COME

COME

"Enthralling, like watching someone howl into a rainstorm." --David Browne, Entertainment Weekly

Come. A cornerstone of the Matador stable 20 years ago. A band that requires no introduction, but here's one for the uninitiated. New York, 1990. Guitarists Thalia Zedek (Dangerous Birds/Live Skull) and Chris Brokaw (Codeine) both relocate (separately) to Boston from New York, where a year earlier, bassist Sean O'Brien (Kilkenny Kats) and drummer Arthur Johnson (Bar-B-Q Killers), had moved from Athens GA. These parallel tracks (sub)merge and, fittingly, make beautiful music together. Soon after the four play their first show together, Sub Pop releases the "Car" 7" as part of their Singles Club series. Following a heated game of rock/paper/scissors with other competitors (Google it), Matador emerges as the lucky label that releases Come's first of many masterpieces, Eleven:Eleven.

Despite being one of the best albums in this label’s long history and one of the more memorable debut albums in an era full of ‘em, Eleven:Eleven has been out of print for far too long. Pitchfork has called it "one of the most elusive gems of the Matador catalog, known for its knotty, torrential guitars and anguished vocals."

Eleven:Eleven is essential to understanding the music of the '90s. From All Music:
"One couldn't throw a brick around rock critics & college rock types in 1992 without hitting someone who’d talk about how Come was the new incarnation of the blues, often loudly and at great length ... But it's the Stones and acts like Patti Smith & Black Sabbath, not to mention the confrontation of no wave and other punk-inspired acts, that are more of a touchstone to what's going on than Robert Johnson. It's a uniquely
sludgy, electric, strong fusion of sounds and styles, combining extreme angst and commanding power."

Brokaw and Zedek's emotional dual guitar work rivals Verlaine/Lloyd, chiming and majestic, cascading into feedback-ridden squalls informed by both punk and metal, sifted through one of the tightest rhythm sections ever assembled. Come toured extensively with Pavement, Sugar, Dinosaur Jr., and Nirvana, at those bands' request.

This May 21 sees this classic LP finally back in print, with a deluxe, remastered double disc reissue (2XLP, 2XCD) comprising the original album plus a bonus disc featuring Come’s October 11, 1992 performance at the Vermonstress Festival. The 2XLP edition will also include a bonus 7″, a reissue of the “Fast Piss Blues” b/w “I Got The Blues” single. Matador will handle the North and South American release; Glitterhouse will be reissuing Eleven:Eleven in the same configurations in Europe. It's all here. Again. For the first time.

After a handful of reunion shows in 2010 and 2011, Come’s original lineup will be playing selected shows later this year including the Primavera Festival in Barcelona (North American dates will be confirmed shortly). In addition, Thalia Zedek’s 5th solo album and first since 2008, ‘Via’, was released by Thrill Jockey in March.

Tara Jane O'Neil

Tara Jane ONeil is a multi-instrumentalist, composer, producer and visual artist. She creates melodic and experimental music under her own name and in collaboration with her brilliant friends. Her recordings and live performances range from solo songing to noise improvisations. TJO has composed and performed music and sound for films, theater and dance performances, and written large and small ensemble experimental architectures.

As a solo artist, TJO has released 7 full lenth albums internationally. She founded the Ecstatic Tambourine Orchestra and has played with the likes of Papa M, Mount Eerie, Ida, Mirah, Michael Hurley, Lori Goldston, Jackie-O Motherfucker, and the King Cobra. In the last century TJO was a member of art-punk band Rodan, the chamber music jam band The Sonora Pine and many others. She has made experimental scores to films by Makino Takashi, Vanessa Renwick , Linas Phillips and Theo Angell. Collaborating with Rachel Carns and Anna Joy Springer, she produced the music for Springer's fabulist novel, the Vicious Red Relic, Love (jaded Ibis Press). She scored the experimental theater piece, at the Vanishin Point, by Naomi Iizuka for the Humana Festival of New American Plays. In addition to art galleries, DIY spaces and rock clubs around the US, Japan and Europe, TJO has performed at All Tomorrow's Parties (invited by the Dirty Three), Primavera Sound, REDCAT, Museum of Fine Arts Boston, Andy Warhol Museum, High Desert Test Sites, and the TBA festival in Portland, Or. In 2011 she released an album of improvisational collage with Japanese vocalist, Nikaido Kazumi.

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COME with Tara Jane O'Neil

Thursday, June 20 · Doors 7:30 PM / Show 8:00 PM at The Independent

Tickets Available at the Door