Mid City Masquerade

With the success of Dan Deacon's 2007 album Spiderman of the Rings, came an opportunity for the electronic-music iconoclast to increase the breadth and depth of his entire musical project. Deacon moved from self-contained computer music to orchestral epics. His interactive live show, honed in DIY spaces, was taken to museums and concert halls. He frequently expanded his performances to include a horde of side musicians. Gliss Riffer, an entirely self-produced record of almost all electronic sounds, is a return to Deacon's Spiderman of the Rings-era process. He calls it "easily the most fun [he's] ever had making a record." After a string of large ensemble projects (including 2009's Bromst and 2012's America) Deacon longed for the "simplicity" of the days when he did nearly everything himself. So he made plans to sequester himself in his studio and conjure an album from the sketches and songs he had begun in the back of the van on the European leg of the America tour. Those plans were upended when he received a last-minute invitation to tour with Arcade Fire in August. Rather than lose momentum by pushing back his recording schedule, Deacon continued to make the record on the road. "I was mixing and arranging in the green room before sound check and each night back at the hotel." Deacon said, "On days off I'd find a studio to track vocals or mix. When a studio couldn't be found I dismantled a hotel bathroom, sealing the vents with towels and using all the bedding to turn it into a control room." This is his first record to showcase his newfound appreciation for his vocal cords, an appreciation he gained after going through an extended bout of laryngitis. "I started thinking about how the voice is an instrument that expires," he said, "and that made me want to make an album with the voice more exposed." And that he did. While Gliss Riffer contains all the instrumental layering we've come to expect, the vocals are mixed with a prominence ("Feel the Lightning," "Learning to Relax") and, at times, a clarity ("When I Was Done Dying") that have never been heard on a Dan Deacon record before. All the vocals are performed by Deacon himself, even the female voice on "Feel the Lightning" is the product of vari-speed recording techniques. This album also marks the first time Deacon replaced his digitally realized parts with analog synthesizers, giving Deacon the opportunity to experiment with synthesizers in the same way he experimented with strings and wind instruments on America. Deacon travelled to Asheville, N.C., to record with Moog's at-the-time-unreleased Sub 37 analog synth. Gliss Riffer is the first record in the world to feature the instrument. Despite being predominately electronic, Gliss Riffer's sonic palette is informed by his post-Spiderman material. The Disklavier, a MIDI-fed player piano first heard on Bromst, is present here. (This time around, Deacon ran it so hard it broke.) Cross-rhythms suggestive of America's orchestral opus "USA" and Deacon's art music work (including a Carnegie Hall performance and film score for Francis Ford Coppola) are also in evidence. What Gliss Riffer shares with Spiderman of the Rings as a musical experience is an aesthetic directness and ecstatic energy. Gliss Riffer trades in exuberant, uncontained fun. Lyrical images of lightning, oceans, lakes, and roads crop up frequently as stand-ins for freedom and self-realization. The tracks were started on the ever-changing landscapes that greet a touring musician. The lyrics, on the other hand, were mostly written in Deacon's studio, a room with no windows and no air conditioning in Baltimore's sweltering summer where it was easy to imagine being somewhere else. So while Gliss Riffer is all about fun, it's figured dramatically. It's a euphoria tempered by yearning and set in defiance of life's nagging anxiety. "Happiness takes time," we are reminded by tremolo vocals in the middle of the supremely danceable "Mind on Fire." The bliss on this record is well-earned.

If the Grammy Award winning band, Snarky Puppy, was a heart, drummer Robert "Sput" Searight and percussionist Nate Werth serve as its explosive pulse. World renown for their artistic communication through rhythm, this dynamic duo debuts their own project, expanding their percussive voice into a night of melody through innovative grooves and captivating artistry.

Robert "Sput" Searight- Drums (Snarky Puppy)
Nate Werth- Percussion (Snarky Puppy)
MonoNeon- Bass (Prince)
Sylvester Onyejiaka- Sax (Prince)
Justin Stanton- Keys (Snarky Puppy)

Sweet Crude

Sweet Crude premiered in Spring 2013. The band, boasting surnames like Marceaux, Arceneaux, and Chachere, seeks to reconnect with their lineage in the context of 4-part harmonies, tribal rhythms, and pop hooks. "We're making the pop music that we'd otherwise come up with given our influences. We're just singing a lot of the time in Louisiana French. We want to show that the language is still alive and kicking, and that it sounds great in any genre," says primary lyricist Sam Craft, "Our grandparents learned French, but our parents never really communicated with it, so now I feel it's on the youth to preserve the tradition. It's wonderful that there are so many Cajun bands singing in Louisiana, and we wanted to do the same thing but with our original music."
In just two years as a band, Sweet Crude has had an amazing ride. The band won the 2014 Big Easy Award for "Best Emerging Artist" and is nominated for "Best Rock Band" at the 2015 Best of the Beat Awards. Even more compelling is that they already graced the main stages of BUKU Fest, Festival Internationale, French Quarter Festival and more. Additionally, the band will made their New Orleans Jazz and Heritage Festival debut in April 2015. Beyond such notable bookings, Sweet Crude's music has been featured in FX's American Horror Story.
Sweet Crude has tested their frenetic sound on the road, packing venues from New Orleans to NYC. The band returns to Canada in August 2015 to play the Acadie Rock Festival and Festival Acadien, both in New Brunswick. Expect to see the band to be on the road in a big way, taking their energetic music and their mission of preserving Louisiana tradition far and wide.

ROAR! is the punk-pop electronic duo of long-time friends Carly Meyers and Adam Gertner.

Their music pays homage to the city ROAR! was born in: New Orleans. Full of trombone. Yes. Heavy on the drums. Hell, yes. But that's where the similarities with other bands stop. ROAR! blends electronics with live instruments and vocals to create infectious songs. The kind of songs that get stuck in the brain.

Carly lays open her heart on stage through her sword-wielding trombone, fiery electronic marimba and punk-edge vocals. Respect is hard earned in a drummer's town. Adam rises to the challenge with deep grooves, drilling riffs and heart pounding energy. They unite live music with pedals and electronic samples into a seamless sonic convergence unlike any other electronic duo. Their sound is as enormous and invincible as the live oaks in New Orleans. ROAR! adds new flavors to a town soaked in rich musical traditions.

The duo's attitude is fearless. They played their first show on live TV and haven't looked back unless someone asks what got them to ROAR! The band Yojimbo prepared them for relentless touring. They've played shows at local Big Easy favorites such as the legendary Tipitina's, Blue Nile and One Eyed Jack's. They've performed at Electric Forest, Wakarusa and other major festivals. Shared the stage with artists such as Sylvan Esso, George Clinton, Primus, Clutch, Umphrey's McGee and many more.

Carly and Adam sound exactly like ROAR! should sound--exuberant, fun and original. Ready to win the hearts of fans everywhere.

New Orleans duo that classifies itself as "noisy technical pop rock."

$15.00 - $150.00


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