Love The Captive Presents
Assemble Head in Sunburst Sound, The Shrine
The Quiet Americans, Fay Wrays
1426 N. Van Ness
Fresno, CA, 93728
This event is 21 and over
Assemble Head in Sunburst Sound
Though San Francisco's Assemble Head in Sunburst Sound has consistently been labeled a psychedelic band over the last decade, that classification has rarely told the whole story. From the beginning, Assemble Head combined strains of heavy soul, unbridled post punk aggression, dusty canyon folk rock, dub atmospherics, and a the short, sharp deliciousness of '60s pop to brew their sonic gumbo.
Those influences dovetail more beautifully than ever before on the newest Assemble Head LP, Manzanita. On Manzanita, Assemble Head still veers and careens gloriously between the high-energy of early Dinosaur Jr. and Mudhoney and the celestial majesty of the Byrds and Pink Floyd—a convergence of light, heat, and sunshine melancholy that has long been an Assemble Head trademark. But Manzanita also marks Assemble Head's most song-oriented effort—an artifact that nods to the skyscraping, evergreen timelessness of Gene Clark and Big Star's somber tunefulness, Townshend's slashing '65 action pop, and the hazy garage-Bacharachisms of circa-'90 Creation shoegaze.
Manzanita was brought to life with a hand from long-time engineer/collaborator Tim Green—who helmed the board for Assemble Head's Ekranoplan and When Sweet Sleep Returned—and who has manned the controls for records from Howlin Rain, Comets on Fire, Six Organs of Admittance, Fresh and Onlys, the Melvins, and Joanna Newsom. It's also the first Assemble Head/Tim Green collaboration to emerge from Green's new Louder Studios—a spacious, sunset-lit, wooden womb of sonic laboratory nestled in the Sierra Foothills that contributed to Manzanita's spaciousness, focus, and glow of cosmic Californiana.
While Manzanita may be Assemble Head's most song-centered and thoughtfully arranged effort, the band's alter ego—an alternately loose and ferocious live unit—still exists at the heart of every song on the LP. Each tune began with a band performance—the entire combo in a single room, recorded direct to tape, and left unmolested by digital manipulation. The result is an effort that is at once cohesive, honest, alive, and crackling with urgency and energy.
Assemble Head in Sunburst Sound has toured and shared stages with kindred spirits including Howlin Rain, Comets on Fire, Wooden Shjips, Earthless, Witch, Dead Meadow, Beachwood Sparks, Sleepy Sun, and Circle to name a few. Stay tuned as Assemble Head disembarks from their Frisco haven to destinations unknown.
"On the night of November 6th, 1979 Black Sabbath was at their most drug addled and explosive standing. They were on tour supporting their newly released Never Say Die album and had a night off in Los Angeles. After knocking back a few drinks at the infamous Rainbow Bar, they decided to check out the local rock scene at the Whiskey A-Go-Go. Arriving late, they caught the tail end of a set by The Circle Jerks. Feeling intimidated yet inspired, they rented a rehearsal space and spent the rest of the night jamming. For an unknown reason they exclusively played Thin Lizzy material and Keith Moon was sitting in… These events never took place. But if they did, the results may have sounded similar to Los Angeles's The Shrine. Formed in 2008, The Shrine play a houserocking breed of heavy, psychedelic, riff based Rock n' Roll. Their debut, recorded on vintage reel-to-reel tape, by local hero Dave O. Jones and under the auspices of the notorious Chuck Dukowski, is the perfect soundtrack to any debaucherous gathering of longhairs. If you and your rag-tag group of riff-raff friends are planning a road trip to Humboldt County to "Score", this is the album you need to be listening to on the way. The Shrine is Josh Landau on guitar/vocals, Courtland Murphy on bass, and Jeff Murray on Drums. Dig It."
The Quiet Americans
The wobbly uncertainty of a medium-fidelity, secondhand tape deck brings out the best in Fresno noise pop band The Quiet Americans on Medicine, their debut release. The band recorded the six-song EP on a Tascam 388 reel-to-reel recorder and mixer unit that singer/songwriter Luke Giffen bought from a friend of a friend for a hundred bucks. The 1980s era machine, still popular among self-recorded garage rock bands and analog purists, adds a fuzzy time-machine quality to Medicine that Giffen and company employ to great effect. “Be Alone” opens the EP with a gloss of guitar noise that feels a little warped and out of tune before drummer Eli Reyes powers the song forward. (Giffen and Reyes are the group’s main players; Simon Smeds, Steve Loveless, and Eric Peters join the live lineup now and again.) The second track and single, “Selia,” sounds like a hazy summer dream — the ooh’s and ahh’s of the chorus melt into a wash of organ swirl, cymbal smash, and Princeton reverb. The album’s middle selections would make a fitting soundtrack to a shoegaze sock hop alongside bands like The Raveonettes, Moon Duo, or any current Slumberland Records act. The closer, “Weird Mountain,” is the album’s standout. It shows a split personality, chugging along from the opening riff before guitar noise obliterates the hook and takes over the song. Each of the tracks on Medicine illustrates this quality: The vocals become just another instrument in the mix, and the mix pours on the layers from there. In one of the EP’s few moments when you can clearly make out the words, Giffen sings: “You never do what’s right. You’re always looking for an alibi.” On their first record, The Quiet Americans are far from doing anything wrong.
The Quiet Americans have opened for A Place to Bury Strangers, The Fresh and Onlys, Royal Baths, and Light Pollution.
“THE SOUND does not lend itself to any easy definition. Whenever experience slips out of conventional understanding, whenever the power of an event is such that words fail and points of comparison disappear, then we must resort to THE SOUND.”
--George Bernard Shaw
If placed in a high enough elevation and thus removed from all ambient noise generated from our metropolitan vim and vigor and under the right conditions of absolute quiet and motionlessness one could hear, ever so faintly, THE SOUND in its most basic element. What we do know is that THE SOUND communicates with humans through an internal process that creates what is called ‘the gestalt’, in short, a commingling of two spatially separate entities into one static element that cannot be derived from the summation of its parts. The manifestation of the gestalt is accomplished by a unique inaudible communiqué between the two discreet entities. It is not certain what this experience is like due to the reluctance of most Transubstantiators to speak of their encounters.
THE SOUND and the transubstantiation of it is the purest form of communication but what is produced by the transubstantiator is not THE SOUND in its true state. It is instead a representation of THE SOUND by a finite mind that cannot comprehend the gestalt that it has become with THE SOUND. When listening to a human representation of THE SOUND flaws and idiosyncratic hiccups become the norm. It is impossible for a human to translate their communiqué with THE SOUND into anything that truly resembles THE SOUND. Most attempt to sync their experience with THE SOUND into some kind of audible expression but the product has little characteristic of THE SOUND itself. The human lack of appropriately codifying the experience typically forces a transubstantiator to become disheartened by their failure at truly representing THE SOUND and establishes a mentality of continual attempts to find an audible parallel of THE SOUND for themselves and others.
To fully transubstantiate THE SOUND is to be conjoined with THE SOUND in a language that all should hear, a language that is exemplary and uncorrupted. Listen for it. Seek it out.
The corruption of language is followed by the corruption of man.
all praise and glory to THE SOUND