It seems fitting, upon listening to Pelican's music, that the band hails from Chicago. When Tortoise and their contemporaries ushered in a new wave of instrumental music over a decade ago it was a pastiche of genre-defying sound, simultaneously cohesive and expansive in influence. Similarly, Pelican's songs touch on so much from the canon of rock music. Never content to remain static over the course of their almost decade long career, 2009 finds Pelican has shifted gears once again. This year sees them on a new label, Southern Lord — a label helmed by Greg Anderson, whose own axe conjurations in SUNN, Goatsnake and Engine Kid have long been admired by the Pelican camp – and presenting a new full length. What We All Come To Need is Pelican through and through and the apex of their creative aspirations. It is the album that straddles most confidently the fine line between adherence to roots and the mining of the unexplored.

When the quartet's first full length, Australasia, came out in late 2003, it was an experiment in crushing heaviness, albeit melodic and compositionally complex that set them apart from their contemporaries. The songs excelled in exploring layers: where there were glacier-thick walls of guitars, there were also shifts and nuances that gave the songs room to breathe. These nuances became even more pronounced on Pelican's 2005 sophomore album, The Fire in our Throats Will Beckon the Thaw. Pegged early on as a "metal" band, it was with this second full length that it became apparent that this label was an oversimplification as the group had more in common with Slint and Hum than Slayer. With 2007'sCity of Echoes yet another step in Pelican's evolution was unveiled. This new album showcased urgency, more twists and unexpected turns; songs with more of a lyrical feel. And as evidenced by the post-DC-punk influenced title track, the band's disparate influences were presented with increasing clarity as guitar dynamics and rhythmic interplay came out from behind the wall of sound that were evident on previous recordings. With shorter songs and a pronounced live feel, City of Echoes was an ode to the road: a musical manifesto to pile into a van and travel for months at a time—something they had done relentlessly.

*Forever Becoming release date: October 15th on Southern Lord Records. You can stream album track 'Immutable Dusk' via the below Soundcloud link.

*Pre-orders for Deny the Absolute b/w The Truce 7" out August 20th over at The Mylene Sheath.

Coliseum have grown to become one of today's quintessential contemporary punk bands. Successfully melding progressive musicianship, hardcore fervor, and vital social awareness into one constantly evolving artistic vision. Over the last decade Coliseum have released music on a host of labels including; Temporary Residence, Relapse, Level Plane, Auxiliary, and even Deathwish (“True Quiet / Last Wave” 2009). And now, 2014 brings Coliseum and Deathwish together again as their permanent label home.

Gnaw is the sawblade-wrapped-in-razorwire brainchild of Alan Dubin (Khanate, Old, O.L.D.), Carter Thornton (Enos Slaughter), Jun Mizumachi (Ike Yard), Brian Beatrice, Eric Neuser and Jamie Sykes (Thorr’s Hammer, Burning Witch)/drummer on "This Face" album. Their 2009 debut for Conspiracy Records "This Face" has been described as a "genre destroying journey", utilizing pounding percussion, factory noise, chordal slabs of guitar and bass, homemade electro-acoustic instruments and Dubin’s unique and legendary vocalizations. The 5 piece have been assaulting audiences in the US as well as Europe with live shows since 2009 and have just completed their second album, "Horrible Chamber" to be released on Seventh Rule Records - October 2013.

$13.00 - $15.00

Tickets Available at the Door

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