149 Westchester Avenue
Port Chester, NY, 10573
Doors 7:00 PM / Show 8:00 PM
This event is 18 and over
The Breeders started life as a side project for Kim Deal of the Pixies, Tanya Donelly of Throwing Muses, Josephine Wiggs of the British band The Perfect Disaster, and Britt Walford of Slint. They recorded the album Pod with Steve Albini in a mere ten days, in Edinburgh, Scotland. The album was released on 4AD in 1990 to critical acclaim. The press dubbed the Breeders an Indie Supergroup, but the band were able to play only two London shows before returning to their day jobs.
During another hiatus in 1992, Josephine flew to Dayton, Ohio, where Kim had recruited her sister Kelley to learn lead guitar, and stolen powerhouse drummer Jim Macpherson after seeing him play in a local band. They broke an exhaustive rehearsal schedule only to watch nightly re-runs of Star Trek The Next Generation.
The Breeders first tour launched in June 1992 in a snooker hall behind Warrington Rugby Club, Manchester, in the UK. Two days later, they supported Nirvana in Dublin and Belfast, and then performed at Glastonbury. After 27 sold-out US shows that fall, the band drove cross-country to San Francisco to record Last Splash, (released August 1993). The video for the single Cannonball—directed by Kim Gordon and Spike Jonze—was in heavy rotation on MTV’s 120 minutes throughout the fall. The band provided support for Nirvana’s In Utero tour, then in January 1994 they traveled to Australia, Japan, and Hawaii, where they were shot for the cover of Rolling Stone—only to be supplanted by the “Ladies of Melrose Place.” That summer they embarked upon the epic Lollapalooza ‘94; the Melody Maker opined, "Kim's nicotine-stained vocals [are] the very spit of wasted elegance…” the Breeders are “probably the most casually brilliant band around” and Last Splash went platinum. Whatever that means.
In 2013, Kim, Kelley, Josephine and Jim reunited for the 20th anniversary of Last Splash. 4AD reissued the album as a deluxe box set, and the “classic" lineup of the Breeders (augmented by violinist Carrie Bradley) toured the US, Europe, Austrailia and South America, performing the album at festivals, and playing eight months of sold-out shows. In London, they played Last Splash and Pod back to back, a tour de force they went on to repeat several times. The final run of shows took them across country from Dayton to L.A.—dubbed by Kelley the “Mid West Coast Tour”—culminating in a performance supporting Neutral Milk Hotel at the Hollywood Bowl.
As the end of the reunion tour approached—Kim, or was it Kelley?—broached the idea of carrying on—and the Breeders started working on material for a new album.
If "Nothing Valley" were a real place, it’d be mossy, verdant, and a little bit strange.
Melkbelly, formed by vets of Chicago’s experimental and DIY scene champions, organized noise and thoughtful freneticism on its debut full-length, "Nothing Valley," fusing dreamy vocal lines and cantankerous guitar racket. Its songs clang and bang in stripped-down production that highlights the band’s sharp edges; multi-faceted slabs of sound serve harmonious, immediate songs. So it shouldn’t be a surprise that the band members’ tastes run obscure--The Hecks, Lightning Bolt, and jazz drummer Paal Nilssen-Love and, as they tell us, “bands and musicians that draw on a sense of adventure." The quartet’s membership overlaps with several Chicago noise and experimental bands and art collectives.
An efficient one-day recording session resulted in Melkbelly’s first EP, 2014's "Pennsylvania," which opened the door to touring and opening slots for Speedy Ortiz, Magik Markers and Built to Spill, and led to The Chicago Reader calling Melkbelly “one of the most exciting new sounds out of Chicago.” Next, Melkbelly got back to writing and working, recording a pair of 7-inches with Dave Vettraino at Chicago’s Public House where it had made its first recordings ever for Public House’s Digital Singles Series and a Public House compilation tape. The sessions gave the band a chance to deepen its collaboration with Vettraino.
Miranda writes most of Melkbelly’s tunes on guitar and brings them to the band who puts them through the ringer, where they morph into a Melkbelly arrangement. Often, however, the band will take a guitar riff or two from an open jam recorded at practice and spin it into a song.
"Nothing Valley" was recorded in early 2016 in Vettraino’s basement studio to 8-track analog tape. Fresh off a West Coast tour, the band let the hours on the road and missed art tourism opportunities at Spiral Jetty shape the songs as well as the recording process itself, writing half the album material in the studio. "Nothing Valley" breezes gust fresh and forcefully.
$30/$40 (ADVANCE) $35/$45 (DAY OF SHOW)
This event will have a general admission standing room only floor and a reserved seated Loge and Balcony. Reserved Loge and Balcony tickets will NOT have access to the general admission floor.
18 & over unless accompanied by a parent or legal guardian.
The Capitol Theatre
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