Presented by Outsound
Murder By Death
Ha Ha Tonka, 4onthefloor
330 E. Washington St.
Iowa City, IA, 52240
Doors 7:00PM / Show 8:00PM (event ends at 11:59 pm)
This event is 19 and over
Murder By Death
Indiana's Murder by Death (formerly known as Little Joe Gould) layers the vocal sounds of an old saloon with the haunting strings of a Hungarian folk dance and the hard driving rhythms of pure rock 'n' roll, producing what Stuff magazine has called "lush, orchestrated songs," somehow simultaneously reminiscent of Johnny Cash and Radiohead. Added to that thick and intriguing sound are a series of dark and ironic lyrics, combining the mood and tone of Nick Cave and the Bad Seeds with the narrative force of The Decemberists or a short story by Nathaniel Hawthorne. Adam Turla fills out these sometimes frightening, sometimes beautiful lyrics by conjuring up a cast of character voices, allowing the songs to speak with the force of the characters themselves, and providing the listener with a sense of ensemble unique in rock music.
But this ensemble feel is not only the result of Turla's vocal playfulness, but of the cohesive playing of the band itself. Sarah Balliet channels her Kentucky bluegrass roots through the skilled hands of a concert cellist, playing point and counterpoint to the lyrics and guitars with magnificent grace and style. Matt Armstrong's bass guitar provides the rhythmic framework of the band, but also takes the lead with surprising frequency, guiding Murder by Death into driving highs and brooding lows. And Alex Schrodt's drumsticks almost dance across the skins, giving the band what the Chicago Reader called "a rhythm section Nick Cave or The Faint would die for." The result is a fascinating slice of American Gothic, replete with trail rides, whiskey shots and Old Scratch himself.
Ha Ha Tonka
"Never. Never ask for what ought to be offered." —Daniel Woodrell, Winter's Bone
There's a certain wisdom that exists in the hills of the Ozarks. It's a wisdom that spits out of the mouths of Woodrell's characters; it's a wisdom that is found in the lyrics by Woodrell's fellow West Plains, Missouri natives, Ha Ha Tonka; and it's a wisdom that's found on the band's new full-length LP, Death of a Decade.
"They say that if you don't change where you're going / you're gonna end up right where you're headed." —Ha Ha Tonka, "Made Example Of"
Recorded in a 200 year old barn in scenic New Paltz, NY with producer Kevin McMahon (Titus Andronicus, The Felice Brothers, The Walkmen), Death of a Decade began as a stripped down record, rich with warm tones that could only be captured under a 30 foot roof of a barn. "We wanted to make sure we left in all the imperfections of the barn such as the chairs squeaking and the boards creaking", explains lead singer Brian Roberts. After tracking the songs in this rough hewn setting, the files were shipped to hAUs Studio in Kansas City, MO where The Ryantist mixed and manipulated synthetic sonic threads into this organic tapestry. Death of a Decade is where authentic meets synthetic, acoustic meets electronic, and tradition meets innovation.
Thematically, Death of a Decade is less "story-based" than Ha Ha Tonka's previous work (which pulled heavily from Missouri history and folklore for its lyrics), with the band now focusing on the transition into manhood—something that doesn't automatically come once you pass a certain age: "I realize that youth is wasted on the young," Roberts sings on "Westward Bound," "Oh, I know that now my wasting days are done."
However, Roberts says, Death of a Decade is not meant to be a requiem for lost youth, but rather an embrace of the notion that the passage of time is better than the alternative. There you have it again: the wisdom of the Ozarks.
Even if the album's songs aren't specifically of the Ozarks, the sound is—still present is the traditional instrumentation (just listen to guitarist Brett Anderson's arpeggio mandolin lines on "Usual Suspects" and "Made Example Of"), with bassist Lucas Long and drummer Lennon Bone rounding out the rhythm section to stampeding affect. Still present are the spine-tingling four-part gospel harmonies, a signature sound that sets Ha Ha Tonka apart from every other indie band-cum-Southern rock group that seems to be shambling out of the suburban woods these days.
Ultimately, what makes the Ha Ha Tonka brand of Southern rock so special is that it's authentic, it's effortless, and it never comes across as forced. They are masters at bringing together the traditional and the modern. They sit at the crossroads of Americana and indie, where Alabama meets Arcade Fire – shakes their hand and takes them out for a drink.
So, back to Woodrell's Ozarkian wisdom from "Winter's Bone," being considered one of the best bands you'll discover (or rediscover) in 2011 isn't something Ha Ha Tonka ought need to ask for—it will be offered.
More about HHT: Named after Ha Ha Tonka State Park in their native Missouri, the group's relentless touring has seen them become one of the most buzzed about young bands in America, appearing at Lollapalooza, Sundance Film Fest, SXSW, CMJ while touring nationally as a headlining act, as well as supporting many great bands such as Old 97s, Murder By Death, Langhorne Slim, Cross Canadian Ragweed, Someone Still Loves You, Boris Yeltsin, Ludo, Meat Puppets and more.
Armed with their debut full-length 4x4, which was released on 4/4/2011, The 4onthefloor forge ahead to unleash their five track summer EP, …And Four Riders Approached at Dawn, on August 16th.
In the short months since 4x4's release, The 4onthefloor's sound has solidified. On record, the band's trademark 4/4 time signature and four kick drum lineup seal together their delta-blues and classic rock appeal. On stage, singer Gabriel Douglas' grizzly baritone vocals are unmistakable; James Gould's sticky guitar riffs are infectious and the swagger of Chris Holm and Mark Larson's rhythm section is contagious.
…And Four Riders Approached at Dawn (or 4RAAD) feeds the band's love of anything with a theme. Not only do its release date and time signature play into The 4onthefloor's numerology, with covers like "Wolves at the Door" (David Bazan) and "I'm the Wolf" (Howlin' Wolf) alongside the original tracks "HOLD," "Howl For Me" and "Sheepskin," 4RAAD's subject matter is as fierce and disobedient as The 4onthefloor's sound.
Inspired by The Doors, Muddy Waters, CCR, Howlin' Wolf, Tommy James & the Shondels and Waylon Jennings to name a few, all four members operate on the same hard-hitting, bourbon-infused wavelength while keeping perfect time.
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