149 Westchester Avenue
Port Chester, NY, 10573
Doors 6:30 PM / Show 8:00 PM
This event is 18 and over
It's no secret that Silversun Pickups score the soundtrack for the cacophony and quiet of the urban environment. Their songs curl like a sleeping dragon around the foothills, soar between the skyscrapers, and slouch in the shadows of forbidden offramps and skid row.
Now, three years after their second record, Silversun Pickups are currently in Topanga, CA, working on their highly anticipated new record with producer Jacknife Lee (U2, Weezer, REM, Snow Patrol). The record will be released in the summer of 2012 on the band's longtime home, Dangerbird Records.
Silversun Pickups have sold over 1 million records worldwide. Their first EP, Pikul, was released in 2005. While it hinted at great things to come, no one was quite prepared for the explosion of the band's debut LP, Carnavas. Released in 2006, the record peaked at #81 on the Billboard Top 200 and was the #1 Alternative and Independent record for four consecutive weeks. The fantastic single, "Lazy Eye," peaked at #4 at Modern Rock. In 2009, SSPU followed up with the equally powerful Swoon. That record debuted at #7 on the Billboard Top 200 and was in that chart for over 22 weeks on the strength of the #1 Modern Rock smash, "Panic Switch." On November 25, 2011, they released the limited edition Seasick 10" to support independent retail.
Silversun Pickups came of age in Los Angeles' multicultural, bohemian enclave, Silver Lake, where the members learned to overcome their fears through playing in the organic network of clubs and bars that birthed Beck and Elliott Smith.
"When we were starting out, we were too shy to turn up the volume. Now we're not afraid to get loud," Aubert says. "I used to be nervous to go to the mic, now I swallow it."
As Carnavas snowballed into an avalanche of critical praise, landed them on the Billboard charts and gained recognition from nose-turning indie rockers and mainstream pop lovers alike, frontman Aubert slowly realized that Silversun Pickups' musical landscape was changing too. "We were landing on charts in countries I'd never been too, like Chile and all over South America. Things were changing fast."
After two-plus years of touring, the band returned home to a different place than they had left. "It was a dark time when we got back. We had to water the relationships that we had neglected over those two years, and I think this darkness came out on our second record," Aubert says.
More news on the new record will be revealed soon.
Devotion. Faith. Abandonment. The ecstasy of salvation, the salvation of ecstasy…
There's a thin line between rock'n'roll and religion, and nowhere thinner than in the intense, sharp, sweat-drenched, duelling-guitar euphoria of Mona. The four-piece Nashville-based band – or family, or gang, or band of brothers – are young, charismatic punk preachers. They'll testify to the thrill they get from hunkering down in a Nashville, Tennessee basement, writing and recording the best debut album of 2011. They'll hymn the praises of visceral rock with heavenly fireworks in its soul. They want to convert everyone they come across.
This, by the way, isn't the old God-and-the-devil schticky music-biz hyperbole. Three-quarters of Mona did learn their music – how to play, how to perform, how to work a crowd – in church: frontman/guitarist Nick Brown and drummer Vince Gard in a Pentecostal Charismatic congregation, bass player Zach Lindsey in a Southern Baptist congregation. For all three, while they were growing up, secular music was frowned upon, and transporting an audience – the congregation – was paramount. For all four – guitarist Jordan Young completes the line-up – imbuing secular music with honest passion and true grit is what Mona are all about.
Mona keep the faith, "but it's definitely our own brand, We've had to walk away from a lot of the bullshit of church," says Nick, as verbally forthright offstage as he is forcefully charismatic onstage. We're all family people. We're all mamas' boys. We all try to be good brothers, to be good sons. The same thing with the band – we're a family. But obviously with the band we're more like a family in the Mafia sense. We're a fucking gang as well. It's all hugs and kisses on the cheek – but if you fuck with us, we're vicious," adds the singer who dispensed with the services of his previous lead guitarist by "breaking my fist on his face". With in-band fraternalism this zealous little wonder, perhaps, that "Mona's never lost a bar fight."
Mona are Sun Studio's Million Dollar Quartet (Presley, Perkins, Lewis, Cash) rebooted 54 years on. They're rock revivalists, in the sense that they like, as Nick puts it, "the golden age of the United States – the James Dean, Marilyn Monroe type stuff." This iconography and idealism, he says, informed the writing of Listen To Your Love – and the reasons why it became their first single.
"It felt kinda reminiscent of some of the old stuff," he says of the song, released on already-rare and already-pricey seven-inch vinyl only. "Even Roy Orbison-type melodies. But still, a little bit of a punk thing in there. It just felt like a good first introduction, a first impression."
Nick and Vince grew up in Dayton, Ohio. They met via their church musical group. Says Nick, "I needed a drummer and Vince needed an outlet. We didn't even get along as people, as friends, at all, it was more of a musical connection at first. The friendship thing developed much later. But at first, growing up in church and having a little bit of a chip on your shoulder, you want someone that's gonna play aggressively and have fun with it. And both of us were very zealous, even in the church, very passionate people. He beat the shit out of the drums and I used to break pianos."
As musical "support act" to the pastor, they learnt how to improvise, and jam, to follow the flow of the service. "That's kinda how we view rock'n'roll now. I know there's a lot of stuff that's about scheduling – with radio and TV and the market now, they want you to fit in to a thing. But we've always prided ourselves on the timelessness of the experience. Just let it happen. Even when we write we don't book writing sessions or schedule time to write. We just get together and whatever happens, happens."
Zach Lindsey is from Bowling Green, located in a dry (booze-free) country in Kentucky. Whereas for Nick and Vince non-religious music was banned (Vince: "but my mom would play me Creedence Clearwater Revival and The Police and tell me not to tell my dad…"), in the bassist's church non-religious music was tolerated. "I was born listening to The Beatles."
With musical options dead in the water in Dayton, Nick and Vince moved to Nashville. Why? Nick: "It was five hours' drive away as opposed to 14 hours to New York or 26 hours to LA. And way cheaper. We're a bunch of poor kids."
Once relocated to America's Music City, they ran into Zach on the local gig scene. He in turn introduced them to Jordan Young, an old Kentucky friend who had grown up in the farm town of Breeding. Having gone through serial line-up upheaval – including the bust-up with the unfortunate guitarist with the broken face – Mona was complete.
"Now we're four horses pulling the carriage," says Nick, who's worked on the "idea" for Mona for years – not least because the band is named after his grandmother. "There's a lot of people that wanted to be in this band. There's a lot of people that locally support this band. But as far as having people that understand their roles, and being happy with their roles, it's chemistry, man. It's just like a relationship. It's a marriage."
Nick's top-to-bottom vision for Mona encompasses everything from the archive pictures picked to feature on the largely monochromatic design of their Myspace; to only making the odd song available, and briefly ("too many people have artistic bulimia," he spits, "eat and puke it up and they're onto the next thing. So we made people saviour it"); to creating their own label Zion Noiz; to hammering out a major record company deal that, unusually, stacks things in the band's favour.
At the end of 2010 a debut TV gold performance on 'Later with Jools ' set things up for 2011 . It ended up being an incredible and whirlwind year for Mona. The bands debut album was released to acclaim in the UK and singles 'Listen To Your Love' , 'Trouble On The Way ',Teenager' and 'Shooting The Moon' proved to be massive fan favourites on the live scene.
From early gigs at 150 capacity venues such as the legendary Flowerpot and Rough Trade East, they went on to headline and sell out a number of shows in the UK including London's premiere music venues The Shephers Bush Empire, Electric Ballroom and Brixton Academy as part of XFM's Winter Wonderland show.
MTV invited Mona to play Koko in London as part of their Brand New For 2011 competition, the band went on to win this beating off competition from artists such as Jessie J and The Vaccines.
In the Summer of 2011 the band joined the Kings Of Leon on the road on their stadium tour, playing some incredible venues such as Ireland's Slane Castle and London's Hyde Park. For all the fans that missed the stand alone shows they had the opportunity to catch the band at some of the worlds biggest Festivals. Mona played to huge crowds at Reading & Leeds Festivals and of course Glastonbury to name just two.
It was not just the UK that were treated to the energy and sheer power of Mona. 2011 saw the band play over 150 shows that covered Germany, Japan, France, Spain, Australia and many more.
Sights now set on conquering home - the US. Mona having already toured with The Airbourne Toxic Event, The Joy Formidable and joint headlined shows with Funeral Party release the album debut with a debut headline tour on February 28th 2012 .
The only thing slick about Mona is their hair. The rest is arm-pumping, vein-throbbing, knee-jittering, raw-throated, singalong rock'n'roll. Thank God they've come.
$35.00 advance / $40.00 day of show
This event will have a general admission standing room only floor and a reserved seated Loge and Balcony. Reserved Loge and Balcony tickets will NOT have access to the general admission floor.
The Capitol Theatre
Sat, January 31
Sat, February 7
Fri, February 13
Sun, February 15
Thu, February 19
Fri, February 20
Sat, February 21
Wed, February 25
Fri, February 27
Thu, March 5