1811 14th St. NW
Washington, DC, 20009
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Blur The Line feels like an eponymous debut. This record is not a departure, nor is it simply growth. It is a realization purely of where Those Darlins are as artists right now. After sophomore record Screws Get Loose, Jessi, Nikki, and Linwood set out to uncover the true complex, contradictory nature of themselves as individuals and as a band. The result is a record to file on your shelf between Patti Smith's Easter and Fleetwood Mac's Tusk. Blur The Line is a first-rate album of powerful tracks that mingle heavy rhythms and distorted Neil Young guitars with ear-candy harmonies and a slew of captivating lyrics. The band called on Roger Moutenot (Yo La Tengo, John Cale, JEFF the Brotherhood) to produce Blur The Line, and it turned out to be a revelation—a chance to stretch and give shape to their work with his supportive, laid back demeanor and experienced hands at the helm.
"Those Darlins come off like the toughest, most dangerous group around. They deliver thrilling song after thrilling song that'll have you hyping them to all your rock & roll friends as soon the album stops spinning." – All Music Guide
"Hooky, saucy, punky songwriting in a mood somewhere between Be Your Own Pet and the Donnas, only savvier. Those Darlins have mouths on them, yes they do. But their mouths are connected to their hearts and minds, and amped by loud guitars" – Robert Christgau A-, NPR's All Things Considered
"My favorite band right now is Those Darlins, who have a really cool garage-country vibe. They're doing something totally out-of-the-box." – Bethany Cosentino of Best Coast in Rolling Stone's Best of Rock
Matthew Daniel Siskin began writing songs as Gambles in August 2012 with no goal or motive other than the past few years needed addressing, and things that had gone unsaid for too long needed saying.
“Trust” the first song released publicly, came together quickly and spontaneously between friends. Nicolas Vernhes and Matthew (long time close friends & collaborators) were enjoying a late night at the Rare Book Room where Vernhes keeps a recording studio, label, and home. Towards the end of the evening the two ended up downstairs in the studio where “Trust” was sang in a single take, and with no words written.
“I think I just needed to say all of those things in that way, and it sort of just happened – and there is nobody else I trust as much as Nico, besides myself, to be in the right place, to say them”
“Trust was just the beginning – I think a new process for me began that night, and I realized I didn’t need to sit down and really think about it too hard, it just had to happen. there’s about 20 or so other songs which came together a lot like that. it’s all stuff I’ve lived, a lot of it is pretty hard to hear played back – but that sort of told me I was going in the right direction.”
Gambles is the end of a process and of many processes, the end of choices and the removal of style, the end of endlessness and self-doubt.
Gambles is music and people, boiled down, pressed dry, sliced thin, and left to dry. Yet it’s clear that for Matthew, Gambles is also everything, a life-saving perspective into events that demand to be acknowledged, registered, declared and when ready, left.
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