The Twilight Sad, The Velvet Teen
Micah P. Hinson
628 Divisadero St
San Francisco, CA, 94117
Doors 7:30PM / Show 8:00PM
This event is 21 and over
The Twilight Sad
Based outside of Glasgow, The Twilight Sad formed in late 2003. The band played a couple of gigs at the 13th Note in Glasgow, creating half hour-long pieces of music using guitars, bass, drums, theremin, tape loops from films and old folk/country songs, effects pedals, toy keyboards, thumb pianos, saws, computer games and a lot of noise in an attempt to try and discover a sound they could call their own and continue to develop. After these two shows, they rejected many gig offers, and became a more reclusive unit, spending any spare time they had in the studio focused on writing and sculpting away at new material.
In September 2005, they wrote four songs they thought gave a relatively good perspective of the band, and went into a local studio to record them, producing it themselves. Staying in the studio for many nights, they used a 24-track desk to build layer upon layer of sound, trying to get the best representation as possible. Thinking that the CD they came out with showed little more than some kind of raw potential, they posted it down to FatCat as a demo. After receiving a positive response and a request for more tracks, the band continued to expand on their song writing and kept regularly in contact with the label. Instead of paying for more studio time they began to make lo-fi recordings in bedrooms, bathrooms and their own rehearsal space, developing a more folk/experimental/noise sound. In mid-May the band came down to Brighton to meet the label and played on the bill of a FatCat night on the pier alongside The Mutts, Charlottefield, The Rank Deluxe, and fellow Glasgow band, The Frightened Rabbit.
Where the band's recorded sound is layered with many melodies, their live sound is a more intense experience which replaces the intricacies of the recordings with a more visceral wall of noise.
The Velvet Teen
Since its inception in late 1999, The Velvet Teen has traveled the world and challenged the very concept of genre with its eclectic and at times schizophrenic appeal. From the early EPs which showed prowess in the pop realm, to the dynamic indie jangle of ‘Out of the Fierce Parade’, to the romantic strings and quietly political lyrics of ‘Elysium’, to the sexually charged whip-it beats of ‘Cum Laude’, The Velvet Teen truly has a talent for seducing the masses into a cult-like state, before promptly leaving the faithless with nothing but a kool-aid aftertaste. The believers, however, will vouch that the experience is well worth the trouble.
The Velvet Teen officially made its debut in a brief Icelandic tour in the debatedly millennial new year, finding founding member Judah Nagler accompanied by electronic arrangements programmed on a portable sequencer. After returning home, Nagler teamed up with former bandmate Logan Whitehurst, and together they recorded the first EP under the moniker. Joshua Staples soon joined the group, and the trio recorded a wealth of material while touring North America, Canada and Japan until late 2004, when Logan was diagnosed with brain cancer. He died from the disease in 2006. Casey Deitz filled in during Logan’s absence and later joined the group to help extend the band’s reach to Europe and record Cum Laude.
The present day finds The Velvet Teen writing and recording as always, the newest material a culmination of its history, its vision set on the horizon. You are cordially invited to take part in the madness.
Micah P. Hinson
Life has a strange habit of never exactly going according to plan; just when it seems even, life throws a curve ball to put things off balance. Some call it karma, while others call it luck. Life seems to right itself, in the end.
Micah P. Hinson experienced a turbulent period in his late teens, involving narcotics, jail time for forging prescriptions and a tumultuous relationship with a Vogue cover model – all before the age of 20, Hinson was homeless, penniless and abandoned by his family. He was eventually forced to declare himself bankrupt and moved into a motel and acquired a mundane telemarketing job. During this period, Micah still managed to write around 30 songs on borrowed instruments and equipment.
2004 saw Micah Paul Hinson catapulted from being a skate kid down on his luck to making one of the year's finest and most critically acclaimed debut albums, Micah P. Hinson and the Gospel of Progress (which made numerous 'Best of 2004' polls, especially in the UK including Uncut, The Independent, the BBC and Time Out UK) and traveling the world playing with the likes of Iron & Wine, Antony & the Johnsons, Devendra Banhart, The Arcade Fire and most recent being invited on tour with KT Tunstall and Richard Hawley.
"I find it strange that the amount of prescription drugs I was taking during the recording and promotion of The Gospel Of Progress record was far less than what the press boys and girls were thinking and writing" recalls Micah. "At that time, I had somewhat found my way out of a great deal of those vices. I had found them overall very tiresome and if something, in the end, only serves to make you and your soul weary, it is in no way worth the time spent. Though once I had found this little bit of truth, the gods sent a bit of a gloomy look down on me and life went left, instead of maybe right".
Left indeed. The turn of events that happened next was definitely ones of life's curve balls. After celebrating Burns night in 2005 in his hometown ("quite a strange thing to do in Abilene, Texas"), a 'high spirited' friend playfully hit Micah square in the small of his back. "I went paralyzed for a moment, sucked it up and went back to life". However, "over the next few weeks the pressure caved in and I could barely stand up. I was hunched over in constant pain". With a imminent tour of Europe in the Spring of 2005 to support The Baby and the Satellite EP, "I had to get back on the horse and ride it again. Like having to share a bed again with an 'ancient, ugly lover' that was better left as a half-formed memory. It was 40 mg. of Codeine (Opiate), 100 mg. of Soma (muscle relaxer), 2 mg of Xanax (anti-anxiety and mind-eraser), 400 mg. Neurontin (anti-loony), and a few others and all this within every and any given day of my life". Ironically, Micah found himself on the same prescription drugs as those he had been addicted to before he made The Gospel Of Progress, but under very different circumstances.
With little knowledge of just of how serious his back condition was, two months on the road aggravated his initial injury to breaking point. When Micah returned home to the US he was rushed to hospital to have back surgery. "I was in hospital for weeks, I couldn't turn myself for over a month, had a walker, a corset (ironically a lot like the corset on The Gospel of Progress artwork), a shower chair as I couldn't properly stand, I had to piss sitting down for awhile, basically a living nightmare."
"The reason why I tell you all these things is because I want you to see and read where my life was when I began and finished this new full length record. I did the majority of the recordings sitting around the house, during the times I could actually get out of bed. Friends came to Abilene from all over to record their parts". Eric Bachmann (of Archers of Loaf and Crooked Fingers) lent a helping hand and arranged the strings and horns, while Micah's current touring partner and Gospel Of Progress veteran, H. Da Massa, traveled from Manchester, England to lay down Harmonica. Micah christened the band 'The Opera Circuit'.
The 11 songs that make up Micah P. Hinson and the Opera Circuit are the real deal – a document of friends "shooting the shit" on dusty summer evenings while creating some of the most beautiful and heartfelt music. This method of recording makes truly intimate and warm listen, from the sounds of crickets in the long grass on the opening front-porch lullaby 'Seems Almost Impossible' to the surface hiss on prairie ballad, 'She Don't Own Me', while the heavier, 'band' songs on the album, such as 'Letter from Huntsville' and the epic beast, 'You're Only Lonely', sound as if they are straight out of a basement jam session. Perhaps the highlight of the album, though, is the beautiful piano led closing death-ballad, 'Don't Leave Me Now'. While the album is layered with instrumentation, there is sense of space that allows Micah's beautifully cracked yet warm vocal and matured songwriting to shine through with a real presence. Micah P. Hinson and The Opera Circuit maybe a little rougher around the edges than it predecessor, but its heart is definitely stronger and more honest.
That brings us back to where we started and life's curve balls. "Looking back, it's special. The sense that I was out of commission physically and here these friends came to create beautiful music that before never existed."
Life certainly does right itself in the end.
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