The Echo & Part Time Punks Present
Weekend [Slumberland Records] + Disappears + Cold Showers
1822 W Sunset Blvd
Los Angeles, California, 90026
This event is 18 and over
Part Time Punks
10pm / 18+
Brooklyn -via- San Francisco's post-punk trio Weekend will release their highly-anticipated sophomore LP Jinx (due out July 23rd) on Slumberland Records.
Shaun Durkan (vocalist/bassist/guitarist) and Kevin Johnson (guitarist) first met and joined creative forces when they were just 12 years old, as bassists in the middle school band. Durkan's father, the singer in post-punk band Half Church, had exposed Shaun to venerable likes of Killing Joke and the Cure (evidence that both are heavy influences on this forthcoming release.)
Years later, Durkan and Johnson attended the San Francisco Art Institute, where drummer Abe Pedroza was Durkan's roommate. Known within their inner circles for having a near-machine-like drumming ability and love for all primarily obscure bands, Pedroza was quickly enlisted into what would become Weekend (serving as the band's second drummer, replacing Taylor Valentino who departed the band following the recording of the band's debut album, Sports)
Weekend officially formed in 2009 and recorded the Sports LP throughout the year at Ruminator Audio, which belongs to long-time friend and producer/engineer Monte Vallier (formerly of Jet Black Crayon, Swell, and Half Church- with Durkan's father). "When we wrote Sports it was an explosion of energy and ideas," Johnson says. "We'd been talking about doing the band for 10 years, so when we finally got together it was a cathartic release of energy and songs."
Throughout the next two years, the band found itself touring internationally with the Kills (Europe) and Wire (UK and US) and in Japan in support of the 2011's "Red" EP, which marked a sonic departure from the band's initial signature addiction to noise over clarity. "Red" (which was also produced by Monte Vallier) saw the band embrace sweeter melodies that encouraged Shaun to display his vocal abilities free from any distortion overlap.
The band spent most of 2012 writing, recording, and painstakingly mixing the 10 songs that comprise the album once again with Monte Vallier at Ruminator. As Monte was in Half Church and a close family friend of Shaun's, he had long ago offered his recording services since the very beginnings of the band. Despite the all-too-familiar time lapse of the recording and mixing process Durkan recounts the Jinx sessions as "the most trying though rewarding experience so far."
During this time, Weekend relocated cross-country to the already heavily saturated Brooklyn music scene. The trio had collectively grown weary of the trappings of home. Durkan states, "Feeling at home is evidence of stagnation and so I'm happy to say New York still feels alien to me." Despite the drastic change of scenery, he maintains "Geographically-based music scenes are for the most part defunct due to the internet but I don't think we'll ever be part of any scene. We stand on our own."
When asked to describe the album in 3 adjectives, Durkan stated, "Volatile. Cathartic. Bittersweet. The record is a collage of inspiration and ideas from each member of the band. Shards of experiences, images, smells, sounds molded into something we can collectively call ours." The album visually represents the music as well, through personal possessions of each band member that "had singular and emotional connections to and democratize it through a physical process. Painting the objects black adds a new, collective ownership over the previous personal meaning. [There is] the coalescence of our individual art to make something new, stark, and powerful." That Stark black visual sheen is compliments the songs that embody Jinx. Memories and experiences have been reinterpreted and recalled into existence from haunting, beautiful places. Each song on the album charges through a polarizing emotion through an ebb and flow of sounds both ominous and soothing. Lastly, the LP's presumably superstitious title compliments this body of work thematically. Shaun recalls his father nicknaming him "Jinx" as a boy. That name, like all the inspirations, emotions and experiences has returned to haunt the band - this time delivered with a lustrous and magnificent black sheen.
DISAPPEARS mix of Velvet Underground chug and krautrock groove = pretty, melodic, and utterly hypnotic. Based in Chicago with a fistful of records on Kranky, Disappears focus the energy of post-punk into the repetition of dub and minimalism. August 26th marks the arrival of the band’s 4th long player Era on Kranky. Conceived and crafted during the end of 2012, Era was recorded in January 2013 with John Congleton at Chicago's legendary Electrical Audio Studio. Immediate and direct, Era is the sound of the void looking back.
COLD SHOWERS fuses the sort of dreamscape typically associated with Shoegaze to the melancholia of the Darkwave. A band who, it is mentioned in most reviews, would fit comfortably "in the dusty catalog of Factory Records," perhaps because of the talents members...and just the right revolving counterbalance piston-precise drumming ala' Steve Morris, resounding bass leads worthy of Peter Hook and the alternately complex and catchy guitarwork of a chap who could very well be the next Vini Reilly. Their debut on Dais, also is making a lot of Top Ten lists around the country this time of year...and very deservedly fucking so. And with their 2nd LP nearly completed, you can expect it to appear on those Top Ten lists for 2014 (including PTP's!)
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