Bambara, Reduction Plan
295 Treadwell Street
Hamden, CT, 06514
Doors 7:00 PM / Show 8:00 PM
This event is all ages
Liars have never stood still, and refuse to be categorised.
After forming in the Los Angeles area, where co-founders Angus Andrew and Aaron Hemphill met at the famed California Institute of the Arts, the band soon after decamped to Brooklyn, and released their first album, They Threw Us in a Trench and Stuck a Monument On Top (2001).
The album saw the band at the vanguard of the newly emerging Brooklyn naughties music scene, and with their next release, Andrew and Hemphill enlisted Julian Gross to the line-up and wilfully confounded all expectations with the groundbreaking They Were Wrong, So We Drowned, a confrontational, noisy concept cycle dealing with German witch trials co-produced by the band with David Sitek (TV on the Radio, Yeah Yeah Yeahs).
Soon after the band moved to Berlin to create 2006’s Drum’s Not Dead: a conceptual album about the poisonous power dynamic between two fictional protagonists Drum and Mount Heart Attack. The release was accompanied by three different sets of visuals, and the album was awarded #6 in Pitchfork’s Top 50 Albums of that year.
The eponymous 2007 follow-up replaced their now trademark themes with an emphasis on stripped-down, primal rock and roll and a rejection of concept. Rolling Stone awarded Freak Out one of their Tracks of the Year.
The band returned to LA to create their next release, 2009’s Sisterworld, whose critical acclaim included the #1 slot in The Quietus' albums of the year.
2012’s WIXIW, saw the band once more climb out of their comfort zone, overcoming a steep learning curve to record "direct into the computer". The result is a stunning album. Nominated as an album of the year at the AIM Awards and featured in many Albums of 2012, WIXIW achieved the rare feat of being both their most accessible and most challenging work to date.
In 2013 Liars were invited by Hedi Slimane to rework a track to soundtrack Saint Laurent’s SS14 Paris Fashion Week catwalk show and touring that year saw them premiere new tracks at the Metropolitan Museum of Art and Primavera & Sonar festivals.
Liars' incredible discography leaves the field wide open for their album, Mess, which was released in March 2014. Mess is an angry, ecstatic, primal burst of ritualistic electronics, the sound of Liars not only facing their fears, but chewing them up and spitting them back out in all their technicolor glory.
Liars are putting the finishing touches on their next studio album, due out on Mute in 2017.
Brooklyn-based trio Bambara has been honing its noise/punk brutalism since forming in Athens, Georgia, in 2009. Swarm, the band’s second full length, pulls its approach into sharp focus, and the result is an absolute triumph for forward thinking post-punk. In marrying the maniacal ravings of The Birthday Party and the ugliness of early Swans with the tangled cowpunk of The Gun Club and recent Iceage, vocalist/guitarist Reid Bateh, drummer Blaze Bateh, and bassist William Brookshire create something wholly idiosyncratic, and ultimately more satisfying than most anything else in the current post-punk landscape.
Swarm has taken a long and arduous journey to reach its current form. It was almost entirely recorded in early 2014, then entirely scrapped after a laptop containing the sessions was stolen. Realizing they needed to take a break from those songs, the band made an EP called Night Chimes, which much like Reid’s solo project, Feverer, stitched together noise improvisations into a coherent, composed whole. When they revisited the lost songs for Swarm, they entered the studio with Ben Greenberg (Uniform, ex-The Men) with renewed purpose and laid down the majority of the tracks on the album in two days.
Despite the band’s Southern roots, Swarm is strongly informed by the band’s gritty Brooklyn digs. Reid’s vignettes describe a grimy city, filled with fragmented images of unhinged, unstable characters — including one inspired by the landmark Polish short story collection, "The Street of Crocodiles" by Bruno Schulz. The music perfectly complements the bleak atmosphere of the lyrics, with Reid’s Rowland S. Howard like guitar lines taking the foreground more than in past Bambara releases, and the pulsing rhythm section driving the songs to ever more depraved depths.
Reduction Plan's music comes from within solitude's frigid embrace. "I will
never get what I want," broods frontman Daniel Manning on self-released debut,
Paradise. The heavily reverberated breaths and ominous atmosphere that open
Reduction Plan's latest full-length album, Somewhere, evoke that same sense of
solitude, one that is almost palpable.
Pulling from 80s goth, 90s shoegaze and industrial, and the anti-folk tendencies
of acts like Grouper and Mount Eerie, Reduction Plan uses both noise and
space to illustrate the power of silence. A swell of synths, pulsing drum
machines, and haunting murmurs is the foundation upon which the project
draws its sound.
With Somewhere, Manning takes a leap forward in both songwriting and
production. Recorded and mixed entirely independently, the record’s 10 tracks
are more fleshed out than anything the project has released to date. A testament
to this is “On Your Own”, a re-recorded and re-worked version of a track that
initially appeared on Reduction Plan’s debut, Paradise. Side-A closer “Julia” is
driven by waves of synths that would feel right at home on a Disintegration cut,
pushing the song to a powerful climax. Meanwhile, opener “Without An End” is a
cacophonous goth-rock anthem built upon an intoxicating drum-machine
Somewhere is Manning’s third full-length under the Reduction Plan moniker,
following the Child of Light EP, which saw him branching out stylistically to
collaborate with fellow musicians. On the project’s first two full-lengths, 2015’s
Paradise and 2016’s Shade, Manning’s compositions were frigid, harsh, and
unrelenting. Here, the songs let the light in; blossoming into lush, melancholic
pieces that maintain the bite of the project’s roots.
The majority of the record was written shortly after Manning graduated from
college, and deals with all the feelings of displacement, discontent, and
dissatisfaction that followed. Somewhere represents a seemingly intangible
sense of comfort and belonging that Manning searches for throughout the
album’s brooding tracks.
Although a solo endeavor in concept, Manning is accompanied live by Luis
Durango, who breathes new energy into the songs on second-guitar and synth.
Together, the two have shared the stage with acts such as Xiu Xiu, Boyharsher,
Planning For Burial, Torres and many more.
$18.00 - $20.00
Tickets Available at the Door
The Ballroom at The Outer Space
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