The Irenic, San Diego 92104Report Issue

The Irenic, San Diego 92104


3090 Polk Ave
San Diego, California 92104
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Next Show

Mon, December 31, 2018 (10:00 PM PST)
Magic Giant


Magic Giant

Coming off of a blazing set at Coachella, with Billboard singling them out as one of "10 Awesome Bands" playing this year's massive fest, and LA Weekly calling them "Cool as Folk," LA-based MAGIC GIANT has been thrilling growing crowds at every stop along its 70-city North American and European tour, celebrating the release of its debut album In The Wind (Concord Records) and its acoustic album counterpart. With appearances on the Today Show and in Rolling Stone as one of "10 Artists You Need to Know," the group has toured with acts ranging from The Revivalists to Mike Posner; played shows with bands such as The Lumineers, Mumford & Sons, X Ambassadors, Vance Joy, and Foster the People; performed to thousands at festivals ranging from Firefly in Delaware to Electric Forest in Michigan; and was recently tapped as one of the bands to join headliner Bruno Mars at Bottlerock in Napa this spring. DuJour has proclaimed Magic Giant "the most festive band in the festival circuit, quickly becoming a must-see." Its style has been described by NPR as "upbeat, passionate indie-folk" and by Billboard as inspiring "mass dance-alongs." Its initial single "Set on Fire" broke the top 25 on the US Alternative chart and top 5 on Spotify's US Viral chart; its current single "Window" leaped into the Top 40 on Billboard's Hot AC and Adult Pop charts; and the new acoustic album debuted in the iTunes Alternative top 25. The trio, comprised of Austin (lead vocals), Zambricki (viola, banjo, harmonica), and Zang (acoustic guitar, cello) weaves together a musical quilt of alternative, pop, and folk on its LP, uniquely recorded from their solar-powered mobile recording studio while traveling throughout the US. • • • Inside a Redwood tree off the coast of California; within a tunnel by Snoqualmie Pass; on an airstrip in Marble, Colorado; in a wild daisy field near Crested Butte -- these are just a few of the places Los Angeles trio, Magic Giant, recorded its debut album, aptly titled, In the Wind (Washington Square/Razor & Tie). Austin Bisnow (lead vocals), Zambricki Li (banjo, violin, harmonica), and Zang (acoustic guitar, cello) welcomed nature into the fold as their unofficial fourth member. "It was fate," recalls Zambricki. "We were scheduled to play all these festivals -- Electric Forest, Wanderlust, Lightning in a Bottle -- that just so happened to be in really beautiful parts of the country." During Spring 2016, the boys bought a shuttle bus, converted it into a solar-powered mobile recording studio, added a California King on hydraulics, and fondly named her Queen Elizabeth. "There were spaces of time between shows where we could get creative," explains Zang. "Using the bus to power microphones, we recorded outside -- literally In The Wind -- across North America." "Living in the city, it's easy to forget how enchanting the road can be," Zang adds. "We recorded anywhere and everywhere. There were no ceilings or limits to what we could capture." Just before Magic Giant hit the road, their single "Set on Fire" began heating up. Independently released, it went from their studio to #4 on Spotify's US Viral 50, landing the three-piece a deal with Washington Square. Climbing into the top 25 on Billboard's US Alternative chart, Rolling Stone named Magic Giant one of 10 artists to watch and called "Set on Fire" the "perfect music festival fare." After performing the song on the Today Show as Elvis Duran's Artist of the Month, Kathie Lee Gifford exclaimed, "What a unique sound -- oh my gosh!" It became a favorite on Los Angeles radio, with the single hitting #1 on KROQ's Locals Only, and the band becoming ALT 98.7's Artist in Residence. Billboard claimed, "With a joyful live show the band is inspiring mass dance-alongs," while NPR wrote, "Magic Giant captures the energy and spirit of the past few waves of upbeat, passionate indie-folk." Magic Giant represents the union of three distinct, dynamic, and diverse artistic voices. Since his childhood in Washington, D.C., Austin obsessively pursued his love of songwriting. He studied classical composition and then went on to write songs with artists ranging from John Legend to David Guetta. New Jersey native Zambricki got hit by a car in junior high, fell into a coma, and once he woke, miraculously learned violin in 4 days through a rare brain trauma reorganization now known as Acquired Savant Syndrome: "If I could go back, I'd throw myself in front of the car," Zambricki chuckles. Later on he began writing and one of his first songs was featured in the Sundance-awarded film Paper Heart. Born and raised in Los Angeles to Persian immigrants, Zang learned upright bass in grade school before picking up guitar and studying dance. He caught the attention of Austin and Zambricki when they came across online videos of him salsa dancing and were instantly hooked. The three are an unlikely match, but their magnetic chemistry can get any crowd moving, from a sold out show at the legendary Troubadour to a sunset music or yoga festival audience. The group has recently toured with bands such as The Revivalists, Atlas Genius, Beats Antique and Mike Posner. In The Wind threads together a musical cartography of alternative, pop, and folk. The instrumentation includes (get ready...) orchestral drums, banjo, trumpet, saxophone, harmonica, synthesizers, electric bass, cello, viola, violin, dobro, lap steel, mandolin, and more as the musical and lyrical palettes prove equally vibrant. "We use whatever instruments are best for the song," says Austin. "Lyrically, when we get together to write," adds Zang, "it's different from what we would have imagined individually. That's the beauty of co-writing -- we become one unique voice we may never have found on our own." The road eventually took the band to Atlanta, where they met up with producer Ben Allen to help glue the body of work together. Returning home to their converted 1940's bomb-shelter studio, The Bunker, Magic Giant put the finishing touches on their debut record. Austin leaves us with, "When people hear our music or experience a show, we want to bring out the most uninhibited version of themselves.

3090 Polk Ave, San Diego, CA 92104 
$39.50

Upcoming Shows

Mon, December 31, 2018 (10:00pm - 12:00am PST Tuesday)
Magic Giant
Magic Giant

Coming off of a blazing set at Coachella, with Billboard singling them out as one of "10 Awesome Bands" playing this year's massive fest, and LA Weekly calling them "Cool as Folk," LA-based MAGIC GIANT has been thrilling growing crowds at every stop along its 70-city North American and European tour, celebrating the release of its debut album In The Wind (Concord Records) and its acoustic album counterpart. With appearances on the Today Show and in Rolling Stone as one of "10 Artists You Need to Know," the group has toured with acts ranging from The Revivalists to Mike Posner; played shows with bands such as The Lumineers, Mumford & Sons, X Ambassadors, Vance Joy, and Foster the People; performed to thousands at festivals ranging from Firefly in Delaware to Electric Forest in Michigan; and was recently tapped as one of the bands to join headliner Bruno Mars at Bottlerock in Napa this spring. DuJour has proclaimed Magic Giant "the most festive band in the festival circuit, quickly becoming a must-see." Its style has been described by NPR as "upbeat, passionate indie-folk" and by Billboard as inspiring "mass dance-alongs." Its initial single "Set on Fire" broke the top 25 on the US Alternative chart and top 5 on Spotify's US Viral chart; its current single "Window" leaped into the Top 40 on Billboard's Hot AC and Adult Pop charts; and the new acoustic album debuted in the iTunes Alternative top 25. The trio, comprised of Austin (lead vocals), Zambricki (viola, banjo, harmonica), and Zang (acoustic guitar, cello) weaves together a musical quilt of alternative, pop, and folk on its LP, uniquely recorded from their solar-powered mobile recording studio while traveling throughout the US. • • • Inside a Redwood tree off the coast of California; within a tunnel by Snoqualmie Pass; on an airstrip in Marble, Colorado; in a wild daisy field near Crested Butte -- these are just a few of the places Los Angeles trio, Magic Giant, recorded its debut album, aptly titled, In the Wind (Washington Square/Razor & Tie). Austin Bisnow (lead vocals), Zambricki Li (banjo, violin, harmonica), and Zang (acoustic guitar, cello) welcomed nature into the fold as their unofficial fourth member. "It was fate," recalls Zambricki. "We were scheduled to play all these festivals -- Electric Forest, Wanderlust, Lightning in a Bottle -- that just so happened to be in really beautiful parts of the country." During Spring 2016, the boys bought a shuttle bus, converted it into a solar-powered mobile recording studio, added a California King on hydraulics, and fondly named her Queen Elizabeth. "There were spaces of time between shows where we could get creative," explains Zang. "Using the bus to power microphones, we recorded outside -- literally In The Wind -- across North America." "Living in the city, it's easy to forget how enchanting the road can be," Zang adds. "We recorded anywhere and everywhere. There were no ceilings or limits to what we could capture." Just before Magic Giant hit the road, their single "Set on Fire" began heating up. Independently released, it went from their studio to #4 on Spotify's US Viral 50, landing the three-piece a deal with Washington Square. Climbing into the top 25 on Billboard's US Alternative chart, Rolling Stone named Magic Giant one of 10 artists to watch and called "Set on Fire" the "perfect music festival fare." After performing the song on the Today Show as Elvis Duran's Artist of the Month, Kathie Lee Gifford exclaimed, "What a unique sound -- oh my gosh!" It became a favorite on Los Angeles radio, with the single hitting #1 on KROQ's Locals Only, and the band becoming ALT 98.7's Artist in Residence. Billboard claimed, "With a joyful live show the band is inspiring mass dance-alongs," while NPR wrote, "Magic Giant captures the energy and spirit of the past few waves of upbeat, passionate indie-folk." Magic Giant represents the union of three distinct, dynamic, and diverse artistic voices. Since his childhood in Washington, D.C., Austin obsessively pursued his love of songwriting. He studied classical composition and then went on to write songs with artists ranging from John Legend to David Guetta. New Jersey native Zambricki got hit by a car in junior high, fell into a coma, and once he woke, miraculously learned violin in 4 days through a rare brain trauma reorganization now known as Acquired Savant Syndrome: "If I could go back, I'd throw myself in front of the car," Zambricki chuckles. Later on he began writing and one of his first songs was featured in the Sundance-awarded film Paper Heart. Born and raised in Los Angeles to Persian immigrants, Zang learned upright bass in grade school before picking up guitar and studying dance. He caught the attention of Austin and Zambricki when they came across online videos of him salsa dancing and were instantly hooked. The three are an unlikely match, but their magnetic chemistry can get any crowd moving, from a sold out show at the legendary Troubadour to a sunset music or yoga festival audience. The group has recently toured with bands such as The Revivalists, Atlas Genius, Beats Antique and Mike Posner. In The Wind threads together a musical cartography of alternative, pop, and folk. The instrumentation includes (get ready...) orchestral drums, banjo, trumpet, saxophone, harmonica, synthesizers, electric bass, cello, viola, violin, dobro, lap steel, mandolin, and more as the musical and lyrical palettes prove equally vibrant. "We use whatever instruments are best for the song," says Austin. "Lyrically, when we get together to write," adds Zang, "it's different from what we would have imagined individually. That's the beauty of co-writing -- we become one unique voice we may never have found on our own." The road eventually took the band to Atlanta, where they met up with producer Ben Allen to help glue the body of work together. Returning home to their converted 1940's bomb-shelter studio, The Bunker, Magic Giant put the finishing touches on their debut record. Austin leaves us with, "When people hear our music or experience a show, we want to bring out the most uninhibited version of themselves.

$39.50
Wed, January 16, 2019 (7:30pm - 9:30pm PST )
Bayside (acoustic) with Kayleigh Goldsworthy
Bayside (acoustic)

At their inception, BAYSIDE consciously stood apart from the pack and has maintained that commitment to integrity and earnestness for over 18 years. Skipping over pop-punk clichés like landmines and forcefully resisting the fake rebellion and thinly veiled misogyny too often dominating the “scene” around them, BAYSIDE takes their cues from Nirvana and Green Day, never the rulemaking bros. Originating in Queens and eventually establishing personal lives and careers that extend across the country, BAYSIDE became a staple of pop-punk and alt-rock world, powered by the strength of sing-a-long ready anthems that are both deeply personal and welcomingly universal. Songs like “Devotion and Desire,” “Sick, Sick, Sick,” “I’ve Been Dead All Day,” and “Blame it on Bad Luck” are cherished by the BAYSIDE faithful, the lyrics brandished like badges of misfit honor. BAYSIDE represent a lifestyle, a counterculture, and a deeply held conviction, diverse in thought and background but united by a shared desire for authentic expression. It’s a spirit that permeates an impressive and storied discography, including Sirens and Condolences (2004), Bayside (2005), The Walking Wounded (2007, celebrated with a 10 Year Anniversary tour in 2017), Shudder (2008), Killing Time (2011), Cult (one of Kerrang!’s Top Albums of 2014), and Vacancy (2016). Take away the distortion, the aggression, and the reckless ferocity that defines much of punk rock, and a great song is still a great song. With a spirit of deconstruction and re-imagination running counter to some bands’ lazy cash-grabbing collections, BAYSIDE returns refreshed and reinvigorated with Bayside Acoustic Volume 2. Twelve years since the band released the fan-favorite EP, Acoustic, BAYSIDE puts forward an incredible blend of instantly recognizable fan-favorites and deep cuts. BAYSIDE’s latest release throws off convention in search of the distilled melodic essence and emotive power of their catalog. These aren’t “stripped down” versions of BAYSIDE songs so much as they are completely new discoveries, refashioned and broadened by possibility. Unburned by any expectations or preconceived notions, the band made the record quietly and at their own pace, steadily mining their past to build a new vision for the future. Musicianship and artistry is paramount, with a purposeful urgency throughout. “I didn’t have a studio, an electric guitar, or an amp setup in my house for many years of being in the band,” explains frontman Anthony Raneri. “I wrote everything on an acoustic. It always had to be good without the bells and whistles.” Bayside Acoustic Volume 2 was crafted in Franklin, Tennessee with Jon Howard, a musician and producer who has worked with Paramore, Dashboard Confessional, and New Found Glory. Howard is part of a hyper local community outside of Nashville that includes members of those bands, plus guys from Yellowcard, Saves The Day, Grammy winning producer Nick Raskulinecz, and Raneri, among others. “When we went into it, we said, 'this can't just sound like us playing the stuff on acoustic guitars instead of electric guitars.' We were really adamant about that,” says Reneri. “We're always trying to show that we're better than your average pop-punk band. This was a chance to demonstrate all of the different things we can do.” It was liberating for Raneri and longtime members Jack O’Shea (lead guitar), Nick Ghanbarian (bass), and Chris Guglielmo (drums) to tear down the walls, playing the songs any way they wanted, as ‘though they had just been written for the first time. “Landing Feet First,” which so many BAYSIDE fans have played at their weddings, is given the full “first dance” treatment, now with real strings and a fresh arrangement. “Devotion and Desire” is even more intense in this setting. “Once you hone into the percussive element of an acoustic guitar, there's a lot to discover there,” says Raneri. Vol. 2 also boasts new takes on BAYSIDE deep cuts like “I Can’t Go On” and “Howard,” songs that had never been played live, given long overdue justice here. Since the dawn of the New Millennium, BAYSIDE has earned a reputation as top-tier songwriters, passionate performers, and high quality humans, all while headlining theaters and clubs or touring with their friends and peers in bands like Fall Out Boy, Taking Back Sunday, Say Anything, A Day To Remember, The Gaslight Anthem, Hawthorne Heights, Alkaline Trio, Saves The Day, New Found Glory, and Anberlin. In every note of the vibrant Acoustic Volume 2, a record that conjures the spirit of classic performances like Nirvana’s MTV Unplugged or The Cure’s most adventurous outings, BAYSIDE serves up a confident reminder of their firmly established place in the rock music landscape. It’s evident - from all of the lyrics tattooed on fans, the cover version and tributes that permeate YouTube, and the obsessive supporters worldwide - why BAYSIDE continues to thrive on the strength of these very songs.

$22.00 - $25.00
Sat, January 19, 2019 (7:30pm - 9:30pm PST )
Mae
Mae

Since day one, ​MAE​ have always lived at the intersection of art and innovation. The band – comprised of Dave Elkins, Jacob Marshall, and Zach Gehring – formed in Norfolk, Virginia, in 2001, using their name to represent the overarching concept of Multisensory Aesthetic Experience. It’s an element they’ve weaved through their art their entire career, from a pair of beloved underground albums for Tooth & Nail Records that helped define new-millennium emo (2003’s ​Destination: Beautiful​ ​and 2005’s ​The Everglow​) through the steadfast blue-sky ingenuity of their live show: In 2016 at the Tower of David in Jerusalem, Mae became the first band to perform a synced virtual reality concert experience. The trio’s desire to exist as far more than just a sonic expression ultimately lays the blueprint for exploration and empowerment – and that dogged sense of growth and experimentation is perhaps brighter than ever on their fourth full-length album, ​Multisensory Aesthetic Experience,​ due out November 16, 2018 on Tooth & Nail Records. Multisensory Aesthetic Experience​ marks the band’s first LP since 2007’s Singularity​ (released via Capitol to critical and fan acclaim alike) and their first new music since reforming for anniversary performances of ​Destination: Beautiful in 2013 and ​The Everglow​ in 2015. It was during the sold-out shows celebrating ​The Everglow​ that Mae truly realized the impact their art had on listeners around the world: the tales of lives soundtracked by their music, the tattoos of lyrics and album artwork inked on the arms of fans – some of whom even named their children after the band. These stories of personal connection boldly underscored the deep influence of Mae’s music on an entire generation of underground music fans, along with the power of the emotional resonant themes flowing through every aspect of their creative output. Ultimately, they buoyed the band as the trio began a new chapter. Informed by Elkins’ smooth vocals and effortless melodic sensibilities, the 11-song collection is undoubtedly Mae. But there’s a new sense of groove imbued throughout tracks like the funk-heavy “Kaleidoscope” and stirring “Autonomy,” the angular alt-rock of “5 Light Years” and pitter-patter pop gem “Let It Die.” It’s the sound of the band honing in on negative space and using it to give their songs a newfound dynamic that ultimately guide the album as a whole. But for as much as ​Multisensory Aesthetic Experience​ represents a new direction for Mae’s music, it’s the ​other​ aspects of the band’s new chapter that will propel them moving forward. The band’s tours in support of the album will be unlike any they’ve undertaken, with an increased reliance on virtual reality bringing the swelling soundscapes to life like never before – and special Mae Day celebrations that swirl lights and sounds into their most fully immersive experience yet. They even hope to curate a special meal fans can enjoy while listening to the album. It’s all in an effort to bring audiences closer to Mae’s true multisensory mission. “When we tour again and tell a new story, we have opportunities we’ve never even considered, even though the band has been called Multisensory Aesthetic Experience for a long time and put out so many releases,” Elkins says. “You have to meet people where they are instead of asking people to come back to where they’ve been. It’s a theme to the album: Keep moving forward. It’s another reason why the band is doing this. When there’s growth and everything feels new, it’s harder and harder to do that. But it’s ​always​ possible. If you keep up with that growth, how can you not have your expectations and mind blown?” XX

$22.00 - $89.00
Thu, January 31, 2019 (7:30pm - 9:30pm PST )
Current Joys with Gap Girls
Current Joys

Current Joys is the enigmatic solo project of 25-year-old Henderson, Nevada-born songwriter Nicholas Rattigan. In addition to his minimal two-piece band with Jacob Rubeck, Surf Curse, Rattigan has been releasing a prolific catalog of heart-wrenching no wave ballads via Bandcamp under a handful of names (including The Nicholas Project and Tele/Visions), eventually choosing Current Joys as the permanent moniker, based on a song by folk-artist Liam the Younger of the same name. His newest release, A Different Age, documents the process of making art and the desire to create it sincerely in an era fraught with extreme irony, apathy, and nostalgia. Ripe with many of the emotions and conflicts that have influenced Rattigan’s songwriting in the past, A Different Age contains some of his most poetic lyrics and thoughtful arrangements to date. Rattigan started writing the material for A Different Age, his fifth solo album, in 2015, shortly after moving from Reno to New York City and the release of the album Me Oh My Mirror (the limited-edition cassette of which is now sold out, along with all his other tape releases). A Different Age has changed drastically over the past three years as a result of Rattigan’s relocations, with each city influencing and altering his work. He discarded and re-recorded various tracks many times over throughout the process. Rattigan’s work on the album spans across almost three years, primarily due to the success of his other project Surf Curse who released a new critically acclaimed LP, multiple tape re-issues, and toured across America and Europe since he began making A Different Age. He first wrote the title track, which serves as the album’s emotional core. A meditation on an artist’s place in contemporary culture, Rattigan sings about breaking free from outdated conventions over a driving beat and lush string arrangements that swell to a chilling static. Rattigan later revisits those themes throughout the record while also referencing the films and art that has inspired him. A nod to Brian Eno, the slow burning album opener “Become the Warm Jets” reflects on the power of music and the overwhelming feelings that hit when “that old song starts to play.” Later on, in “My Nights are More Beautiful Than Your Days” (named after a film by French director Andrzej Żuławski), Rattigan’s haunting vocals acknowledge the futility in trying to outrun one’s past. While most artists would draw influence from other musicians, Rattigan, a cinefile, is inspired by the works of several different directors. The vibrant, dark tone of the album is set to reflect the films of German new wave director Rainer Werner Fassbinder and the slow burning pace of the Belgian art-house filmmaker Chantel Akerman. As with his previous releases, Rattigan made most of A Different Age alone with a single guitar, drums, a loop pedal, and his laptop. After testing out many of the songs for the first time on the road and at sold out DIY shows in each of the cities he’s lived in, Rattigan consciously tried to distill the passion and spontaneity of his live performance into his recordings. He chose to leave many of the tracks desolate and sparse in an effort accentuate the emotional nuances of his performance. He also brought in label-mate Robert Tilden of BOYO to help record “Become The Warm Jets” and “A Different Age,” before eventually mixing and mastering the album on his own.

$13.00 - $15.00
Fri, February 8, 2019 (7:30pm - 9:30pm PST )
AJ Mitchell with Marteen
AJ Mitchell

AJ Mitchell is a 17 year old American singer-songwriter from Belleville, Illinois. AJ first garnered success by building a fanbase posting covers and original songs on Instagram and YouTube and releasing . His debut EP "Hopeful" was released July of 2018. AJ's single "Girls" is now climbing the US Radio's Top 40 Charts and his music now has accumulated over 60+ million streams worldwide.

$15.00 - $18.00
Fri, February 15, 2019 (7:30pm - 9:30pm PST )
The Marias
The Marias

Formed in Los Angeles in late 2016, The Marías are the psychedelic-soul lovechild of LA native, Josh Conway and Puerto Rican-bred, Atlanta-raised María. A smooth rendezvous of jazz percussion, hypnotic guitar riffs, smoke-velvet vocals and nostalgic horn solos, there’s something undeniably sensual in the group’s dreamlike fusion of jazz, psychedelia, funk and lounge. With María on lead vocals and Josh on drums, the couple is joined by their closest friends and fellow musicians. On guitar, Jesse Perlman, born and bred of LA, with ‘tones that can melt steel,’ say his bandmates. On bass, Canadian born and Berklee trained Carter Lee. On keys, Edward James. As they take to the stage, dressed like a dream from another era – it’s clear why fans cheekily compare their sound to ‘having sex in the 70s’ or like ‘pouring cream into coffee.’ Watching them, you feel transported, taken over by a sultry tranquility as you drift into a timeless space. They recently released their first EP, titled ‘Superclean Vol. I,’ in the fall of 2017, and it'll be followed by ‘Superclean Vol. II’ in early 2018.

$15.00
Sat, February 16, 2019 (7:30pm - 9:30pm PST )
Pedro The Lion
Pedro The Lion

Pedro the Lion has always been David Bazan, but it took a long time to get back there. In August 2016, during what he now recognizes as his lowest point, Bazan was touring the country alone in an aging minivan and found himself in his hometown of Phoenix, AZ. In need of a break from the road, he spent a night off at his grandparents’ house instead of driving on to San Diego. Before leaving town the next morning, after realizing that even the most familiar places can become unrecognizable, Bazan gave himself the gift of a quick detour past the house he grew up in, and on the way, experienced a breakthrough - one that would lead him both forward and back to another home he had built many years before. From the beginning, Pedro the Lion didn’t work like the bands Bazan had played drums in, where each player came up with their own parts. Instead, like scripting scenes of dialogue for actors to play with, Bazan recorded and arranged all of the skeletal accompaniments for his obsessively introspective lyrics and spare melodies. Each player would then learn their parts and, together as a band, they brought the skeleton to life. While bandmates played on a few recordings, Bazan often played all or most of the instruments himself. “I found so much joy working this way,” Bazan remembers. “It came naturally and yielded a feeling and a sound that couldn’t have existed by any other process. At the same time, I was also aware that not everyone wanted to play in a band where the singer wrote all the parts and might perform them on the record. Someone even suggested it might not be a valid approach to having a band in the first place. Being insecure and wanting to find camaraderie, I became conflicted about my natural process.” By 2002, after recording Control , the high rate of turnover in the band finally caused Bazan to ditch his “natural process” in favor of a collaborative writing process. When, after a couple more years, this move did nothing to stabilize turnover, Bazan was perplexed. In November 2005, Bazan decided to stop doing Pedro the Lion altogether. Ironically, Bazan didn’t see “going solo” as a chance to revert back to his original process of writing and playing all the parts. For the next decade Pedro the Lion felt off limits, even forgotten, like a childhood home Bazan had moved out of. He pushed forward with releasing solo albums & relentless touring in living rooms and clubs, through every part of the US and beyond, sometimes with a band, but mostly on his own. It took a toll on his family and more acutely on himself. By the summer of 2016, he still hadn’t found the personal clarity or the steady collaboration he’d been seeking and was at the end of his rope. “I had abandoned my natural way of working in the hopes of creating space for a consistent band to write with...and it hadn’t worked. So I got a rehearsal space, mic’d up drums, bass, and guitar, and really leaned into my original process again. It immediately felt like like home. Before long I realized it also felt like Pedro the Lion.” In June 2018, with Bazan on bass, vocals, and arrangement writing, Erik Walters on guitar and backing vocals, and Sean Lane on drums, Pedro the Lion went into Studio X and Hall of Justice with producer Andy Park to create Phoenix , the first new Pedro album in 15 years. The songs themselves are the result of mining your past for who you are now. On opening track “Yellow Bike,” Bazan encapsulates a core ache he’s been exploring since 1998’s It’s Hard to Find a Friend with the line: My kingdom For someone to ride with Phoenix also deals with having to be better to yourself in order to be better to others on “Quietest Friend,” and harkens back to Control ’s “Priests and Paramedics” with a story about EMTs facing a gruesome scene, and storytelling as coping mechanism, on “Black Canyon.” It bears witness to both what was around and what was inside, with the signature kindness and forgiveness that lightens Pedro the Lion’s darkest notes. The result is a twisting, darkly hopeful introspection into home and what it means to go back, if you ever can. It is rock and roll wrapped in tissue paper, its hard edges made barely soft. Every melody is careful, a delicate upswing buoyed by guitar lines that hold each tender feeling together like string before ripping them apart to see what’s inside. It is an ode to the place he still loves despite how alien it can appear to him now. It is the story of a life from the beginning, but not a linear one. This life is a circle, and Phoenix goes back to that first point, to show that when we are looking for home we’ll eventually run into it again, whether it’s in the desert, in a rehearsal space, or on a stage.

$20.00 - $22.00
Sun, March 3, 2019 (7:30pm - 9:30pm PST )
Waxahatchee with Bonny Doon
Waxahatchee

On September 7, Katie Crutchfield’s ever-shifting musical project Waxahatchee returns with the Great Thunder EP. Featuring a collection of songs written with now-dormant experimental recording group Great Thunder while Crutchfield was also writing the Waxahatchee albums Cerulean Salt and Ivy Tripp, the original recordings have mostly faded into obscurity. Unearthing and reimagining them with producer Brad Cook at Justin Vernon’s April Base studio in Wisconsin was a cathartic experience, she says. On the heels of last year’s critically acclaimed Out in the Storm, Crutchfield found herself looking to take a sharp turn away from the more rock-oriented influences of her recent records towards her more folk and country roots. “I would say that it is a complete 180 from the last record: super stripped-down, quiet, and with me performing solo, it’s a throwback to how I started,” writes Crutchfield. “Overall, the EP is a warm, kind of vibey recording.” Some of the songs on Great Thunder, like “Chapel of Pines” and “Singer’s No Star,” stayed the same and will be recognizable to those intensely familiar with Crutchfield’s catalog to date, while closer “Takes So Much” was built back up on piano from the bones of the original version, surprising even the songwriter: “Until then, I didn’t realize how beautiful this song was.” As Crutchfield entered April Base to record, she became ill but opted to forge on, beautifully stretching her voice to its emotional limits.

$16.00 - $18.00
Sat, March 9, 2019 (7:30pm - 9:30pm PST )
Summer Salt
Summer Salt

Self deemed “coral reef rock”, Summer Salt delivers a retro blend of bossa nova and 60’s oldies pop. Growing up in Dallas, TX, Matt Terry (vocals and guitar) and Eugene Chung (drums) started the band in high school, then reunited in 2013 after moving to Austin, TX. Since then, Summer Salt has released 3 EP’s: Driving to Hawaii, Going Native and So Polite, gaining a cult following through touring and a personable internet presence. All three EP’s have sold out their vinyl, cassette and CD releases. Summer Salt’s newest album, Happy Camper, is OUT NOW! All profits from the album will be donated.

$17.00 - $20.00
Sun, March 10, 2019 (7:30pm - 9:30pm PDT )
Empress Of
Empress Of

Lorely Rodriguez, the artist known as Empress Of, recorded her new album, Us, all over Southern California. Topanga Canyon. Ojai. At a recording studio "with no windows." At her home in Highland Park. At another recording studio "with a really loud cricket." "He was there, like, all month," she says, "And I was trying to track vocal tracks and he'd be like, CHIRP, CHIRP!" It was the first time she tried to record music this way-sequestered, for a month at a time, in between touring and performing, alone but for the company of a cricket. She would later invite collaborators -- Dev Hynes (aka Blood Orange), LA production duo Sam Griesemer and Jerome Potter of DJDS, Spanish electronic producer Pional -- but the resulting project remains a showcase of Rodriguez' skill both as a lyricist and a producer, though she is wont to admit it. The artist is modest about her skills as a instrumentalist ("Lorely plays every instrument half-assed," she says, "Put that in the bio.") and coy about her process as a writer ("I don't write out chords for my songs. Everything is intuitive in production. I don't have one piece of sheet music for my songs.") She estimates that she's produced about 70 percent of this album, which serves as the real testament to her dynamism as a musician, since she won't testify to it herself. She's frustrated with a media preoccupation on her jazz music education, but only because she believes her experiences singing to Céline Dion and Mariah Carey in the living room of her childhood home in Southern California are far more formative. When pressed about her influences, she lists her mother. Empress Of's debut album Me was released almost three years ago, in 2015. As the name suggests, it presented a deeply personal exploration of her emotional world. So personal, she says, it was difficult to perform. "It was, like, every day, just giving myself to the audience," she says. With Us, Rodriguez wanted to facilitate a more equal exchange of energy between herself and her listeners, to create a "community." "It's not just love songs. It's about different experiences of the heart," she says. "I want it to be like a mirror, and [the audience] sees a little bit of themselves in every song.

$20.00
Fri, March 29, 2019 (6:30pm - 8:30pm PDT )
Against The Current
Against The Current Past Lives World Tour 2019

Against The Current Chrissy Costanza – Lead Vocals Dan Gow – Guitar, Vocals Will Ferri – Drums, Vocals After unveiling their debut album, In Our Bones, in 2016,Against The Current was inspired to change things up. The alt-pop group, who formed in Poughkeepsie in 2011, knew that it was time to evolve the way they wrote songs and allow for the music to surprise them in the studio. They looked to “Wasteland,” a track on In Our Bones, as inspiration for how using new instrumentation and sounds could create something both familiar and unexpected. The band’s second album, Past Lives, kicks everything up a notch. “We approached writing that song so differently than we’d ever approached writing a song before,” Chrissy says. “It was such a different experience for us and we really stepped outside of our comfort zone. And you can really hear that on this record. We changed so much of how we write and how we look at songs because of that experience.” The album was written and recorded over the course of ayear, with the musicians penning over 40 song ideas in total. The band spent time in the studio in Los Angeles with producer Andrew Goldstein and in Nashville with producer Tommy English, and even laid down a few parts at Will’s home studio. The three band members wrote everything together, each bringing in various ideas and always being open to possibilities. “I felt more comfortable bringing different ideas to the table,” Will notes. “A lot of the songs came from these weird instrumental demos I had that I was uncertain about sharing. I was able to find places in the songs for them and it turned out so well. ‘Voices’ came from that. I had this demo with weird guitar riffs and I brought it into one of our last sessions in LA. We went in the next day and started a track with it.” “In the past it felt like we needed guitar going at all times,” Dan adds. “But on this record all of the guitar parts are meant to be there.” The songs vary in tone and style, but connect over a thematic idea that arose during the writing process. As the musicians were writing “Come Alive,” Chrissy realized that the album was ultimately about learning to come back to yourself after the end of a relationship, or as one chapter of life closes and another opens. The album’s title references the idea that we often don’t recognize ourselves when we look back. “When you’re in those moments they feel so total and so complete and so encircling,” Chrissy says. “Like nothing else could possibly be happening in the world. When you’re in a great relationship or a terrible one, you can’t really remember life before it and you can’t picture what life is going to look like after it. These moments take over your life, so when you do actually move past them and you look back, you’ve changed so much coming out of it. It’s like looking back on a past life.” Anthemic opener “Strangers Again,” one of the first tracks written for Past Lives, is about walking away from a toxic relationship and trying to uncover what happened. “It’s not about what other people did to me,” Chrissy notes. “It’s more about how I reacted to what happened and how I got myself in that situation. I like that sentiment because it takes the weight off the other person.I’d rather share my experience and talk about what I can do about it and how I can move forward.” “Almost Forgot,” a bittersweet pop tune, brings another unique take on a breakup song, asking what you can do to move on instead of dwelling in sadness or anger. Much of the album is about empowerment, rather than wallowing in negative emotions, which is especially evidenced on “P.A.T.T.,” where Chrissy questions whether she’s good enough for others. That sense of positivity is most palpable on “I Like The Way,” an upbeat, light-hearted number that evokes a ‘50s rock tune. “In every song you can dig up a silver lining,” Chrissy says. “All of these challenging moments are going to come to you in your life, but ultimately you’re the person who can change them. I wanted to put that message out there for both myself and others: I’m going to be my own hero. This isn’t about what people did to me, it’s about what I’m going to do now. I think people can relate to that and that connection can bring them peace. Whether it helps them out of it or not I don’t know, but music makes you feel less alone and sometimes that’s enough.” It’s clear that fans do connect. In Our Bones debuted at No. 2 on Billboard's Top New Artists chart when it dropped in May of 2016, and Against The Current boasts a notably loyal fanbase, as evidenced by their strong social stats. With over 301 million channel views on YouTube (as well as 1 million followers on Chrissy’s personal Instagram), the band has developed an important relationship with their listeners, many of whom have grown up alongside the musicians over the past few years. The band has toured globally, always willing to share authentic emotions and experiences with their audience. Since 2015, Against The Current has embarked on two headlining world tours, including the “In Our Bones” tour in 2016, and has performed as part of the Vans Warped Tour. They’ve seen incredible success all over the globe, including throughout Asia and in the U.K. The band also joined All Time Low and Good Charlotte on the “Back to the Future Hearts” and supported Fall Out Boy’s 2018 “MANIA” Tour, always building their fanbase up along the way. Past Livesbrings the opportunity for bigger and – even better – stage shows, too. With this album, Against The Current moves into the next phase of their already impressive career, opening a new chapter and inviting new fans to join in along the way.

$17.00 - $20.00
Sun, March 31, 2019 (7:00pm - 9:00pm PDT )
grandson
grandson

Grandson is a 23-year-old alternative artist hailing from Canada. Born in the small town of Englewood, New Jersey, he relocated to the cultural melting pot of Toronto at a young age, and grew up surrounded by music ranging from jazz to rock & roll to rap, dancehall and R&B. At 17, he moved to Montreal to attend university, and began working in nightclubs cleaning tables and DJing. He started writing music at this time, incorporating the unique blend of sounds he grew up surrounded by. He started experimenting with music production and rapping in 2013, dropped out of school and headed to Los Angeles to pursue music full time. Adopting the "grandson" moniker while living in LA, he dove deeply into rock influences such as Rage Against the Machine, Nirvana and Led Zeppelin, while keeping an ear on the rap/R&B music emerging out of Toronto and alternative acts such as Twenty One Pilots and Hiatus Kaiyote. He found a small community of musicians to work and perform with in LA and eventually formed his band. Reminiscent of early punk and grunge music, grandson's live set attempts to create a frantic, mosh pit-inducing cathartic release of energy for fans. Searching for his voice and for meaning in today's divisive, chaotic world, grandson's songwriting confronts the most pressing issues of his generation, such as financial inequality, governmental and environmental accountability and social justice, giving these topics a soundtrack with a genuine sense of urgency and frustration, while simultaneously touching on adolescence, relationships, and the insecurities and difficulties of growing up through your 20s. When asked about today's music scene, he says "I genuinely believe the world needs honest rock and roll, now more than ever."

$15.00