Come. A cornerstone of the Matador stable 20 years ago. A band that requires no introduction, but here's one for
the uninitiated.
New York, 1990. Guitarists Thalia Zedek (Dangerous Birds/Live Skull) and Chris Brokaw (Codeine) both relocate
(separately) to Boston from New York, where a year earlier, bassist Sean O'Brien (Kilkenny Kats) and drummer
Arthur Johnson (Bar-B-Q Killers), had moved from Athens GA. These parallel tracks (sub)merge and, fittingly,
make beautiful music together. Soon after the four play their first show together, Sub Pop releases the "Car" 7" as
part of their Singles Club series. Following a heated game of rock/paper/scissors with other competitors (Google it),
Matador emerges as the lucky label that releases Come's first of many masterpieces, Eleven:Eleven.
Despite being one of the best albums in this label’s long history and one of the more memorable debut albums in an
era full of ‘em, Eleven:Eleven has been out of print for far too long. Pitchfork has called it "one of the most elusive
gems of the Matador catalog, known for its knotty, torrential guitars and anguished vocals."
Eleven:Eleven is essential to understanding the music of the '90s. From All Music:
"One couldn't throw a brick around rock critics & college rock types in 1992 without hitting someone who’d
talk about how Come was the new incarnation of the blues, often loudly and at great length ... But it's the
Stones and acts like Patti Smith & Black Sabbath, not to mention the confrontation of no wave and other
punk-inspired acts, that are more of a touchstone to what's going on than Robert Johnson. It's a uniquely
sludgy, electric, strong fusion of sounds and styles, combining extreme angst and commanding power."
Brokaw and Zedek's emotional dual guitar work rivals Verlaine/Lloyd, chiming and majestic, cascading into
feedback-ridden squalls informed by both punk and metal, sifted through one of the tightest rhythm sections ever
assembled. Come toured extensively with Pavement, Sugar, Dinosaur Jr., and Nirvana, at those bands' request.
This May 21 sees this classic LP finally back in print, with a deluxe, remastered double disc reissue (2XLP, 2XCD)
comprising the original album plus a bonus disc featuring Come’s October 11, 1992 performance at the
Vermonstress Festival. The 2XLP edition will also include a bonus 7″, a reissue of the “Fast Piss Blues” b/w “I
Got The Blues” single. Matador will handle the North and South American release; Glitterhouse will be reissuing
Eleven:Eleven in the same configurations in Europe. It's all here. Again. For the first time.
After a handful of reunion shows in 2010 and 2011, Come’s original lineup will be playing selected shows later this
year including the Primavera Festival in Barcelona (North American dates will be confirmed shortly. In addition,
Thalia Zedek’s 5th solo album and first since 2008, ‘Via’, was released by Thrill Jockey in March.

The Redwood Plan

Seattle combo The Redwood Plan conquered hearts, ears, and dancing feet with its 2010 full-length Racing Towards the Heartbreak. Propelled by succinct, melodic hooks and riffs, songs like "Push" leapt forth from the speakers and defied listeners to forget them. On Green Light Go, the music of the Seattle quartet evolves further, revealing a denser, dynamic, and more eclectic sound, one that more fully reflects the aesthetics of the musicians behind it. "It's still very much the Redwood Plan, but bigger and more dynamic," insists front woman Lesli Wood. A synthesis of punk rock energy and bristling electronic sounds, one that accommodates both guitarist Sydney Stolfus' background in metal bands and Lesli's riot grrrl roots.

There is simply more going on, all the time, on Green Light Go. More melodies to lodge in the noggin, more textures to tease the ear, more moving pieces whirring in interlocking rhythms. Twists and turns abound. On opening "Panic On," dramatic electronic textures give way to a frenetic dance beat and Lesli's exhortations to seize the moment, while the unfolding instrumental intro of the chugging "Something Like This" suddenly subsides to spotlight an unusually vulnerable vocal performance. From the jittery rhythms and percussive fillips underscoring the nervous energy of "Your Fair Share," to the lightning fast keyboard lines and distinctive bass countermelody running through "Slam," every element of Green Light Go works in tandem.

The making of the Redwood Plan's second full-length album proved more protracted than the fierce urgency of its sound might suggest. The band started working with longtime producer Martin Feveyear (The Presidents of the United States of America, Brandi Carlile, Jesse Sykes and the Sweet Hereafter) at Jupiter Studios, with a completely different batch of songs, two years ago. Then family matters dictated that all the players take some time off. For Christmas 2011, Lesli's husband, bassist Larry Brady, gave her a copy of Ableton Live. She promptly vanished down the rabbit hole, committing herself to learning every aspect of the popular music-making software with her trademark drive and tenacity.

$15 Adv.


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