Double Door Welcomes
Scale The Summit, Mouth of the Architect, Jar'd Loose
1572 N Milwaukee Ave
Chicago, IL, 60622
Doors 8:00 PM / Show 8:30 PM
This event is 21 and over
Watch & Listen
Los Angeles post-prog masters Intronaut return with their 4th and most impressive full length album to date; Habitual Levitations. Once again yielding thunderous, tribal drum beats, hypnotic bass patterns, angular guitar riffs and the trance-like vocals of Sacha Dunable, Intronaut pick up where they left off on 2010’s Valley of Smoke, though this time around, see the songs a bit more refined and cultivated. The band toured heavily in support of Valley, including a stint opening for Tool in the US, which may explain the more polished sound. Intronaut has always teetered close on being a jam band. With one of the greatest rhythm sections in music (drummer, Danny Walker and bassist, Joe Lester) it would be hard not to just light up and see where those two take you. Experimenting on stage, knowing exactly where each band member is going in the song and thus really becoming one as a band is what Intronaut has achieved and what producers John Haddad [Exhumed, Phobia] and Derek Donley [Bereft] managed to capture perfectly on the new album. With a US tour supporting Meshuggah and Animals as Leaders set prior to Habitual’s release, Intronaut will surely continue to mature and solidify themselves as one of the best metal bands around.
Scale The Summit
n a music industry engulfed in replication and mediocrity, Scale The Summit has cemented their position as young mavericks ( the quartet boasts an average age of 22) with their blend of organic and melodic instrumental music. Already on a number of “most anticipated releases of 2009″ lists, Carving Desert Canyons builds upon the band’s self-released debut, Monument, with crisper production and songwriting that has grown exponentially over the past three years.
“The new album has way more dynamics that Monument,” adds Letchford. “The production alone was our biggest concern for this album. On the last CD, we didn’t quite get the production we wanted or enough time in the studio. We were able to spend a lot more time writing Carving Desert Canyons, and I think it shows, with the song writing having matured.”
Scale the Summit is preparing for their most active year yet. Entering into the next stage of their careers, the band is hoping to tour throughout the entire year to promote their newest release. Scale the Summit’s determination to grow can only be rivaled by the love they have for creating music that they are proud of, regardless of fickle trends or genre classifications. “As far as fitting in with modern music,” Letchford says, “I don’t think that we fit in with anybody – at all.”
Mouth of the Architect
Mouth of the Architect is an American atmospheric post-metal band from Dayton, Ohio, creating music influenced by and similar to Neurosis, Isis, Pelican, Cult of Luna, and various post-metal bands.
Mouth of the Architect formed in 2003 with the lineup of Jason Watkins, Gregory Lahm, Dave Mann, Alex Vernon, and Derik Sommer. They released their first album Time and Withering in 2004 to positive reviews.
Soon after the band released a split with label mates Kenoma in 2006, Vernon left, leaving Lahm to record all the guitar parts on their second album The Ties That Blind which was released in August, and featured Brent Hinds of Mastodon on guest vocals on one track, and bass from Brian Cook of Botch, Russian Circles, and These Arms are Snakes. To support The Ties That Blind, the band toured extensively around the United States, first with These Arms Are Snakes in late 2006, then with 400 Blows and Unsane in May and June 2007.
Their latest album, Quietly, was recorded after Lahm in turn left the band, with Vernon returning alongside newcomer Steve Brooks to jointly handle guitars and vocals, with Kevin Schindel providing bass. Soon after the release of the album by Translation Loss Records, Vernon left yet again, with Schindel filling the guitar void.
Schindel, Vernon, Mann and Brooks have been members of the band Twelve Tribes at various points in the past.
From a city of musical innovators, Jar’d Loose present the next
chapter in their hometown’s history of heaviness. Jar’d Loose’s sound
is all their own — thoroughly rocking yet left-of-center, totally new
yet aligned with the spirit of their musical ancestors, from The Jesus
Lizard to Entombed.
At the core is teeth-clenching momentum — brutish, hellbound
noise-rock driven by Eva and Pete Adam Bialecki’s chugging freight
train riffs and Phil Hardman’s bare bones beats, built for maximum
headbanging. Leading the charge is frontman Eddie Gobbo with a voice
like no other. Gobbo holds court with a tormented, raspy punk snarl
that’s one of a kind — unhinged and real.
Atop this foundation, the band takes startling left turns. Riffs
transcend all expectations, making detours into unforeseen realms —
what starts as a fist-banging dirt rock anthem shape-shists into an
ebullient refrain or a haunting death rock dirge. It’s Jar’d Loose’s
ability to rock out hellishly then pull the listener into strange new
dimensions that makes Goes to Purgatory one of the most exciting
debuts to hit the streets this year.