For Your Friends Booking Presents:
1042 N. Mills Avenue
Orlando, FL, 32803
Doors 7:30 PM / Show 8:00 PM
This event is all ages
Watch & Listen
"The way we learned to live is fading fast/I guess we never bargained for a crash."
For Dave Hause the American dream is a broken promise, a childhood ideal that has been shattered by the reality of the past two decades. On the musician's second solo album, Devour, Hause scours the foundation of that crumbled dream in an attempt to discover how everything we believed growing up could have turned out so differently. The album, initially written to become the third record from Hause's rock band The Loved Ones, follows his 2011 solo debut Resolutions, a disc that allowed the musician to understand his potential as his own artist.
As Hause, a Philadelphia native, began penning new music for a new album from The Loved Ones, it became clear that the group, who had taken a break after their second album, had stalled. These songs, however, which showcased a clear thematic journey, were meant to be vocalized by Hause and over the past few years he transformed them into Devour. Hause solidified the album's sequence before even going into the studio, aiming to craft a narrative arc that drove the album from its dark, heavy first half into a lighter, more hopeful tone. A thematic line of melody runs through the songs, reflecting the overarching ideas in the music itself. The disc explores the heartbreak of shattered childhood promises of a better world and concludes with optimistic hope.
"Devour is about that inherent American appetite," Hause says. "It's in all the songs in some degree. There's a reason why Tony Soprano became such a huge American icon – he's this guy with this insane appetite for women and food and power. I think for the American public to latch onto a figure like that says something. Some of the positive things about America come from that as well, but there's a real sense of reckoning that comes from devouring everything in front of you. Is it ever enough?"
The rock songs, tinged with folk and punk tones, are firmly rooted in Hause's own upbringing and the sensibility that comes from growing up in a blue collar neighborhood driven by the lingering anticipation of upward mobility. In the lyrics, the fulcrum around which the album revolves, Hause grapples with this working class ideal and the fact that America's recent shifts have caused it to no longer fit. From "The Great Depression," which centers on the unfulfilled promises laid out in the Reagan-era '80s, to the more specific-minded relationships of "Father's Son," Devour comes to terms with the loss of youthful innocence in a rapidly evolving world.
"I wanted to shine a light back on what was going on," Hause says. "It was a topic that was close to me and I wanted to write about it. In the end, it leaves you with the idea that if you have music and love you may be able to save yourself. It's going to be alright. That simple John Lennon concept of all you need is love. That's how I wrote myself out of the dark and the music begs the listener to come take that risk as well."
Once Hause had the track sequence and overall narrative in place he enlisted producer Andrew Alekel along with musician and co-producer Mitchell Townsend. The producers helped Hause collect the right musicians to build the songs in the best way possible, including My Morning Jacket keyboardist Bo Koster, Social Distortion drummer David Hidalgo Jr. and bassist Bob Thomson. Frightened Rabbit's Scott Hutchison, Alkaline Trio's Matt Skiba and The Watson Twins also appear on several tracks. Hause and his crew recorded the album over several weeks from mid-February to mid-March at Grandmaster Recorders LTD. in Hollywood, CA, focusing on giving each song the right tone while maintaining an overall musical aesthetic that helps tie the lyrical themes together.
"It was this group effort," Hause says. "A lot of trust went into letting Andrew and Mitch be the architects of the record. I trusted that we would get in there and they would know who was right for the music. They wanted to bring these people together in this great studio to get a record that was greater than the sum of its parts. I'm glad I trusted them because it was great to work with everyone there."
For the musician, who has toured with Social Distortion, The Gaslight Anthem, Bouncing Souls and Chuck Ragan since launching his solo career, Devour is a cathartic release, both sonically and lyrically. Hause recently relocated to California and is committed to pursing the music he feels best reflects him individually. The journey on the album, the search for the light at the end of the tunnel, mirrors his own trek. The record closes with the delicate introspection of "Benediction," a song that pulls lyrical lines from all the tracks that precede it. After all the ruined promises and the culminating disappointments of the world, Hause ends the album with the sentiment of possibility. "It's love my friend in the end that can save us tonight," he sings. "So are you in?"
Matt Goud (aka Northcote) may take you by surprise when he steps up to the mic. Though the soft-spoken Goud is known by friends and family as a gentle giant, he infuses his original songs with a uniquely powerful and confident voice.
Born and raised in small-town Saskatchewan, his early exposure to music was a mix of traditional country on AM radio and the hymns he learned at his childhood church. However, it wasn't until he discovered punk and hardcore music that he realized music's healing and therapeutic power.
Over the past 8 years, few young musicians in Canada have put on as many miles as Goud who toured for years as a member of a post-hardcore band and has more recently transitioned into life on the road as a singer/songwriter with accompaniment by an ever-rotating slew of guests and friend musicians.
Northcote is set to return to centre stage in 2013 with a new self-titled album due May 7th via Black Box Recordings (Canada). Produced by Colin Stewart (Black Mountain, Cave Singers, Dan Mangan) at The Hive in Vancouver, the album is Northcote's most forthcoming and confident album to date, reflecting this young songwriter's increasing maturity and experience. Breaking the stereotype of the reserved and solemn cafe singer/songwriter, the album entices both the performers and the listeners to come out of their shell.
On NORTHCOTE, Goud further strengthens his voice as an emerging Canadian artist. Confident, full chords replace contemplative ballads, and the influence of his eclectic background of punk, soul and blues create a unique sound.
On the track How Can You Turn Around, the crew vocal soars behind the chorus of the song, replicating the sound and emotion of singing along with friends in the front row of a rock show. Songs including Counting Down the Days and I Hope the Good Things Never Die are more fully realized and richer than Northcote's previous efforts, replete with grooving soul drums, horns, bouncy bass-lines, atmospheric guitar and sing-along group vocals. These songs signal that there is no need to sit passively by to experience the fast-paced, exuberant music of Northcote.
The hope and positivity of the material is apparent in the song Find Our Own Way, which challenges: "…whatever you got, you have to let it fly. Whatever you got you, have to give it one try" This song reflects the anxiety of coming of age in a media-saturated culture, where one can be so connected and yet be left feeling inexplicably lonely and at times with little direction or meaning.
This album sees Goud joined by Blake Enemark (We are the City, Forestry) on Guitar, Marek Tyler (Kathryn Calder, Dan Mangan) on Drums, Olivier Clement (Aidan Knight) on Horn, and Calgary artist Francis Gerrard on vocals throughout the album. Victoria-based musician Kathryn Calder, known both as a solo artist and as a member of The New Pornographers, appears on lead vocals on the late-night kitchen party track Only One Who Knows My Name, which closes the album.
In NORTHCOTE, Goud turns a new page with a strong, self-titled record penned primarily in the passenger seat of a Dodge Van parked along a seaside road in Victoria, B.C. Many pensive nights spent walking home from writing sessions and gigs throughout sleepy Victoria streets have helped shape a newfound confidence and connection to life as a musician for Goud, and you can hear this transformation in his voice.
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