Trekky Records & Team Clermont Present Daydream Day Party Featuring: Loamlands, Bambara
Butterflies, Yandrew, Leverage Models, Hi Ho Silver Oh, Estrangers
224 S. Blount
Raleigh, NC, 27601
Doors 11:30 AM / Show 12:00 PM (event ends at 5:00 PM)
This event is all ages
Durham, North Carolina's Loamlands offer their debut release, Some Kind Of Light, an EP of stirring Americana and Southern rock tunes penned by Kym Register and Will Hackney. The duo have collaborated for years, and the newly formed Loamlands provides a platform for each musician to express contemporary ideas through an array of Southern musical styles. Lead vocalist Kym Register delivers powerful tales of perseverance, justice and uncertainty, frequently blurring the lines between the personal and the political. Recorded in 3 days in rural North Carolina with members of Megafaun and Lost in the Trees serving as rhythm section, Some Kind Of Light is an essential introduction to one of North Carolina's most exciting new bands. The EP will be out September 24 on Trekky Records.
"Seeing a Bambara set live is sorta like getting trapped in a long, dark corridor with the vague sensation that you are being followed by the thing that terrifies you most … so long as what you're scared of is experimental indie bands with a tendency to be mellow very loudly." - Weekly Dig Boston
Shannon Fields (Stars Like Fleas founder/producer, Helado Negro collaborator) has spent the better part of 2012 recording new unhinged, narratively-oblique, club-centric, dark kitchen-sink pop music under the name Leverage Models. Leverage Models has been releasing songs on limited edition cassette tapes via Portland-label, Hometapes (Bear in Heaven, AU, All Tiny Creatures, Matthew E. White). The debut Leverage Models LP is forthcoming in the fall on Hometapes, and Euro-label, Something in Construction (Memory Tapes, Concretes, Loney Dear), and will feature contributions from members of Yeasayer, M83, Sinkane, LCD Soundsystem, and other heavy friends. The live band sculpts the warped echoes of ABC, Scritti Politti, The Associates, Happy Mondays, Japan, A Certain Ratio, Lisa Lisa & The Cult Jam, Throbbing Gristle, &c. into something wholly new, manic, exhaustingly energetic live shows.
"[Artists on the Rise, 1/23/12] This is world beats turned into booty-shaking dirtiness, topped off with Shannon Fields' roof-shaking falsetto" - Deli Magazine
"excellent…world-spanning pop that will do to your ears what this bright July summer sun is doing to your mood" - Portland Mercury
"a massively catchy sound that grows on you…energizing" - Origami Vinyl (Los Angeles)
"head-scratchingly brilliant" - Brad Laner (Medicine, M83), Dangerous Minds
"suddenly you realize you've been slowly seduced…This sucker bites hard, fangs bury deep into our subconscious and beg to you to listen again and again." yvynl
"seriously layered, ornate, and frenzied electronic transmissions…excellent" - The Onion A.V. Club
"Rapturous bursts of bright horn-fuelled funk-pop…Great" [New Band of the Day feature] " - The Guardian UK
"A lullaby sung by the sea with the subdued hysterics of of Scritti Politti…will drench you in unspecified yearning & leave you reaching for the repeat button" - Gill Mills, New Music Matters (UK)
Hi Ho Silver Oh
HI HO SILVER OH heads out in January in promotion of their second full-length album, Big Rocks. The band, made up of songwriter/vocalist/guitarist Casey Trela and rhythm section Jon Mackey and Kevin Manwarren, has fleshed out the bedroom acoustics of earlier recordings and honed their sound with a propulsive ruggedness. Over the course of Big Rocks, the band ebbs and flows with an uncanny fluidity from the caterwauling feedback of "High Tide I," to the shimmering pop of "Trees." From the anthemic bombast of "My Confessor" and sparkly gore of "Showers Without Warning" to the harrowing intimacy of "Belly Line."
Casey Trela's lyrics have never been so potent as they are on Big Rocks. Like a candid conversation with an old friend, Trela's words occupy an eerie space that manages to be both extremely personal and unexpectedly cosmic in the same breath. Even at the album's most mournful and introspective moments, the songs glimmer with a comforting playfulness, always anchored by the sheer power Trela wields as a vocal performer.
"Hi Ho Silver Oh is incredible live— I always leave their shows feeling empowered and full of love and hope. Frontman Casey Trela is mild-mannered and kind. Maybe in a previous life he was a folk singer, but in this life he can shred. His voice is haunting, and cracking with emotion at every lyric. You can actually watch him enjoy every single moment on stage through his half smile."
-Chelsea Naftelberg, BuzzChips.com
Fuzz pop from Winston-Salem, NC
ESTRANGERS make the kind of classic pop that hides in plain sight, the kind that lingers in the blown-out speakers of vintage thrift store amplifiers and makes you wonder why you stopped listening. Towering melodies, cavernous guitar reverb, lush analog synths and crashing bass & drums are bound together in their bright-eyed Rock and Roll stylings.
A labor of love nurtured by singer/guitarist Philip Pledger after a bit of a rough patch, Estrangers emerged from the ashtrays and smokestacks of the old industrial city of Winston-Salem in the summer of 2011, cutting through the haze of an oft- apathetic town with a surprising, honest vibrance and potent energy. Within the first six months of their existence they had recorded and released 'Black Ballroom,' an 8-song debut EP rich with promise, and shared stages with heralded groups like Unknown Mortal Orchestra & Titus Andronicus.
Yet in the months that followed, the group found themselves drifting. With the departure of two original members and a lack of clear musical direction, the future of Estrangers grew uncertain. At times, the band's newer material showed an infatuation with raucous and raw Californian garage rock,while at others they found themselves swimming in cascading keyboard sounds and airy guitar riffs.
The synthesis of those elements bore 'Sunmelt' EP, a summery lo-fi experiment in playful songwriting, uninhibited by the expectations and pressures of a pristine studio recording environment. Its warm vibe carried resemblance to a forgotten cassette, left on the dashboard of a car to be warped by the sun, caramelized in psychedelic color and warble. While rough around the edges, the EP held two enduring gifts in its title track and "Scatterheart," songs that would be re-recorded for the band's first true full-length. As they finished out the remainder of 2012's regional show schedule, Pledger's collection of new demos quietly grew, and the foundations for Estrangers' new album were laid.
It would be hard to imagine 'Season of 1000 Colors' coming to fruition any other way. For four wintery days in January 2013, the band hid away in the modest Sunnyside neighborhood of southside Winston-Salem and committed their album to 24- track analog tape, with local-via-Detroit legend Ryan Pritts (Burglar F*cker, Paik) manning the console.
At first listen 'Season of 1000 Colors' is the logical successor of Sunmelt: an album bursting at the seams with brilliant psych- pop hues, delivered with focus and captured with shimmering highs and throbbing lows. "Cape Fear" accosts the listener early with bombastic and romantic exuberance, part cinematic dreamscape and part Italian beach excursion. The coastal imagery the song paints isn't wasted on the record as a whole; the album ebbs and flows like a wash of sea-salted melodrama. Sun-bleached joyride "Dayzd" bleeds through "Moonraker"s villainous groove into the pounding, surf-inflected "Monarchs," before finding a soft landing on the haunting specter of "Hold Me Close (L'Inverno)." Late-album party-starter "Love's Pure Light" finds Estrangers conjuring darker elements, before "Mrs. Bee"s pensive introduction and antiphonal conclusion help wrap-up the album like Ram-era McCartney.
Ultimately, 'Season of 1000 Colors' is the byproduct of tireless and uncompromising pop songwriting. Its an album in the truest sense, bearing a dazzling array of individual gems but delivering rewarding emotional poignancy upon listening as a whole. With a string of exciting shows slated for the summer, including a coveted slot at Raleigh's Hopscotch Music Festival in September, Estrangers stand poised to take their place as one of the imminent indie pop groups the east coast has to offer.
The Pour House Music Hall
Sat, February 28
Sun, March 1
Mon, March 2
Tue, March 3
Wed, March 4
Thu, March 5
Fri, March 6
Sat, March 7
Sun, March 8
Sun, March 8