TACTICS PRODUCTIONS & TRANSMISSION EVENTS PRESENT:
Thurston Moore's Chelsea Light Moving
Merchandise, True Widow
2709 Elm St.
Dallas, TX, 75226
Doors 7:00 PM / Show 8:00 PM (event ends at 11:55 PM)
Chelsea Light Moving
CHELSEA LIGHT MOVING is the current group led by Sonic Youth founder Thurston Moore. He is the songwriter and plays over-amped hyper electric guitar and sings with raw-glam-destructo vocals. The band is a four piece featuring Samara Lubelski, who has played violin with TM on his last two solo LPs (Demolished Thoughts and Trees Outside The Academy) and with CHELSEA LIGHT MOVING plays deep psyche pop metal bass guitar. Keith Wood, who records under the aegis Hush Arbors, plays electric guitar with a pick forged from angel wing and John Moloney, aka "Pegasus", approaches the drums like an asteroid hurtling toward Earth. The first CD self-titled was recorded in two spurious sessions with engineer Justin Pizzoferrato in Sone Lab, a killer studio in Easthampton MASSACHUSETTS. The band is ready to detonate any birthday party, wedding or hullaboo in any country, planet or stratosphere that doesn't support right wing extremist NRA sucking bozo-ology.
Merchandise is the result of years and years of hallucinatory heat and musical quarantine in the skinhead mecca of Tampa, FL. A trio-gone-duo-gone-trio again, the band has been active since 2008, releasing numerous cassettes and CD-R's, along with two full-length LP's on Katorga Works. It's members (RCC, PDB, DMV) all have strong roots in the underground punk community, having released records and toured with much too many acts to be mentioned in this fragment of a bio.
2012's "Children of Desire" marks a turning point for the band. Their initial post-punk palette has begun to actively incorporate various influences from krautrock soundscapes to country ballads, from 1950's crooners to Madchester dopers. Sounds and ambitions have grown and multiplied. The platform continues to grow and the future remains uncertain, but Merchandise show no signs of slowing down. Expect more tours and records and movies and books and etc and and and…
Over the past two decades, we've been bombarded with grunge, with shoegaze, with sludge, with doom metal, with post-rock, with slow-core, with all these examples of loud rock music that reach towards one extreme or another, the sole intent of which seems to be to bludgeon the listener into accepting what they conceive to be a "total sound," one which makes their effort more valid than the others around it, and by association, worthy of your reverence.
Denton, TX trio True Widow plays against type. Listen closely to their new double album As High As the Highest Heavens and From the Center to the Circumference of the Earth
and you'll notice something rare: a band that plays to the notions of the genres mentioned above, one which embodies the best characteristics of each but never repeats something that's been done. The understanding of space, balance, and method exhibited by True Widow is different enough to avoid the trappings of genres done to death; special enough to revere, and to pull away from memories of sounds that once wore you down.
Here is a band that has figured out how to play music that is traditionally recognized as "heavy" and "slow," on traditional rock instruments, in a way that few have been able to accomplish: a melancholy, meditative approach to songwriting and soundscape that draws you in. They figured this out in the space of one album, a self-released, self-titled debut from 2008. On As High As the Highest Heavens, they refine the work even further.
Big guitar, bigger drums and the biggest bass (played by D.H., Slim, and Nikki, respectively) effortlessly recreate the unending skies of prairie America, where storms blow across with fury, horizons are unencumbered by the choke of skyscrapers and electric light, and the atmosphere pushes you down. A rumbling backdrop of distortion churns away, both behind and within True Widow's plaintive song structures, but never overpowers it. Across a 50-minute runtime, the nine songs here range from excavated alt-rock anthems ("Night Witches," "Skull Eyes") to methodical epics like "Boaz" and "Blooden Horse," to triumphant bulldozers of sound like "NH," which splits the difference between dirge and hymn, the instruments staring into the ground while D.H. and Nikki's voices ascend to the clouds.
Plenty of you may balk at both the length and largesse expressed in the title of True Widow's new album, but once its powers seep into your skull, you'll likely find it impossible to doubt the magnitude of what's at stake here – a band that is singlehandedly breaking rank from accepted genres, and carving its own path into history.
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