Cat's Cradle Presents
Native, Daylight, The Bronzed Chorus
506 W. Franklin St
Chapel Hill, NC, 27516
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.
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.
Jarringly heavy and delicately emotional, Doylestown, Pennsylvania’s Daylight has spent the past few years honing their brooding, grooving sound across several EPs. In 2008, friends Taylor Madison (vocals/guitar), Joe Kane (bass) and Jake Clarke (vocals/guitar) began writing songs calling on 90s grunge and punk influences all while adding their own dark vibe.
After the departure of their founding drummer, the band added Zack Robbins in January of 2012 and Daylight’s lineup was complete. After releasing two EPs on Pennsylvania record labels, Daylight joined with Run For Cover Records who released The Difference In Good And Bad Dreams in January 2012. The EP definitively distinguished the band’s grungy, buzzing, desperately sad sound and placed them firmly alongside their post-hardcore contemporaries. With anticipation for their debut LP now at a near fever pitch, the Pennsylvania four-piece is prepared to delivers Jar, which arrives on April 30, 2013 via Run For Cover Records.
Intensely sad and cut-to-the-bone personal, the Cobain-esque vocals are delivered with such haunting sincerity, each word feels as if vocalists Taylor Madison and Jake Clarke have trouble bringing themselves to deliver it. Says Madison on the new songs, “I’ve always been a fan of alternative bands like Smashing Pumpkins and Bush because my father was always listening to those bands, and we all grew up hearing those bands on the radio. Later in life, I got really into bands like Dinosaur Jr. and Sonic Youth. I think we all really wanted to write a record that drew heavy influence from those bands that we love, but had our own feel.”
Engineer/Producer Will Yip’s (Circa Survive, Title Fight) massive production on Jar knocks you back from the very first tom hit and snarling guitar riff. The stadium drums, rubbery, pulsing bass and walls of buzzsaw guitars are reminiscent of the size and clarity of major label grunge breakthrough records like Nevermind and Siamese Dream. From hard, heavy rock grooves to soft guitar and vocal verses all the way to pop sensible choruses, Daylight have delivered a towering rock record that feels instantly timeless and blows away any and all expectations.
The Bronzed Chorus
The Greensboro instro-rock act finds nontraditional ways to be catchy. Joyce's pedal-driven guitar melodies are expressive and lyrical, with him often playing both phrases of a call-and-response. And Allen's drumkit seems to have no boundaries, with him keeping synths and even a modified Atari 2600 within reach while he plays. Allen contributes as much as Joyce to the danceable, pop-educated instrumentalism that is The Bronzed Chorus. While it can be pretty jaw-dropping to watch his one-handed snare rolls, it's essential to note that the eternal multi-tasker also plays rhythm, melody, and texture lines on the aging gadgets that surround him. -Corbie Hill/Independent Weekly
$10.00 - $12.00
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