Nothing, DJs Maria Sherman and Jenn Pelly
289 Kent Avenue
Brooklyn, NY, 11249
Doors 8:30 PM
This event is 21 and over
Weekend officially formed in 2009 around the nucleus of long-time friends Shaun Durkan (vocalist/bassist/guitarist) and Kevin Johnson (guitarist), along with drummer Taylor Valentino. The trio recorded the album Sports throughout 2009 with long-time friend and producer/engineer Monte Vallier. The textured and challenging post-punk squall of Sports made the band an instant sensation, with great reviews coming from Pitchfork, NME, Vice and more.
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 and featured then-new and current drummer Abe Pedroza) 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 Jinx, once again with Monte Vallier at Ruminator. 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 three 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 complements 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’s stage name, "Jinks," which played a ghostly role in the creation of this album. 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.
What makes people respond to something? Is it honesty? Anyone can be true, say what makes sense to them - talk
about how they feel. It’s especially tricky to answer this question in a world where it’s never been easier to be heard,
but never been harder to get anyone to listen.
It can be confusing doing something when it’s all you know. It means you are constantly sacrificing, whatever it is,
to try and get someone to see things your way. It’s personal and it’s a message not everyone will receive.
Friendships disintegrate, patterns becoming habits and everyday you wake up the world you know is different. Still,
we make ways to relate with people, we search out meaning and make sense of our surroundings.
These are themes Disappears have been working out since their formation in 2008. Over the course of three full
lengths in three years for the esteemed Kranky imprint, Disappears have taken the raw energy and intensity of postpunk and filtered it into the repetition of dub and minimalism.
With the recent and amicable departure of Steve Shelly, Disappears return with the Kone EP, 30+ minutes of new
music that asks the listener to do something rare these days – listen. Abstract and experimental, Disappears use the
12” format to it’s full potential – take chances and get weird. Recorded in Chicago at Minbal and mixed in Dallas by
John Congleton, Kone takes every opportunity to stretch out into the void and roar.
Following the April 16th release date, Disappears will be touring the US this Spring as they put the finishing touches
on their new LP to be released later 2013.
Nothing has finished their much anticipated recording follow up to their 2010 demo "POSHLOST". The three song EP "Suns and Lovers" will be released in early May by Tokyo based label BIG LOVE RECORDS who have worked with such bands as Cold Cave, The XX, Young Prisms, and Ariel Pink. The EP will be released as a 12" and will be limited to 300 copies.
The EP will include two new tracks produced and engineered by Kyle 'Slick' Johnson of theJust Managing Group and a re-recording of the demo track, "Last Day In Bouville" produced by Wesley Eisold and Kris Lapke.
Johnson has been involved with numerous projects ranging from The Hives "Black and White", Fischerspooner - "Odyssey", Modest Mouse - "We Were Dead Before", Wavves - "King Of The Beach", and most recently the incredible Creepoid "Horse Heaven" LP.
Eisold is the front man for dark pop powerhouse Cold Cave and has been involved in an array of other groundbreaking projects including Heartworm Press, while Kris Lapkereleases raw power electronics under the Alberich moniker and works out of the infamousHospital Productions Studio in the Lower East Side section of New York City "