250 State Street
New Haven, CT, 06511
Doors 8:00 PM / Show 9:00 PM
This event is 21 and over
Cave was formed in 2006 as an informal collaborative project by Columbia, Missouri friends Cooper Crain, Dan Browning, and Rex McMurry, with Chicago native Rotten Milk. At the time, Crain and McMurry were also members of the now-defunct Missouri band Warhammer 48K. When Warhammer disbanded in 2008 the four began seriously writing and recording music together. Milk, 49, got his name while Cave was playing a show in Chicago and he spilt milk on stage. The story goes that Cave rocked the house for so long that by the time they went to clean up the milk, it had already spoiled.
As described by Dusted Magazine, "Cave is primarily an instrumental band, but its members use their voices as an additional rhythmic element." Often referred to as psychedelic drone or "psych collective," the band's style is also heavily influenced by Krautrock. Cave are considered part of the "Columbia Diaspora", a group of bands with members from Columbia, Missouri who now reside in Chicago, including Mahjongg and Lazer Crystal.
In 2008 Cave released their first full-length album Hunt Like Devil/Jamz on Permanent Records. The following year they released an album on Important Records, Psychic Psummer, which received a positive review from Pitchfork Media and was described as "near-perfect" by AV Club. In 2010 they released an EP on Drag City Records, Pure Moods, which was reviewed favorably by Pop Matters and garnered mixed reviews from Tiny Mix Tapes and Pitchfork.
Cave's Pure Moods EP was followed in 2011 by their third full-length album, Neverendless, which was also very well-received, with Pitchfork stating that the album introduced a new "feeling of focus and structure in [Cave's] music”. Shortly before the album's release, the band played a show from the back of a flatbed truck while driving through Chicago, garnering a glowing feature in the Chicago Reader. Video of the Chicago flatbed truck show can be seen online.
Guitarist/organist Cooper Crain has also released material from his solo project, Bitchin’ Bajas, on Permanent Records, and works with other Chicago bands as an analog recording engineer.
Since their 2013 release Threace, keyboardist Rotten Milk has been replaced by multi-instrumentalist Rob Frye. Guitarist Jeremy Freeze has also been added to the lineup.
"Freeway" kicks off "Pink Skies", the seventh album from New Haven quartet Mountain Movers in mid-jam, head down in a motorik, kosmiche choogle. It's a disorienting way to begin, like stumbling into the wrong practice space while a band is rehearsing, but The Movers pull it off, quickly shrugging off any worries with the soft sting of guitarist Kryssi Battalene's fluttering leads. The band settles into the groove immediately and rides it until almost imperceptibly ratcheting up the intensity toward a feedback-drenched ending seven minutes later.
"Pink Skies" comes closest to capturing what makes the Mountain Movers such a thrilling live band, padding the instrumental passages of their primordial psychedelia with lumbering numbers like "Snow Drift" or "My Eyes Are Always Heavy", that stumble forward lead-footed, soaked in a cacophonous clamour with songwriter/guitarist Dan Greene's lyrics floating atop like couplets of magical realism. "Pink Skies" coalesces midway through with long-form jammer "The Other Side of Today", an epic near-twelve minute masterclass in modern, improvised guitar music; the rhythm section of drummer Ross Menze & bassist Rick Omonte sizzles like an acid-fried sunset, and Battalene showcases what makes her one of the most enchanting guitarists in the game right now (ask a "head", they'll tell ya).A player able to vacillate between low-key solos that crackle to head-splitting, ear-piercing noise, riding that ever-so- thin line between expertly controlled feedback & chaotic discord. The album's final two tracks "This City" and "Heavenly Forest" blend so seamlessly into one another that all of "Pink Skies" second side feels like one long piece of elemental sonic alchemy.
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