Modern Man

Sound of light, fleeting darkness, wave of enlightenment. Droning echoes, whirling, driving, pushing, pulling, morphing the atmosphere. Reverberation, saturation, intoxication. Noise bleeds through a cloud of cascading layers until unity is acquired, lost in a sea of sound.

Modern Man began as David Allen Glenn’s solo recording project in spring 2010. Only looking for an outlet from other projects, including The Last Van Zant, We Are Now, Coma Cinema(Fork and Spoon), and Birds of Prey (Relapse), MM has become something he never intended. Experimenting with different effects, achieving a new style, Glenn began performing as a solo act. A chance-encounter led Glenn to developing his music with drummer, Jeff Perry. Modern Man was beginning to take a new shape as Glenn sought additional musicians, taking on guitarist, Brian Draper (Secret Vessels, Back Seat Dreamer) and bassist Jose Davila (Graven Hand). After releasing their first full length, Walk Away, conflicting schedules made performances difficult for Perry, upon substituting during a Coma Cinema / Modern Man 2011 summer tour, Nikki Calvert was asked to take his place.

Their third and most recent release, Eyes No, serves as a transitional album for the group’s new line up. Just before its debut in spring 2012, MM were picked up by Virginia based record label, Custom Made Music and later added to Shoplifter Booking’s roster. With new influences and inspiration, the focal content shifts from Walk Away’s dominant theme of romantic failure, to a deeper exploration of social and political perspective. Recorded, mixed and mastered by Glenn, the sound is lush, driven and captivating. Echoes of guitars mesh with haunting vocals as they drift atop surging bass lines, anchored by relentless drum force; MM’s sound is not easily accessible in comparison, but entirely surreal and unforgettable.

Dark and hypnotic, MM’s live performance also carries a lasting effect. The energy shared between the four-piece spills into the crowd as each member’s presence is fiercely intense. Glenn seems possessed, leading the others and the crowd through some sinister labyrinth of distortion.

One Hundred Percent (Album Release Party)

**One Hundred Percent is giving away 200 free digital downloads at the show!!

Before we get ahead of ourselves, One Hundred Percent has always been a loud-as-Hell rock band. Graduating from Bay Area acts like The Creeps and Switchblade Riot, it’s no surprise that the three members of San Francisco’s latest buzz-worthy band will bring the noise. Yet, just being loud is only half the story. What they don’t tell you is just how solid One Hundred Percent is at the heavy, guitar driven, and intensely layered indie rock which they do in fact bring. In one motion, One Hundred Percent can bring up a soaring and hazily sky written shoegaze melody that seamlessly morphs into a searing blitz attack of post-punk percussion, and finally clocks in with a devastating Sonic Youth-esqe freakout. Since early 2012, the band has been not so quietly perfecting their evocative concoction in and around the city. Now, that noise pays off in the form of their debut LP, All Teeth and Nails, set for release this fall on San Francisco’s increasingly addictive 20 Sided Records.

One Hundred Percent is a band absorbed with a lifetime’s worth of the genre-bending underground rock that evolved out of a repressed youth decades ago. We are talking back in the day, when Dinosaur Jr. was melting faces and My Bloody Valentine was ringing out ears everywhere. That’s the stuff that guitarist and vocalist Matt Habegger is talking about anyways. Stepping out from behind a bass for the first time, Habegger makes like a veteran frontman, writing a storied score that’s told in the grizzled, strained yells he lashes out over his double-amped axe. Literally plugged into two amps, Habegger gives out textured and surprisingly resonant sounds considering this is “loud-as-Hell rock” after all. Add in bassist Ryan Christo, also double-amped (naturally), who growls out a mean line with the best of them, strumming along as the cornerstone of this tidal wave of noise. Did I mention these guys are loud? Well, they’d have to be just to be heard over drummer Jay Fruy, always ready to roll with a pounding beat.

So far, One Hundred Percent has offered up some exciting snippets of their sound, in the form of two EPs and some singles, you know, just putting the name out there. Still, those early peeks don’t do any justice to their full-length debut. All Teeth And Nails is a different breed of beastly; cleaner production, heavier riffs, an overall step up in sound and a massively listenable collection of songs. A feat made even more impressive given the fact that All Teeth and Nails is a strictly DIY self-recorded and produced album that the three bandmates collaboratively saw from start to finish. Don’t fret, it’s still loud and insanely fuzzed, just now the epicness factor is maxed out as the band delivers their most accomplished stuff to date. All Teeth And Nails is actually One Hundred Percent’s perfect introduction, a blend of the band’s last two years with a host of fresh ideas mixed in, for one fully accessible and roaring rock album ready to raise some serious excitement.

The Union Trade

The Union Trade made their debut in 2007 with the release of their first EP, “Now the Swell” (Tricycle), which was quickly followed up by their first full-length album. 2008's “Everyday Including” (Tricycle) laid out the band's vision of a lush cinematic post rock sound built on heavily distorted guitars awash in delay, epic dynamics, and minimalist vocals. Garnering the band praise in national and international press, and fans around the world, “Everyday Including” also earned The Union Trade an official showcase at SXSW 2009.

With the addition of new drummer David Elrod to the founding line-up of, Don Joslin (guitar), Eric Salk (guitar & keyboards) and Nate Munger (bass & lead vocals), The Union Trade add a dynamic new element to their sound. This new energy is captured on their upcoming EP, “Why We Need Night”, released February 8th, 2011 on Tricycle Records.

Over the course of their upcoming EP, “Why We Need Night” (Tricycle), The Union Trade follow the contours of proven terrain and map the outlines of an evolving sound. In moments throughout, the band strips away the epic layers of their first album to expose the intimacy of a beautiful guitar line, the gravity of a simple piano progression, or the emotion and lyricism of a vocal performance. Energized by dynamic rhythms, the EP progresses from the familiar into new territory marked by a broader range of analog and acoustic keyboards, electronic elements and The Union Trade's most concise song structures to date. “Why We Need Night” captures The Union Trade as they continue to define the space where instrumental rock influences meet a more mainstream indie rock sound.

$7 adv - $10 dos


Under 21 must buy $5 drink ticket at the door.

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