter's ability to walk away from a song without adding conventions. When bands walk the safe path the result is staying static in a genre, or worse, a scene. It's house arrest for an artist. Restorations have gone the other way. LP3 shuns genre markers and allows every song to serve its own master. 'Misprint', for example, would have been a disaster in the hands of a less confident band. Instead, the track denies every potential cliché and emerges as a standout that resonates with listeners on a fundamental level.
LP3 is a marriage of big sounds and meaty songwriting. Clever, sure, but strong is a better description. Pummeling and rumbling without an ounce of goonishness. Smart people going hard.
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