Canadian Alternative Rock
130 N. Central Ave.
Phoenix, AZ, 85004
Doors 7:30 PM / Show 8:00 PM
This event is 16 and over
In the short time since they released their acclaimed debut record, ‘Sore,’ Dilly Dally toured the world and took the press by storm, only to nearly collapse under the weight of their own success and call it quits forever. Rising from the ashes with more power and conviction than ever before, the Toronto rockers’ new album is, appropriately enough, titled ‘Heaven,’ and it’s a fierce, fiery ode to optimism, a distortion-soaked battle cry for hope and beauty in a world of darkness and doubt. Frontwoman Katie
Monks describes the songs as coping mechanisms, and the collection does indeed form something of a survival kit for hard times, but even more than that, it’s a declaration of faith in the power of music and a burning reminder that we need not wait until the afterlife for things to get better.
Recorded with producer Rob Schnapf (Elliott Smith, Beck), ‘Heaven’ highlights Dilly Dally’s rough edges in all their ragged glory, drawing every potent ounce of energy from the foursome’s swampy tones, raspy vocals, and volatile rhythm section. While the music is undeniably ferocious, there’s uplift woven into the fabric of every track. ‘Heaven’ opens with the dreamy “I Feel Free,” which begins as a floating, untethered soundscape before transforming into a soaring anthem for a world that’s ready to finally turn the page on all the darkness and disillusion the last few years have wrought. The inexorable “Believe” insists on self-confidence, while the driving “Sober Motel” celebrates the lucidity a clear mind, and the lilting “Sorry Ur Mad” makes a case for releasing yourself from the prisons of anger and resentment. Escape is a frequent goal—from the bruising “Marijuana” to the epic queer tragedy of “Bad Biology”—but it ultimately solves very little, at least in any permanent way, and so the album carves out its own atheistic religion to get through the day, a faith that validates our pain as real but responds with a beaming light of hope (and maybe a little bit of weed).
Monks and guitarist Liz Ball originally formed the band in high school after bonding over a shared love for explosive, grungy rock and roll. By the time they recorded their debut, the pair had fleshed out the lineup with bassist Jimmy Tony and drummer Benjamin Reinhartz and hit a blistering stride that floored critics on both sides of the Atlantic. Rolling Stone hailed ‘Sore’ as a “blazing” breakout that “sounds like an unleashed id with a sick distortion pedal,” while Fader said it “hits that ever-elusive sweetspot between total recklessness and sly control,” and Pitchfork raved that the record “oozes with female desire” and offers up “a heavy swagger redolent of some of the best ever alt-rock.” In the UK, The Guardian praised the band’s “bludgeoning bass, gnarly guitars and red-raw vocals,” and The Line Of Best Fit dubbed it “a seminal first album.” The music earned Dilly Dally dates with Grouplove, METZ, and Fat White Family in addition to their first-ever international headline tour and festival appearances from Osheaga to Field Day.
Chastity is a world of its own from the mind of Brandon Williams. Reflecting the working class background
of Whitby, Ontario, Chastity’s songs are charged with the ethos of archetypal youth on the fringe. A project
more aptly characterized by its intentions than specific medium, Chastity stands to confront the struggles
of those existing in the unseen, often silenced periphery. It is an artifact of youth culture constantly
working to form community, bridging isolation with collectivity.
Visuals play a meaningful role in this world with Williams using his penchant for crafting consistently sharp,
challenging imagery to personalize the narratives running throughout all of Chastity’s work — most
discernibly, a call for disruption.
It was clear from the release of Chastity’s first demos that this was not “another punk band that can
operate at only one speed.” Always concerned with the trending lack of accessibility and inclusivity in
public spaces for the arts, the first Chastity show was held in Williams’ own bedroom where, packed wallto-wall,
the police were quickly called. But after the project’s second show supporting DC punk band
Priests, Chastity was off to the races, sharing stages with the likes of with Metz, Chelsea Wolfe and Fucked
Up. All without a full length recording out.
Since signing with Brooklyn label Captured Tracks, Chastity has re-released those initial demos, along with 2
new singles and an EP, stoking the anticipation of Chastity’s debut full length record, Death Lust.
Releasing Friday the 13th of July, 2018, Death Lust follows the plot of suffering to survival. The album
begins on a tortured note with ‘Come’ and builds toward the plummeting finale of ‘Chains’, evolving from
start to finish in a crescendo of severity. Chastity explains, “Death Lust is about growing up death obsessed.
It’s about the pain that it takes but the capacity that we have to overcome.”
$15.00 - $20.00
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