Zevious, Damn Fine Coffee
506 W. Franklin St
Chapel Hill, NC, 27516
Doors 8:30 PM / Show 9:00 PM
'Test of Submission' out August 28th on Profound Lore Records. http://dysrhythmiaexplainsitall.blogspot.com/ for the latest news/tour journals, etc. / Disrhythmia at Relapse Store: http://bit.ly/DysrhythmiaStore iTunes:http://bit.ly/DysrhythmiaiTunes
1998 - Kevin Hufnagel calls Clayton Ingerson...says he has some riffs he wants to show him. A few riffs turn into 5 or 6 songs. We begin auditioning drummers to no success.
1999 - Dysrhythmia is born. Drummer Jeff Eber is found through a psychic dream. We play our first show ever, in Philadelphia, PA, at the legendary Stalag 13 with Discordance Axis, and Ruins. Purchase a used van for $1,000 and begin to think about touring.
2000 - Our first record Contradiction is released. Recorded on 16 track analog reel-to-reel in a basement in South Jersey over two weekends. Embark on our first DIY tour. Continue playing to the same 5 people in Philadelphia.
2001- Record album number two, No Interference. Tour with the infamous Overlords of the Underworld. Release a split 10" with misunderstood musical outcasts, xthoughtstreamsx. Continue playing to the same 5 people in Philadelphia.
2002 - Record a split 7" with Technician, complete with a sheet lead cover and rubber gloves stuffed inside for the consumer's protection. Tour our asses off. Attract the attention of Relapse Records. Sign to Relapse.
2003 - Record album number three, Pretest, with Steve Albini at Electrical Audio Studio B in Chicago, IL. Tour, tour, tour. This time with the likes of labelmates Mastodon, Cephalic Carnage, Burnt by the Sun, and more.
2004 - Continue touring in support of Pretest, doing dates with Clutch, Mastodon, High on Fire, Zeke and others along the way. New material begins to develop yet bassist Clayton Ingerson eventually leaves the band. Colin Marston enters. Dysrhythmia continue on, writing and now rehearsing in Brooklyn at Colin's studio while Kevin makes trips up from Philadelphia and Jeff down from Boston. All for the love of the instrumental rock. Live from the Relapse Contamination Festival 2003 CD is release in a limited edition of 1, 000 copies.
2005 - Writing for record number four continues. New van is purchased. Spring tour with Jucifer. Spend summer demoing the next record. Band relocates to Brooklyn permanently. Translation Loss Records re-issues No Interference with additional bonus tracks. Fall tour. Record our fourth studio album Barriers and Passages with Martin Bisi at BC Studios, set for a Spring '06 release.
2006 - Barriers and Passages is released in May. Tour throughout the Summer with bands: Behold... the Arctopus, Yakuza, and The Dillinger Escape Plan. Begin writing new material.
2007 - Spring tour with Pysopus, and Behold... the Arctopus. Spend the summer writing for the next record. Release a split EP called Fractures with UK-based ambient/drone sculptors Rothko in late August.
2008 - Summer tour and completion of writing for 'Psychic Maps'
2009 - 'Psychic Maps' is released, a Fall tour follows.
2010 - First European tour, and Summer US/Canada tour with Cynic, and Intronaut
2011- Hibernate and write for album number six. Sign to Profound Lore Records
"The music of Zevious shrewdly juxtaposes order and its opposite: structural intensity pushed to its breaking point in the most appealing way. These boys are brilliant and fearless."–Vijay Iyer
Zevious are a unique electric jazz band for the modern era. This instrumental power trio are equally influenced by the sound of early John McLaughlin/Tony Williams Lifetime, Meshuggah, the 'downtown punk-jazz-harmolodic' school (James Blood Ulmer/Music Revelation Ensemble, Decoding Society, Curlew), Magma, Vijay Iyer and Ben Monder among others. This is not your father's jazz band.
Zevious used to be a jazz guitar trio. Their 2007 self-titled debut CD featured a set of knotty jazz compositions and technical soloing that the group performed at jazz clubs. Very quickly thereafter, by the beginning of 2008, the band had broken away from the bonds of tradition and were developing a sound that had been developing and incubating since their first album. Mike ditched the jazz guitar for a Telecaster and DeBlase replaced his upright with an electric bass and they both picked up distortion pedals and cranked them up. Zevious began combining progressive rock grooves, tech metal, structured group improvisation, and complex song forms with a conventional jazz sound, creating a unique compositional style. Their new sound points towards a focused musical ground where it is apparent that this band can shred. Their songs now wind through peaks and valleys of odd-metered and hard-hitting bass and drum grooves with contrapuntal guitar interjections that morph into unison riffing, with hard-hitting, complex drum workouts and stop-on-a-dime style guitar breaks coupled with subtle, brooding segments. Their second album After the Air Raid is the culmination of nearly two years of hard compositional and rehearsal labor and showcases a powerful, rhythmically intense and highly structured sound, making this a record with lasting depth. Beautifully and simply recorded, mixed and mastered by Colin Marston (of Behold...the Arctopus), the striking live sound of the band is masterfully presented.
"In form, Zevious is a traditional power trio of electric guitar, bass and drums. But the group didn't start out this way in 2006, when it featured an acoustic jazz format. With the substitution of electric instrumentation and distortion pedals in 2008, its approach to music changed, but its grounding in group improvisation remained. After The Air Raid is a genre busting brawny recording that leans more towards technical metal than jazz. That said, the trio favor odd-metered grooves and a rocking beat. Guitarist Mike Eber, also a member of the bands Smother Party and Mea'l, wrote seven of the tracks, bassist Johnny DeBlaze the other four. The band juxtaposes quiet intensity against noisy distortion on "The Children And The Rats," culminating in a silent stoppage. Zevious favors the thunderous bassline over a swing one, but retains the skill of a jazz band. Its quiet/loud approach makes for a winning sound." – All About Jazz
"Zevious is devious. It may look like your everyday electric jazz trio (guitar, bass, drums), but Zevious is anything but typical. Guitarist Mike Eber, bassist Johnny DeBlase, and drummer Jeff Eber give off the aroma of jazz-flavored metal, but their sophistication - odd-metered rhythms, unexpected harmonic ideas - slyly bubbles up. Their influences range wide: There's a little bit of fusion forebears John McLaughlin and Tony Williams's Lifetime in here, some electric free improv in the vein of Nels Cline and Last Exit, and nu-metal a la Rage Against the Machine. Compositionally and rhythmically, though, their next of kin are modern acoustic improvisers, folks like Vijay Iyer and Ken Vandermark. The interplay between the Eber cousins is central. The drummer states the beat and then finds a way to play around it, while the guitarist first plays the "right chords'' and then harmonizes against them, often in ways that are deliberately unsettling. Even when they turn it down - as they do on the title tune, an eerie duet between guitar and bass - the music is both frightening and beautiful." -- boston.com
"If your thing musically is the prototypical, gnarly, and loud instrumental power trio, then Zevious should be right up your alley. Led by new electric guitar hero Mike Eber, this band should wipe the floor with any comparable group that dares to perform with such a bold, in-your-face posture. Though claiming various primal jazz fusion influences, the unmistakable sound of Robert Fripp and King Crimson from their trio period and the seminal album Red cannot be denied. You also hear the British Canterbury concept via Gary Boyle or Alan Holdsworth, a little bit of the progressive sound of the Muffins, and even pieces of Frank Zappa, the jazzier Jeff Beck and Robin Trower, or Gary Lucas creeping in alongside a punk attitude. With brother/drummer Jeff Eber and bassist Johnny DeBlase (love that name) Zevious makes inroads toward establishing a new fusion amalgam in varying tones and shapes. Everything here is short, concise, and to the point, whether it be on the choppy flailing during "Come Cluster" and chord driven "iNCITING," the jarring noisy or alternately serene contrasts in "The Children & the Rats," the bass-shaded, underground, and litigious "That Ticket Exploded," and slowed, dank, unassuming, deliberate "Gradual Decay". Where Mike Eber's personal voicings come further to the surface on the goth power rocker "Mostly Skulls" with cleverly omitted measures, it is on the title track that he's in a diffuse and neo-laconic element, far beyond the pale. He's practically fluid in his steel-trap, deadly technique for "The Noose," straight-up funky on "Glass Tables," and evokes the snarly Fripp sound in a fast-paced "The Ditch." The opening track, "Where's the Captain?," gives a good indication that Robert Fripp's schizoid man, somewhat R&B-nfluenced, hard-edged, dark guitar is at the center of this trio's core. Listen to this recording and Red back to back to see if you don't agree with the parallel universe this band exists in. Where Zevious definitely suggests a Zen-like concept welded onto a deviated (or even devious) attitude, you'll find the music is fully realized, a terrible wholeness reflective of today's societal anxiety and tenseness released -- nay shot out of a cannon -- into the ether." – All Music Guide
Damn Fine Coffee
Damn Fine Coffee, the latest project of Jonn Buzby (Land of Chocolate, Finneus Gauge) takes a stripped-down approach to the frenetic musical mayhem that has long been a trademark, eschewing the use of guitar in exchange for a more simplistic trio that most notably resembles Ben Folds Five in terms of setup and personnel... The similarities to BFF end there, however, as Damn Fine Coffee takes a much more daring approach to songwriting than most, combining intellectually mind-numbing mixed-meter grooves with multi-part vocal harmonies and interweaving lines between piano and bass, while still maintaining a penchant for the ever-melodic and memorable melodies that are *just* enough to confuse the mass public into believing they're still listening to some good ol' pop music...
DFC's take? Screw the cream. Forget the sugar. This is the high test stuff, people... Ain't it time YOU tried some Damn Fine Coffee?
$8.00 - $9.00
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