Urban Lounge, Salt Lake City 84102Report Issue

Urban Lounge, Salt Lake City 84102

241 S 500 E Central City
Salt Lake City, Utah 84102
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Today's Shows

Mon, September 16, 2019 (8:00pm - 10:00pm MDT )
Psychedelic Porn Crumpets with Meatbodies, MotherBus
Psychedelic Porn Crumpets

When you think of a typical English fete, you think of coconut shies and Punch & Judy puppet shows, children tearing around laughing and little old ladies selling homemade hams with smudged labels. The idyllic picture hardly seems like something that would inspire the concept of an album by an Australian psych rock band, but then Perth’s Psychedelic Porn Crumpets have always been hard ones to pin down. On their third album, ‘And Now For The Whatchamacallit’, the four-piece take that very British image and reimagine a 1930s small town fair for the future, twisting the wholesome giddiness and mirth of such events into a madcap adventure that feels like a ride you don’t want to end. It was inspired by a documentary about Woburn Sands, the English town frontman Jack McEwan grew up in. “It felt like a homage back to home,” explains Jack. “That idea felt like I could write about these old times but give it a twist of the future, like what people back then would think it would be like.” With the theme emerging a few songs into the writing of the record, the band decided to embrace the “nostalgic happiness” associated with it and write “the most fun things we could think of”. “Fun” is perhaps an understatement when it comes to describing ‘And Now For The Whatchamacallit’, which sprints through thunderous, wailing fuzzy rock (‘When In Rome’), sitar-led lysergic voyages (‘Native Tongue’), and stomping psych-pop (‘Bill’s Mandolin’). The latter was written in honour of a mandolin Jack was given on the band’s last UK tour, which became an inanimate observer of all sorts of capers, the likes of which informed the record’s songwriting. Tour lends itself to creating the kind of experiences you can fill an album’s worth of stories with, according to Jack. With nights not able to get properly started until after the show’s finished, you’re more likely to meet “the quirkiest people or the ones who are still awake or buzzing, or on magic potions of sorts.” Recorded largely in Jack’s bedroom (with some parts recorded at Perth’s Tone City Studios), ‘And Now For The Whatchamacallit’ arrives as a more concise, thought out missive than its predecessors, 2016’s ‘High Visceral Pt 1’ and 2017’s ‘…Pt 2’. “I wanted to stray away from the 10-minute jams when writing the songs on ‘…Whatchamacallit’,” says Jack, explaining that this record taught him he likes “writing shimmery songs.” The album starts with a call to keep the party going on the infectious ‘Keen For Kick Ons’. “If you kick on in Australia, that’s when you go out after and carry on drinking,” Jack explains of the slang title, adding that it could be written about “every time we go to the pub.” ‘Social Candy’, meanwhile, builds into howling psych as the frontman narrates the experience of “when you’ve taken too many fun tablets, you’re absolutely fried, your brain can’t handle it, and you’re like, ‘Why is that rabbit talking to me?’” And then there’s album closer ‘Dezi’s Adventure’ with its plinky-plonky organ sounds, that’s meant to feel like “the closing of the circus curtains”. While ‘And Now For The Whatchamacallit’ largely takes you on a trip through nights out, its final song is more like a tour through Jack’s own life - or at least his most recent years. “I transitioned from working on a building site to going three years down the track and travelling around the UK as a band,” he explains. “It’s a completely different world so ‘Dezi’s…’ is almost that adventure and carrying on with tour. It sounds like me peering out of a window from a 20-year-old’s perspective but seeing everything happening right now. Rather than a memory, it’s a forward memory.” As well as tons of punchy songs that make you want to get on their level, the album is also home to some experimental instrumentals, like the heavenly ‘Fields, Woods, Time’ and the warped noodling of ‘Digital Hunger’. Intended as transitionary tracks, they’re placed at points of the record you wouldn’t necessarily expect an interlude. “I wanted that element of wonder and what’s gonna happen afterwards,” Jack says. “You’re intrigued to listen a bit more to see where it goes next.” After starting out as a project for Jack’s uni course, the last four years have taken the band - completed by guitarist Luke Parish, drummer Danny Caddy, and bassist Luke Reynolds - on an unexpected but brilliant journey, winning over fans across the globe with their exuberant live show and inventive, unpredictable songwriting. Where Psychedelic Porn Crumpets themselves go next from here is anyone’s guess.

$13 ADV / $15 DOS

Upcoming Shows

Tue, September 17, 2019 (7:00pm - 9:00pm MDT )
Melvins with Redd Kross, Toshi Kasai

LOS ANGELES, Feb. 12, 2018 – The Melvins return with the new album Pinkus Abortion Technician (April 20, Ipecac Recordings), featuring both ongoing Melvins’ bass player Steven McDonald (Redd Kross, OFF!) and Butthole Surfers’, and occasional Melvins’, bottom ender Jeff Pinkus on bass. “With our upcoming release, we double your bass player with Steven McDonald AND Jeff Pinkus holding down the bottom,” explains Dale Crover. It’s an experiment in the low end of the aural spectrum where we asked ourselves, ‘would it work?’ ‘could it work??’ ‘should it work???’ The answers were yes, yes and YES!” “We’ve never had two bass players. We’ve had two drummers and two guitar players so it makes total sense to now have two bass players, adds Buzz Osborne. “We’ll be taking this two-prong bass attack on the road as well which should prove to be interesting. Pinkus Abortion Technician is a radically great record and was a stone groove to record. We drank a lot of coffee and enjoyed each other’s company. I like Steven and Jeff a great deal. I admire their bass playing and singing and both of them can grill a mean steak.”

$22.50 ADV / $25 DOS
Tue, September 17, 2019 (8:00pm - 10:00pm MDT )
Melvins with Redd Kross, Toshi Kasai
*Melvins $22.50 - $75.00
Wed, September 18, 2019 (8:00pm - 10:00pm MDT )
WHY? with Barrie

The final words sung on the sixth album by WHY? are an apt place to begin: “Hold on, what’s going on?” Because while there’s much familiar about the oddly named Moh Lhean—mastermind Yoni Wolf’s sour-sweet croon, his deadpan poet’s drawl and ear for stunningly fluid psych-pop-folk-whatever arrangement—a great deal has changed in the four years that’ve passed since 2012’s Mumps, Etc., an LP that honed the band’s orchestral precision and self-deprecating swagger to a fine point. It’s significant that this is the first fully home-recorded WHY? album since the project’s 2003 debut. Made mostly in Wolf’s studio and co-produced by his brother Josiah, the result is obsessive, of course, but also intimate, and flush with warmth and looseness. But the biggest transformation is a bit subtler. After years of eying his world, in part, with a cynical squint, Wolf here learns a new mode. While Moh Lhean never stoops to outright optimism, it chronicles our hero finding peace in the unknowing, trading the wry smirk for a holy shrug, and looking past corporeal pain for something more cosmic and, rest assured, equally weird. A low tone opens the album on “This Ole King” as acoustic pluck and upright bass form a Western bedrock beneath Wolf’s fragile voice. But as the song pushes on, the playing gets brighter and the vocal becomes a mantra-like hum inspired by Ali Farka Touré‘s blues, before rolling into a second part rich with chiming keys and twisting harmony—Brian Wilson’s kaleidoscopic vision of pop. If there’s new litheness here, it’s probably because Wolf spent much of the time between albums collaborating—with ex/muse Anna Stewart as the fuzz-pop duo Divorcee, and MC Serengeti as the puckishly depressive Yoni & Geti. And if there’s a lithe newness, it may be that Wolf excised some nostalgia via his 2014 solo tapes—one re-recording choice raps from his own catalog, and another covering cuts by artists like Bob Dylan and Pavement. It’s no wonder, then, that “The Water” handily morphs a moody folk tune into some strange new form of full-band dub. Or that “One Mississippi” bounces along happily over a flurry of bizarre percussion, whistled melodies, and trippy synthesizer blips. Perhaps most impressive is “Consequence of Nonaction,” which vacillates between a quiet meditation for guitar/voice/clarinet, and wild, sax-strewn astral art-funk. Movement is a key theme of Moh Lhean. It’s a breakup album without a romantic interest—coded within the lyrics is a tale about fleeing the seductions of a wintry figure for something synonymous with spring. “Easy” plays like a ward against the old ghost who haunts “January February March,” while “George Washington” places our host in a tiny watercraft, “paddling for land/hand on heart and heart in hand” as that faceless malevolent force stays ashore. While writing these songs, Wolf suffered a severe health scare far from home. Rather than drive him to depression, his brush with mortality imparted an incongruous impression of peace and connection to the living. At the end of “Proactive Evolution,” wherein WHY? enlists mewithoutYou’s Aaron Weiss to celebrate the stubborn persistence of humankind, Wolf samples not only thinkers like Sharon Salzberg and Ram Dass, but his actual doctors—the voices that helped shape his new outlook. Sure, Wolf poses as many questions as ever. Moh Lhean‘s gorgeously psychedelic closer, “The Barely Blur” with Son Lux, puzzles over the nature of existence. But rather than leave us with the macabre chill of death, as many a WHY? LP has, the song dissolves into the infinite—the sound of the Big Bang. Don’t bother asking Wolf what “Moh Lhean” means. He won’t tell you. It’s the name of his home studio, where friends and family—WHY? regulars Josiah, Matt Meldon, Doug McDiarmid, Liz Wolf, and Ben Sloan, plus a handful of Ohioans—gathered to record this (and also at Josiah’s studio, dubbed El Armando). And like the titles of Alopecia and Mumps, Etc., it references a concrete thing that Wolf experienced. Most likely it’s something to do with letting go, rebirth, coming home to a familiar feeling, or venturing out to discover a new one. Or maybe it’s just a yoga pose. But there’s something in Moh Lhean, even with all its mysteries and all its differences, that’s both ephemeral and distinctive, like something the Wolf Brothers might’ve heard on a praise album in their father’s synagogue as kids, or on some ‘60s hippie LP they thrifted in their teens, or, perhaps, on the other side of the records they’ve been making their entire adult lives. Thus, it seems appropriate to conclude with some words sung on the very first song of WHY?‘s sixth album, Moh Lhean: “One thing, there is no other. Only this, there is no other…. Just layers of this one thing.”

$17 ADV / $20 DOS
Thu, September 19, 2019 (8:00pm - 10:00pm MDT )
Jazz Jags with Durian Durian, Picnics At Soap Rock, SLUG Magazine
SLUG Localized w/ Jazz Jags $5
Fri, September 20, 2019 (9:00pm - 11:00pm MDT )
9021YO: 90s Dance Party with Flash & Flare, Bo York
9021YO: 90s Dance Party

It's the annual 90s Dance Party! Come party with 9021YO: SLC's Official 90s Tribute Band + DJ Flash & Flare as we throw it back to a time of hammer pants, frosted tips, hoop rings, turtlenecks, chain wallets, neon windbreakers, bucket hats, chokers, slap bracelets, and the best music ever made. feat. 9021YO + Flash & Flare + Bo York FREE before 10:30pm, $5 After.

FREE before 10:30pm, $5 after
Sat, September 21, 2019 (8:00pm - 10:00pm MDT )
Jay Som with Boy Scouts, Affectionately
Jay Som

On her first proper album as Jay Som, Melina Duterte, 22, solidifies her rep as a self-made force of sonic splendor and emotional might. If last year's aptly named Turn Into compilation showcased a fuzz-loving artist in flux -- chronicling her mission to master bedroom recording -- then the rising Oakland star's latest, Everybody Works, is the LP equivalent of mission accomplished. Duterte is as DIY as ever -- writing, recording, playing, and producing every sound beyond a few backing vocals -- but she takes us places we never could have imagined, wedding lo-fi rock to hi-fi home orchestration, and weaving evocative autobiographical poetry into energetic punk, electrified folk, and dreamy alt-funk. And while Duterte's early stuff found her bucking against life's lows, Everybody Works is about turning that angst into fuel for forging ahead. "Last time I was angry at the world," she says. "This is a note to myself: everybody's trying their best on their own set of problems and goals. We're all working for something." Everybody Works was made in three furious, caffeinated weeks in October. She came home from the road, moved into a new apartment, set up her bedroom studio (with room for a bed this time) and dove in. Duterte even ditched most of her demos, writing half the LP on the spot and making lushly composed pieces like "Lipstick Stains" all the more impressive. While the guitar-grinding Jay Som we first fell in love with still reigns on shoegazey shredders like "1 Billion Dogs" and in the melodic distortions of "Take It," we also get the sublimely spacious synth-pop beauty of "Remain," and the luxe, proggy funk of "One More Time, Please." Duterte's production approach was inspired by the complexity of Tame Impala, the simplicity of Yo La Tengo, and the messiness of Pixies. "Also, I was listening to a lot of Carly Rae Jepsen to be quite honest," she says. "Her E•MO•TION album actually inspired a lot of the sounds on Everybody Works." There's story in the sounds -- even in the fact that Duterte's voice is more present than before. As for the lyrics, our host leaves the meaning to us. So if we can interpret, there's a bit about the aspirational and fleeting nature of love in the opener, and the oddity of turning your art into job on the titular track. There's even one tune, "The Bus Song," that seems to be written as a dialog between two kids, although it plays like vintage Broken Social Scene and likely has more to do with yearning for things out of reach. While there's no obvious politics here, Duterte says witnessing the challenges facing women, people of color, and the queer community lit a fire. And when you reach the end of Everybody Works, "For Light," you'll find a mantra suitable for anyone trying, as Duterte says, "to find your peace even it it's not perfect." As her trusty trumpet blows, she sings: "I'll be right on time, open blinds for light, won't forget to climb."

$15 ADV / $17 DOS
Sun, September 22, 2019 (7:00pm - 9:00pm MDT )
Prof with Mac Irv, Cashinova, Willie Wonka

No artist has emerged from Minnesota this decade and walked his own private catwalk quite like Prof. After spending the early part of the 2010’s having amassed a strong loyal following, distributing nearly 200,000 records through his own imprint, Stophouse, his 2013 signing to Rhymesayers Entertainment helped propel him to the next stage of his career before releasing his landmark 2015 Rhymesayers debut, Liability. Additionally, his annual self-headlined Prof Outdoors festival has repeatedly sold out a 4,000+ capacity for years. While there’s been a perception that the eccentric Minneapolis MC is out-of-control, Prof's undeterred, unwavering commitment to his mission has revealed the detailed craftsmanship behind the perceived chaos. Today, as his latest album title states, the newly sophisticated Prof is more accurately referred to as Pookie Baby. While Prof may be best known for his show-stopping live performances, with this album he pulls back the curtain, inviting the listener to join him for the most private of moments, all with a sleek touch of sophistication. As much of a showman as he is a shaman, Pookie Baby was poured out of the perspective of a man known for wild live shows, whose rigorous touring and performance schedule led to debilitating injuries. Grounded for months and undergoing multiple surgeries, Prof returned with a new perspective, and a new pair of gators. This new Pookie Baby persona is all cleaned up, teeming with unbridled sexuality, and suited with a multitude of styles that run the gamut from triple-time Chicago drill to emotive, bluesy crooning. Pookie Baby helps clarify where this passion and the essence of Prof come from, and he’s never been better dressed for it. As Prof continues to become more refined in crafting songs, Pookie Baby showcases a spectrum of moods, ranging from infectious absurdity to earnestly introspective. “Focus” highlights Prof’s well-buttoned dedication to perfectionism behind the anarchy. “No” unflinchingly gives aggressive self-preservation the anthem it’s always deserved. “Be Around” touches on the most satisfying comforts of dependability in relationships. “Send Nudes” finds reward in the vulnerable intimacy present in exposing oneself via text message, when done consensually. Pookie Baby culminates in the one-two punch of “Minneapolis” and “Eulogy,” with the former asserting his love for his hometown, while the latter affirms his keen awareness of the ever-present fragility of life and the specter of mortality. From cynically skewering the authenticity of artistic statements, as on “I’ve Cooked Crack Before”, through the heartfelt reminiscence of “Designated Hitter” recounting the place marijuana holds in his happier memories, to ultimately knowing how he wants to be remembered once he’s left the world’s stage, Pookie Baby is just as much the crowd-pleasing party animal’s moment of prideful self-reflection, as it is the blueprint for making the most out of life while navigating the hardships. Please remember to enjoy Pookie Baby responsibly.

$20 ADV / $22 DOS
Mon, September 23, 2019 (8:00pm - 10:00pm MDT )
Elder Island with Dirty Nice, Bobo
Elder Island

Beware before entering Elder Island’s world because once you’re in you won’t want to leave. Be prepared to be led down paths from which you can’t come back, to be captivated by sensual, soulful, shapeshifting songs, to encounter lyrics littered with clues. There is magic in Elder Island’s music and perhaps a little witchcraft. Trying to pin the Bristol trio’s sound down is pointless because the usual pop rules don’t apply. Textures matter as much as melodies. Genres bend and blend. Electronics rub shoulders with odd instruments. Katy Sargent sings as though casting a spell. They are songs to lose yourself in, to be swept away by, to send shivers up your spine. What they mean is for the listener to decipher. There are signposts, of course – alluring lyrics, telling atmospherics, tantalising sonic twists and turns, tempo-changing beats – but these lovingly-crafted life stories aren’t literal. They’re far too smart for that. Formed six years ago as an experiment-come-university hobby, Elder Island are singer and cellist Katy, bassist and beats maker Luke Thornton and guitarist and synth wizard David Havard. None hail from Bristol, but the city was what brought them together and its genre-mashing scene was what inspired them to start Elder Island. Luke and Dave grew up as mates in Bournemouth where both were in indie bands. A shared love of Arctic Monkeys convinced them to team up in their late teens and briefly took them on tour, but their band broke up when Dave left for Bristol to study graphic design and Luke went to Wales to learn documentary photography. Birmingham-born pop fan and lapsed school cello player Katy, studying fine art, found Dave in a flat-share where Luke spent weekends sleeping in the kitchen (Bristol’s nightlife having more to offer than Newport’s). Luke had bought a drum kit, Dave was DJ’ing and when the pair heard Katy practising her newly-purchased cello in the bathroom of the flat (acoustics, apparently), a sonic seed was planted. The trio of Four Tet fans started out with jam sessions at home, adding weird percussion to Luke’s loops and stitching field recordings in to their soundscapey songs. What was supposed to be for fun suddenly got serious when, in 2014, a debut EP they stuck up on Soundcloud took off. A fellow student studying music management had the EP pressed on to vinyl and, to the band’s surprise, it was picked up by Majestic Casual and played by Gilles Peterson on BBC 6Music, BBC Introducing and Amazing Radio. By then Elder Island had played just a handful of gigs. “We had no expectations for the EP at all,” admits Luke. “And we were clueless as to the industry. Even playing live was a struggle because the songs were tricky to recreate and Katy was a nervous wreck”. “I was terrified,” confirms Katy. “I’d always loved singing, but I’d never been in a band before. The only time I’d been on stage was in a Martin Luther King musical at school. At our early gigs, I’d be glued to the spot. It took me a long time to learn to loosen up.” Both Katy and Dave were off travelling when their debut EP started to snowball – Katy in Japan, Luke in Mongolia. On their return, they poured their experiences in to a second EP, 2016’s Seeds In Sand, a more structured, at times dancey five tracks that found fans in Beats 1’s Zane Lowe, and Tom Robinson and Radio 1’s Huw Stephens. Festivals came calling. The band sold out a headline UK tour. Their streams started to spiral, most notably on Spotify. “Production-wise, Seeds In Sand was where we found out feet,” says Dave. “The songs were more complex and coherent and less ambient. The final song, Key One, was the most upbeat we’d ever been and that became for our cue for the album. Live, it always the song that started the dancing.” The magic in Elder Island’s music has its roots in the trio’s strange, painstaking songwriting process. Every song starts as a jam in to which ideas and instruments are thrown. The jams, recorded in Luke’s basement studio, can last for 20 minutes or several hours. Lyrics might arrive at the same time or take months to enter the fray. Post-jam, the band begin the arduous task of sifting out the best bits. Often, they’re obvious. Occasionally they require trawling. From there it’s a lengthy journey that begins by stitching the parts together then cutting the resulting songs down. “We had ten versions of Don’t Lose. I think we came close to shelving the song before Ali stepped in. Wasteland was stuck on eight minutes for ages. We couldn’t agree on how to edit it because we all loved different parts.” The playful Don’t Lose is about books including Les Liaisons Dangereuses. Sultry album closer Find Greatness In The Small began as a voice message and ended with a Guzheng, a sort of Chinese harp. The album’s oldest song is the glitchy, strings-assisted spine-chiller I Fold You, already earmarked for syncs. The dancefloor-friendly You And I is about battling with different sides of yourself – or quite possibly, chatting to oneself when drunk. The finished song, complete with vibraphone, boasts its original vocals recorded in Luke’s basement. “As much as we could, we kept original song parts and produced them, rather than re-record,” says Luke. “Some of what’s on the album is the first time we ever played it, completely improvised. The funky, percussion-heavy Kape Fear was begun by Dave on synths and guitar before the trio jammed it out. Dave gave the song its title, but refused to reveal what it was meant to represent. Katy decided on sun worship. The dancefloor-friendly You And I is about battling with different sides of yourself – or quite possibly, chatting to oneself when drunk. The finished song, complete with vibraphone, boasts its original vocals recorded in Luke’s basement. “As much as we could, we kept original song parts and produced them, rather than re-record,” says Luke. “Some of what’s on the album is the first time we ever played it, completely improvised. “The piano ditty at the end of I Fold You dates back to when I first moved in to my house and the place was falling apart. We put a piano in the kitchen and threw a party. Everyone was drinking wine and suddenly the ceiling fell down. We didn’t put that on the song, obviously, but you can hear people chatting in the background. We could never recreate that – it wouldn’t be the same.” Since 2016, Elder Island have sold out every show they’ve played bar 2. A UK and European tour with Glass Animals taught them to perform in front of ever bigger crowds – “A baptism of fire” as Katy calls it. They still recreate every note of their music live, without the aid of laptops, but now they do it dancing. Their streams have exploded to more than 60 million and they’ve found a huge fan base in the UK, USA, as well as across Europe. “We have to pinch ourselves”. Shrugs Dave. “And now we have an album we thought we’d never finish. We’re very excited for what the future holds.”

$14 ADV / $16 DOS
Tue, September 24, 2019 (8:00pm - 10:00pm MDT )
Spo with Janey Lyon, Keyvin VanDyke
Spo $5
Wed, September 25, 2019 (8:00pm - 10:00pm MDT )
Dominic Fike with Deb Never
SOLD OUT: Dominic Fike – Rain or Shine Tour $18 ADV / $20 DOS