Casbah and Soda Bar present
2501 Kettner Blvd.
San Diego, CA, 92101
Doors 8:30 PM / Show 9:30 PM
This event is 21 and over
Combining the lulling ambiance of shoegaze with the iconic melodies and vocal prowess of classic American country music, outlaw cowboy, Orville Peck croons about love and loss from the badlands of North America. The resulting sound is entirely his own. He takes the listener down desert highways, through a world where worn out gamblers, road-dogs, and lovesick hustlers drift in and out of his masked gaze.
Orville’s debut album, Pony, delivers a diverse collection of stories that sing of heartbreak, revenge and the unrelenting tug of the cowboy ethos. Warm lap steel guitars and echoing drums move through dreamy ballads and sometimes near frantic buzzsaw tunes - all the while paying homage to his country music roots.
Pony’s lead single “Dead of Night” is a torch song about two hustlers traveling through Nevada desert. Their whirlwind romance takes us on a dusty trail of memories - racing down canyon highways, hitchhiking through casino towns and ultimately, ending in tragedy. Orville recalls the adventures of his young love, as he watches the boys silently pass him on the strip, haunted by the happy memories of his past.
On the campfire lullaby “Big Sky,” Orville sings about his past lovers - an aloof biker, an abusive boxer and an overly protective jailor in the Florida Keys - and the inevitable demise of each one, as he leaves them for the wide open, big sky.
Meanwhile “Turn To Hate” finds Orville struggling to keep his resentment from building into hatred. A continuous battle between embracing the strength and freedom of being an outsider, and the inevitable struggle of wanting normalcy and familiarity. It encapsulates Orville's dilemma as a cowboy. He sings about having to constantly repair situations in his wake, and fighting with himself over his decision making. To stay or go; to cry or not; whether to leave without saying goodbye in order to soften the blow; All the while wishing someone would tell him that they "can't stay," and to make the decision for him.
And “Buffalo Run” acts as a warning, a song built around the imagery of stampeding buffalo in the badlands of the Northern Plains. It begins peacefully, gradually getting faster and more frenetic, and ends in a release as the Buffalo are herded off the cliffside.
Pony was produced by Orville Peck, recorded and mixed by Jordan Koop at The Noise Floor on Gabriola Island, British Columbia and mastered by Harris Newman at Grey Market Mastering in Montreal, Quebec.
That old blues hound dog Bonnie Raitt probably sang it best and most lucid in her timeless, pedestrian hit “Nick of Time": “Life gets mighty precious when there's less of it to waste.” And so now, her wise lyrical turn seems to be ringing true for Oakland muso Dick Stusso. When we last caught up with this Bay Area BBQ gaucho on his debut, Nashville Dreams, he'd hit that special zen layer of loserdom. He’d thrown up his hands into the folly of failure. He was the affable, bumbling red-cheeked drunk lurking around the edges of the cookout — bumming smokes, putting down all the white wine and cocktail shrimp he could get away with. But now, a couple years on, that early-30s existential dread has crept its way into Dick’s purview. With his sophomore long-player In Heaven, Stusso's numbered human days are on his mind. Without stumbling into pomposity, Dick has taken back the wheel on his life and is doing a bit of hotdogging.
The album sounds so assured, you'd never guess the whole endeavor was almost completely down the tubes. “I was about 75% done with the album and then my apartment got burgled,” Stusso said of In Heaven’s bummer origins. “They took it all.” Having laid it almost exclusively to tape, there weren’t even files to pull from. But what seemed like another sour turn for Dick actually ended up being a little lemon zest in his G&T. He ended up teaming with psych visionary producer Greg Ashley in a defunct old church, making for a leap in fidelity on In Heaven.
The new peacock strut to Dick's vague longing and malaise suits his countrified T. Rex sound quite well. Exhibit A: album standout “Modern Music,” a sort of State of the Union and State of the Soul all set over a warm, gauzy glam bass line. “Nobody wants to look at the dark heart, I don’t blame you/Nobody wants to look at the dark heart, myself included,” he sings a low-register Orbison sneer. “I’m just looking for a good time and a little cash-uh.” Employing deft songcraft, which includes a wide open ambient midsection to really get you thinking about The Void, Dick manages to take down both capitalism and the bullshit conditions of human mortality without sounding all that put out by either.
The son of a sax player who gigged with Tower of Power, The Doobie Brothers and Huey Lewis, Dick was warned early on to stay clear of the musician life by his old man. But after a youth spent clerking in indie records stores and learning about country music through YouTube deepdives, Dick got the bug. Towards the end of In Heaven, Stusso gives us the gorgeous, loping ballad, “Terror Management.” The song stands as his salute to scholar Sheldon Solomon, whose Terror Management Theory essentially states that all human activity and culture are based in a fear of death. “On an unknown trajectory,” Dick croons, seemingly half-drugged, half-consumed with death anxiety. “I wish I had a better handle on things.” And as the song wraps with a lovely upright piano arrangement, you hear someone, probably Dick, tell the engineer to cut the tape. “That might be good enough,” he says, seemingly all too aware of the forward march of time and eager to get started on his next timeless jam.
$15.00 - $20.00