Dead Meadow

Dead Meadow

Howlin Rain, Yawning Man, MAD Alchemy Liquid Lights

Sat, July 7, 2018

Doors: 8:00 pm / Show: 9:00 pm

$16 advance / $18 day of show

This event is all ages

Dead Meadow
Dead Meadow
"Dead Meadow formed in 1998 with Jason Simon on vocals and guitar, Steve Kille on bass, and Mark Laughlin on drums. They began to combine 70s hard rock and 60s psychedelic rock with far out and sometimes mystically minded lyrical themes occasionally even hinting at the obscure genius H. P. Lovecraft and other far out writers of the bizarre and weird.[1] The first album, Dead Meadow, was released in 2000 on Tolotta Records, a label run by Fugazi bassist Joe Lally. The LP version was released by Planaria Records. This was quickly followed by 2001's Howls from the Hills, also released on Tolotta Records. At the completion of "Howls from the Hills" John Peel asked Dead Meadow to record a Peel Session which was recorded in Fugazi's home studio, the first time a Peel Session was recorded outside the BBC studios.[1]

n Spring 2002, Laughlin parted ways with the band in order to pursue a career as a lawyer. He was replaced by long-time friend Stephen McCarty ). A live album, Got Live If You Want It, was released in mid-2002, which documented one of the last shows with drummer Mark and was produced by Anton Newcombe of Brian Jonestown Massacre. In early 2003 the band signed with Matador Records and released Shivering King and Others. Along with the heavy song and blues-influenced songs as on the previous two records, the band continued in their psychedelic style, with acoustic elements and ballads. With the addition of second guitarist Cory Shane, Feathers was released in 2005. Simon’s guitar virtuosity is influenced by the droning modal character of Eastern music as by classic rock riffs.

Jason Simon is the nephew of The Wire creator David Simon. Dead Meadow's music was used briefly in the episode React Quotes in season five of The Wire.

In 2007 the band has reverted back to a three piece, made an appearance at the 5th annual Green Man Festival in Crickhowell, Wales and relocated from Washington, D.C. to Los Angeles, California.

In the beginning of 2008, Dead Meadow released Old Growth on Matador Records. A collection of songs that brought the band back initially to the same farm that their second release Howls from the Hills was created and eventually finished up at the legendary Sunset Sound studio in Los Angeles. As with the last three albums Old Growth was produced by bassist Steve Kille.

Later in that same year a brief session with Andrew Stockdale of Wolfmother led to the reinterpretation of the Dead Meadow song "Everything's Goin' On" as a new song "Pilgrim" landing on the second release for Wolfmother, "Cosmic Egg".

In March 2010 the band released a feature length live film and soundtrack, "Three Kings", that spotlights their stage show along with psychedelic dream scenarios. The live footage and audio was captured at the bombastic final show of the five month "Old Growth" tour. The film premiered at the Hollywood Forever Cemetery in Los Angeles, California[2] and was released on the NYC label Xemu Records, co-run by Kille."
Howlin Rain
Howlin Rain
S
ince their debut in 2006, Oakland, California’s Howlin Rain has seen as many highs, lows, and wild adventures as any great American rock band. Led by singer/guitarist/lead howler Ethan Miller (co-founder of blistering psych rockers Comets On Fire), they’ve performed to worldwide audiences, enlisted a megastar producer and label, moved on from said megastar producer and label, and ultimately embraced a DIY spirit.

With their new LP The Alligator Bride, Miller’s merry band of pranksters deliver their fifth full-length set of swampy, ragged, and unapologetic rock ’n roll. “The guiding principle for The Alligator Bride was to create ‘Neal Cassady Rock,’” says Miller. “Which is to say, high energy, good-times adventure music, driving the hippie bus, shirtless and stoned, up for four days straight, and extremely fuzzy around the edges.” It’s their first release on Silver Current Records, the artist-run label owned by Miller, who carefully oversees all curation, recording, graphic design, and distribution.

The Alligator Bride is gleefully indebted to classic rock formations such as the Grateful Dead’s Europe ‘72, Mountain Bus’ 1974 burner Sundance, and Free’s masterpiece of atmospheric, minimalist blues, 1969’s Fire and Water. But there’s a wider context to the Rain. At any given moment, Miller pivots between several projects, each a different facet of his sun-scorched California vision. From the pastoral psych jams of his celebrated Sub Pop band Heron Oblivion, to the scuzz punk freakouts of Feral Ohms, to the sprawling, analog ambience of The Odyssey Cult, to his various books of poetry, Miller cuts a renaissance figure in madman’s garb, howling at the moon and cranking out handmade masterpieces.

Which brings us back to Howlin Rain’s latest. Tracked over three days by Eric “King Riff” Bauer at the Mansion in San Francisco, The Alligator Bride is the sound of a full band playing live to tape, cutting the material in first and second takes. (It also marks the second installment in the band’s Mansion trilogy. First was 2016’s Mansion Songs, a less raucous affair, with the gentle touch of Espers/Heron Oblivion’s Meg Baird on vocals, among other contributors.) Miller attributes the magic to the vibe of the Mansion studio, the same space that gave birth to modern garage-psych classics by Ty Segall, Thee Oh Sees, and Mikal Cronin. “Because it has the word ‘mansion’ in it, people are like, ‘Oh, I didn’t realize it wasn’t an actual mansion.’” says Miller. “It’s a basement in Chinatown. It’s a mansion of the mind. It’s a creative castle. It’s not a literal, San Francisco mansion.”

From the first notes of opening track “Rainbow Trout,” Miller’s guitar choogles out an inescapable riff, a sly reference to the sky spirits of Norman Greenbaum and ZZ Top. The riff – that riff! – unabashedly grounds The Alligator Bride in the classics, but reaches for the stars. Daniel Cervantes’ bottleneck slide guitar eases into place along with Miller’s tuneful-yet-ravaged lead vocals, followed by Jeff McElroy’s bass and Justin Smith’s charging drums. Title track “Alligator Bride” soon crashes the gates like Crazy Horse in all their ragged glory, telling a carnivalesque tale of American splendor, a parade of creatures across time and space. And final track “Coming Down” slow-burns its way through eight minutes of indestructible twin guitars, blazing to a heroic, acid-damaged finish.

“We’re in a vortex of futuristic events,” ruminates Miller. “At this present moment, we can still remember the way the train whistle sounded in the middle of the night, rolling through the dark on the ​outskirts of town. An old America before we walked on the moon, before TV, cell phones, and the internet. The song (and perhaps the entire album) ‘Alligator Bride’ is about standing in the eye of that tornado of time – between the past and the present – in America.” It’s a fitting vision for the band: torn between eras, an epic perspective on what’s come before and what lies ahead, woven into a cosmic tapestry of riffs, rhymes, and resonant frequencies.
Yawning Man
Yawning Man
Experimental rock band from the Palm Desert, CA, USA, formed in 1986.
MAD Alchemy Liquid Lights
Venue Information:
The Teragram Ballroom
1234 West 7th Street
Los Angeles, CA, 90017
http://www.teragramballroom.com/