The New Vintage & The Other Side of Life present
Freakwater, Jaye Jayle, Drunken Prayer
2126 S. Preston St.
Louisville, KY, 40217
Doors 8:00 PM / Show 9:00 PM (event ends at 2:00 AM)
This event is 18 and over
LOUISVILLE OUTSKIRTS FESTIVAL DETAILS:
Any proceeds generated from this year's festival will go toward establishing Girls Rock Louisville, a week-long summer camp that will launch in Summer 2016. This new nonprofit will expand upon the mission Outskirts' current Rockshops program of fostering girls' self-esteem through music creation and performance. With an expanded summer program, we will be able to provide additional workshops and technical training, and create more in-depth leadership opportunities as well as continuing to cultivate a supportive community of peers and mentors, and encourage social change and the development of life skills.
The Louisville Outskirts Festival's venues for 2015 include The New Vintage Showcase (Friday and Saturday) and Art Sanctuary (Sunday only)
ROCKSHOPS Showcase! 8 brand new young bands participating in the daytime Outskirts Rockshops for Girls program will debut as the opening act of the Sunday of the Festival. More information about Rockshops here: http://louisvilleoutskirtsfestival.com/rockshops-for-girls/
Freakwater invariably make records easily distinguishable from one another while maintaining their signature sound and their own uniquely skewed take on honky-tonk, bluegrass, or country-politan,. On Thinking of You they join together with Thrill Jockey label mates Califone, creating an album both modern and timeless in its instrumentation and sentiment. Recorded with engineer Graeme Gibson and produced by Califone wizard Tim Rutili at Clava Studios in Chicago, Freakwater used their core set up of Irwin and Bean on vocals and guitar, David Gay on bass and Jon Spiegel on pedal steel. They are joined on all songs by varying combinations of Califone members: Joe Adamik piano, horns), Tim Rutili (guitars ? electric and otherwise, pump organ, vocals), Ben Massarella (percussion, drums), and Jim Becker (fiddle, string arrangements, piano, vocals, organ, electric guitar). With additional help from Graeme Gibson (organ), Evelyn Weston (saw), Jacob Smith (piano) and James Elkington (electric guitar), Freakwater seem to be at home and stronger than ever in the company of these musicians.
Freakwater's self-proclaimed "neurotic manner" combined with Califone's laid back, effortless style created an ideal setting for the making of this album. Califone's cast of talented multi-instrumentalists provided Freakwater with their broadest, most nuanced sonic pallet to date. The outcome is a complex, yet fluid album. Each listen brings new sounds to the listener's ear. On the album's second track, "Cricket Versus Ant", one can hear strings by Becker and the wheezing of pump organ played by Rutili. "Cathy Ann", a song about the tragic death of one of Woody Guthrie's daughters originally intended to appear on their last album, is finally revealed more beautiful than ever. For "Double Clutch" Bean summoned the help of Jim Elkington (singer/guitarist of The Zincs) to add his literate lyrical touch and chiming guitar work. "Hi Ho Silver", the final song on the album, is a hook-driven drug anthem replete with a giant chorus and a "lighters-in-the-air horn section fade out."
Lyrically, Freakwater continue to write about heartache and sadness, yet also touch on subjects not often broached in traditional country music. Dylan once said, "She knows there's no success like failure, and that failure's no success at all," a phrase that aptly describes the Freakwater perspective. Sadness prevails in a song such as "Sap", where some of Irwin's finest lyrical work is on display. "I fell like a thing that falls / I crashed like a thing that crashes / I burned up like the kind of thing that burns down to the ground" illustrates Freakwater's existential exploration of classic country themes and their distillation of traditional country music metaphors. While "So Strange", a song inspired by the giddy exuberance of Elvis film soundtracks, hints at Freakwater's trademark sarcasm, "I did what I could to get rid of your good time / the fender was bent when the grim malcontent dropped a dime / I did what I could and I meant to put a dent in your good time / I defiled your cake / And I drank up the end of your wine".
Six years have passed since the release of Freakwater's last album, End Time. During that time, their longest break since their 1989 debut, Catherine Irwin and Janet Beveridge Bean released solo records; Irwin's achingly sincere Cut Yourself a Switch, and Bean's lush, heartbreaking Dragging Wonder Lake. While these records can be considered stylistically oppositional, Irwin and Bean see each of them as natural marks on the Freakwater continuum. The artistic separation of these two, a result more of circumstance than design, could not last, and plans to create a new Freakwater album started to evolve. Irwin moved from Louisville to join Bean in Chicago, allowing the band more freedom in preparing for the album and recording in the studio. The product of Bean and Irwin's reunion is Freakwater's dynamic and powerful seventh album, Thinking Of You.
A phrase not usually weighted with menace, Thinking Of You takes on an increasingly ominous, compelling tone with each new listen. Like the album cover's warped image of a burning bouquet, the music itself represents an exquisite blend of beauty, horror, and inexplicable optimism. If the past is any indication, Freakwater will continue their long, lonely journey until the end of time. "I love singing with Catherine, and I miss it. I sort of view it like tennis: you can play it into your 80's; you just play it a little slower. I don't want it to go away", Bean says. Catherine complements Bean's thoughts with, "The sound of two voices singing at the same time is a beautiful thing ? everything else is a chore."
Fans of the aggressive cacophony of Louisville’s Young Widows may be surprised when frontman Evan Patterson’s restrained acoustic guitar greets them at the top of ...It’s Jayle Time!, the debut full-length from Patterson’s singer-songwriter alter ego Jaye Jayle. The record follows the eponymous protagonist through a fever dream of sex, booze, loneliness, and demons out on the barren range of New Mexico. In the studio, Patterson is joined by a loose assemblage of Louisville musicians that includes Jonathan Glen Wood (of Old Baby), Lowe Sutherland, Jim Marlowe (Tropical Trash/Astro Black Records) and more.
Eschewing a traditional LP release, ...It’s Jayle Time! will be released as a series of limited 7” singles throughout 2014. First up is “Pull Me Back To Hell” b/w “Evil Windows”, out in January via Sophomore Lounge. Subsequent singles are expected to arrive thereafter through Hawthorne Street Records and Jade Tree.
Morgan Geer, who performs as Drunken Prayer, is the son of a New Orleans folk singer and a California mushroom farmer. His wit comes easy, in whispers, shouts and sneers. He's a showman–"a barking ringleader with chops between Tom Waits and the Butthole Surfers' Gibby Haynes" (Willamette Week, Portland, OR).
Geer wrote many of Drunken Prayer's first compositions while wood-shedding on a farm in Sonoma County, California, before moving to Portland, OR. The songs that made up the first Drunken Prayer (self-titled) record are a mix of dark blues, country and traditionals; dynamic, with "an almost inculpable sincerity" (Mountain Xpress, Asheville, NC). His swampy vocals and angular guitar style create a nicely creepy backdrop for rakish, playful stories of eternal themes at the core of tracks like "What Made Me Kill" and "The Demon", contrasting sharply with the sweet melody and sentiment of "Pearls and Swine". Blurt Magazine called the album "one part The Band, one part Tonight's The Night, and one part sinner's remorse… Bad Seeds-in-New Orleans noir."
In February, 2012 Drunken Prayer joined Portland based Fluff and Gravy Records to release Into the Missionfield, an ambitious record with gut-bucket guitars, keys, and heavy percussion. The sounds are bluesy and psychedelic; the horn arrangements are as loose and buoyant as a New Orleans Jazz funeral. The lyrics are as sweet as they are damning. No Depression raved that "Every artist should so coherent when in the midst of such intoxicating revelry", and the Portland Mercury went so far as to call Geer "Warren Zevon's medium, showing him the world from the great beyond".
House of Morgan, the November 2013 release (Fluff and Gravy) finds Geer taking things into his own hands. While the critically acclaimed Into the Missionfield was a densely layered studio undertaking, House of Morgan, was self-recorded using a Tascam cassette machine, a Radio Shack condenser mic, and Garage Band with nearly all of the instruments played by Geer in his bedroom. The resultant tracks are striking in their raw and naked beauty. From an enchanting cover of the old Depression era, "On Mobile Bay", to screaming punk/blues rants like "KEF-666″ and "Ultrabad", the musical themes are widely varied.
These tracks offer a window into the mind of Morgan Geer, and the view that it affords is at once unsettling and comfortable. Though the record is sometimes a sharp contrast to previous efforts, this is undoubtedly a Drunken Prayer record. Geer's trademark vocals, guitar, and wit are the threads that tie these divergent records together. Each track it's own vignette, "Taken as a whole, House of Morgan begins to make a kind of sense on its own White Album-esque terms" (Portland Mercury).
Morgan, who splits residence between Asheville, NC and Portland, OR, is also the current studio and touring guitar player for Freakwater.
Geer's previous band, The Unholy Trio of Asheville, NC, also featured members of The Reigning Sound and Freakwater. On their 5th Year Anniversary compilation Bloodshot Records featured the Trio's devilish version of Public Enemy's "Bring the Noise".
$10.00 - $15.00
The New Vintage
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