Junior Astronomers, Native, Daylight
400 W. Tremont Ave.
Charlotte, NC, 28203
Doors 7:00 PM / Show 7:30 PM
This event is all ages
There is an abiding circle: one where romance and tragedy exist together and hope coincides with desperation as a coil in nature as much as the unseen. In this understanding lies the dark themes and bruising medium of O’Brother. Carrying the weight of the luminance and spacey textures from their 2009 EP, The Death of Day, the Atlanta, GA five some have grown into sounds of scorching heaviness and punctuated melodic interruptions that act as puzzles in-between the groaning feedback of Garden Window, the band’s debut full length.
“The more we played the more we turned our amps up and the lower we tuned,” O'Brother’s lead singer/guitarist Tanner Merritt defined the soundscapes of Garden Window. “The loud songs we wanted louder and heavier, but the quiet songs we wanted to get better at too.”
Garden Window displays more density, as the songs themselves bask in longer time frames, a dynamic intensity had to be obtained to create interest from listeners the whole way out. “We wanted curve balls,” Merritt explained as the root behind the softer interludes found midway through the atmospheric explorations.
The voice of Garden Window grew from the nourishment of the road, a relentless schedule that brought them to share stages with the likes of Thrice, Circa Survive, Cage The Elephant, and Manchester Orchestra. "Touring is your biggest influence. The way you play, the way the band plays, the whole world shifts to the view from the road, even when home.”
Though Garden Window is not a concept album, reoccurring themes mark their presence throughout each song as a metaphysical question runs through the album’s veins, one of life and what it is perceived to be. "If something is real how could you become so disconnected from it?”
As writing began for Garden Window the band decided to let fans into the process of making an album, giving them live streaming video to the demo, tracking, and mixing of the album -- a process that when viewed through a lens can be strikingly tedious as bands have to stare into screens as much as the faithful. New material was teased and brought out only at keen times, leaving even the most silent attendee guessing where Garden Window was headed.
Close friends Andy Hull and Robert McDowell of Manchester Orchestra stepped in as producers, creating not only an environment of comfort for O’Brother to stumble on discovery, but the two also served to help the band develop a more conscience presentation as Garden Window stepped into slow unfurling shades.
Always a band that makes albums rather than songs or thunderous quick timed anthems, O'Brother's Garden Window stands as a complex, yet elegant and elegiac, dance that can be felt beneath the skin. Even when O'Brother are at their most ethereal the reality of the ground stays in sight.
Continually on the move since forming in 2007, with only two EPs to their name, Junior Astronomers have toured and shared stages with the likes of Harvard, The Weeks, Dignan, Color Revolt, Des Ark, and Polvo. Poised to not take a break in the near future the North Carolina natives bring with them a promise, there is an elemental energy that lies in-between art and craft.
Hailing from North West Indiana NATIVE is made up of four friends who came together after realizing they were each the most serious about music in each of their former high school bands. The guys each decided to retire their childhood groups and instead come together to form Native in the Summer of 2007. The line up consists of Ed O'Neil /Guitar, Bobby Markos /Vocals and Bass, Dan Evans /Guitar and Nick Glassen on Drums. Since Native's inception they have self released the critically touted EP We, Delete Erase with many publications giving the disc accolades. CMJ remarked, "The brand-new four piece, Native, is making noise even before their first full-length. Their self-released debut EP, We Delete; Erase, their fresh, confident sound is filling their listeners with hope for some great things to come." Also, drawing comparisons to some pretty seminal bands Surfing Magazine described them as "It lands somewhere between a pissed off Minus the Bear and a caged up Botch".
Word of mouth about their live shows and their EP caught the attention of US Label and Management company Sargent House who went on to sign the band and who has since re-issued the EP. Native have continued to tour non-stop building quite a following in a short time through their unforgettable live shows and well executed musicianship. A review of their live show in St. Louis from The Riverfront Times stated "There's something about the age-to-talent ratio that makes the post-punk of the barely legal Indiana quartet Native both impressive and genuine. Perhaps it's the group's intelligent guitar work, which recalls the geometric riffs of Jawbox and Faraquet- Or maybe it's the fact that the vocalist's yelps sound more like a pissed Ian MacKaye than a Warped Tour screamo outfit." While Alternative Press' live show assessment was, " For a band just a little more than a year old, Native play with the confidence and prowess of a group of lifers. "
The early reviews in for their new full length album Wrestling Moves are no less flattering with Sputnik Music saying "Anyone who has listened to We Delete; Erase will immediately hear the transformation within the band. Native is still Native, but the progression here is a massive one. "
NATIVE's debut full length Wrestling Moves was released on January 23, 2010 on Sargent House. The album was Produced by Chris Common (These Arms Are Snakes, Pelican) at Red Room Studios in Seattle, WA.
The Difference In Good And Bad Dreams is Daylight's third proper EP in as many years and a precursor building up to next year's much anticipated debut full-length. These four new songs mark the Doylestown, PA quintet's most focused and diverse record yet. Twinkling leads and Cobain-esque foreground whisper-singing add space and dimension atop of walls of grungy gained-out guitars. The tempo of the music harkens to brooding, patient mid-90s post-hardcore a la Fugazi or Quicksand, lending to a desperate undercurrent running beneath the songs. The thick rhythm section and spacious, huge drum parts are perfectly written to support some of the bands catchiest and biggest vocal hooks to date. Daylight's signature unrelenting lyrical depression continues yet with a more melodic and dynamic vocal approach, fitting perfectly with the music. With this EP, the band has effectively carved out it's own notch alongside contemporary post-hardcore heavyweights like Title Fight, Balance & Composure and Make Do And Mend paving the way for a breathtaking debut LP in 2012.
Tremont Music Hall
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