ADVANCE: $15
DAY OF SHOW: $20
DAY OF SHOW: $20
Audio / Video
Gallery
About This Event
Minimum Age:
18+Doors Open:
7:00 PMShow Time:
7:30 PMDescription:
This is a first come seated event. Seating is limited and not guaranteed; please arrive early.
Artists
The Little Death
The Little Death is Laura Dawn (lead vocals), Moby (bass, guitar), Daron Murphy (guitar, bass, & harmonica) , and Aaron A. Brooks (drums). Formed in 2008, their sound is like a drunken bar fight between John Lee Hooker and Kurt Weill or the desperate love-child of Big Mama Thornton and Robert Mitchum. Old blues, soul, and vintage psychedelia slam behind songs about fucking and despair, blind joy and glorious dissolution, fronted by a white girl with a voice equal parts Bessie Smith and Dusty Springfield. Their packed live shows (featuring tight harmonies from backup singers Jamie Rae and Cherie Martorana, aka The Death Threats) are raucous and passionate--punk-rock fueled revivals for hungry souls.
"Imagine if Jack White joined Joplin-era Big Brother and the Holding Company, and they teamed up with vintage Fleetwood Mac and Dusty Springfield. That’s more or less what you’re getting with New York City outfit The Little Death. The band’s self-titled debut is simultaneously ballsy and soulful, and a refreshing throwback to rock n’ roll’s roots. Fans of old school rock and soul would be crazy to skip this band’s promising debut."---Viva La Mainstream's "Awesome Music You Missed in 2009"
"Dirty, gritty, seriously old school soul....Laura Dawn sounds like she went on a whiskey bender on the L.E.S and woke up in 1962 Memphis...cuts a sultry swath across the music scene with a genre that rarely gets cred in NYC: white-girl truck stop juke joint soul."--NBCNewYork.com
"Little Death vocalist Laura Dawn has a howl that sounds like it crawled straight out of Memphis, and her backing band (featuring Moby on bass and guitar) ain’t too shabby, either. Thanks to a fair bit of swagger and a good grasp of bar-band style, The Little Death more than lives up to its name, if you know what we mean."---Magnet Magazine
"...with Laura Dawn pulling out her Dusty in Memphis blues belting...this album is at its very core tales of love from a woman’s perspective, and we get the whole picture from lifting, hopeful wishes to biting, cursing,... scornful warning, to hot impassioned eros all surrounded by throwback guitar, bass, and drums and the supporting harmonies of The Death Threats (backup singers Jamie Rae and Cherie Martorana). A symphony of the female condition, perhaps... there is an underlying spirituality and gospel delivered by The Little Death...Certainly its love-during-the-apocalypse theme has that timelessness about it."--Play B-Sides
"Like the original Ike & Tina Turner Revue, minus the beatings. I love them." -John Waters on The Little Death nyc
"Move over Janis Joplin!" - David Lynch
"Imagine if Jack White joined Joplin-era Big Brother and the Holding Company, and they teamed up with vintage Fleetwood Mac and Dusty Springfield. That’s more or less what you’re getting with New York City outfit The Little Death. The band’s self-titled debut is simultaneously ballsy and soulful, and a refreshing throwback to rock n’ roll’s roots. Fans of old school rock and soul would be crazy to skip this band’s promising debut."---Viva La Mainstream's "Awesome Music You Missed in 2009"
"Dirty, gritty, seriously old school soul....Laura Dawn sounds like she went on a whiskey bender on the L.E.S and woke up in 1962 Memphis...cuts a sultry swath across the music scene with a genre that rarely gets cred in NYC: white-girl truck stop juke joint soul."--NBCNewYork.com
"Little Death vocalist Laura Dawn has a howl that sounds like it crawled straight out of Memphis, and her backing band (featuring Moby on bass and guitar) ain’t too shabby, either. Thanks to a fair bit of swagger and a good grasp of bar-band style, The Little Death more than lives up to its name, if you know what we mean."---Magnet Magazine
"...with Laura Dawn pulling out her Dusty in Memphis blues belting...this album is at its very core tales of love from a woman’s perspective, and we get the whole picture from lifting, hopeful wishes to biting, cursing,... scornful warning, to hot impassioned eros all surrounded by throwback guitar, bass, and drums and the supporting harmonies of The Death Threats (backup singers Jamie Rae and Cherie Martorana). A symphony of the female condition, perhaps... there is an underlying spirituality and gospel delivered by The Little Death...Certainly its love-during-the-apocalypse theme has that timelessness about it."--Play B-Sides
"Like the original Ike & Tina Turner Revue, minus the beatings. I love them." -John Waters on The Little Death nyc
"Move over Janis Joplin!" - David Lynch
Gordon Gano & The Ryans
Gordon Gano and his band the Violent Femmes helped define post-punk's nerdy cool wile crafting himself into one of rock's finest singer/songwriters. For the first time in seven years, he is emerging again to offer his bittersweet tunes to a whole new generation of fans. Gordon Gano & The Ryans releasing Under the Sun, a collaboration between Gano and Brendan & Billy Ryan, to be released September 15th 2009.
In 1983, Gordon Gano and his band the Violent Femmes released their self-titled debut, still believed to be by many critics one of the best rock albums of our time. Described as, "The Grandfathers of folk-punk...rock's dadaist improvisers...the sonic personification of anxiety...blues cubists," and "...spokesmen for misfits," the band would go on to define 80s teen angst and be the unlikely poster children for the still nascent alternative music movement, making it clear there was as yet untapped powerful dimension of artists and consumers lurking beneath the current pop mainstream of the day. Violent Femmes is famously the first album to ever gain platinum status without ever charting on the Billboard Top 100. To date, the album has sold nearly two million copies [*Note: this is since the advent of Soundscan in 1992 and therefore missing nearly a decade of sales].
The music that inspired his collaboration with the Ryan brothers spawned during fertile sessions in the cafe's, bars and laundromats of New York City's West Village. Known for their own band The Bogmen and a healthy film score career (Fever Pitch, The Heartbreak Kid, MO) Brendan and Billy Ryan bring musicality and new color to Gordon's visceral lyricism and signature adenoidal drawl. A filled-out next chapter to the music of the Femmes, Under the Sun is the music of a mature band, a band made of men not boys, men who have supplanted wonder for angst, controlled passion for reckless abandon. But any album that contains the lyric "I was crappin' and a-nappin' " can't be all business. Gano-ian playfulness surely makes more than one appearance.
Largely record at the Carriage House in Stamford, CT, Under the Sun features Gordon Gano on vocals/guitar/violin, Brendan Ryan on keyboards/accordion/horns, Billy Ryan on guitar/backing vocals, Frank Ferrer (Guns N' Roses, Psychedelic Furs) on drums and Lonnie Hillyer (Maggie's Dream, Bernie Worrell) on bass. Phil Palazzolo (The New Pornographers, Neko Case) engineers and mixes.
A direct inspiration to today's indie folk and pop artists alike (The Arcade Fire and Gnarls Barkley both regularly perform Gano's songs, the latter recording "Gone Daddy Gone" for their debut album St. Elsewhere) Under the Sun is only Gordon's second solo offering and surely his most cohesive. The ever-swimming shark, Gano and company move toward another chapter in the canon of rock.
In 1983, Gordon Gano and his band the Violent Femmes released their self-titled debut, still believed to be by many critics one of the best rock albums of our time. Described as, "The Grandfathers of folk-punk...rock's dadaist improvisers...the sonic personification of anxiety...blues cubists," and "...spokesmen for misfits," the band would go on to define 80s teen angst and be the unlikely poster children for the still nascent alternative music movement, making it clear there was as yet untapped powerful dimension of artists and consumers lurking beneath the current pop mainstream of the day. Violent Femmes is famously the first album to ever gain platinum status without ever charting on the Billboard Top 100. To date, the album has sold nearly two million copies [*Note: this is since the advent of Soundscan in 1992 and therefore missing nearly a decade of sales].
The music that inspired his collaboration with the Ryan brothers spawned during fertile sessions in the cafe's, bars and laundromats of New York City's West Village. Known for their own band The Bogmen and a healthy film score career (Fever Pitch, The Heartbreak Kid, MO) Brendan and Billy Ryan bring musicality and new color to Gordon's visceral lyricism and signature adenoidal drawl. A filled-out next chapter to the music of the Femmes, Under the Sun is the music of a mature band, a band made of men not boys, men who have supplanted wonder for angst, controlled passion for reckless abandon. But any album that contains the lyric "I was crappin' and a-nappin' " can't be all business. Gano-ian playfulness surely makes more than one appearance.
Largely record at the Carriage House in Stamford, CT, Under the Sun features Gordon Gano on vocals/guitar/violin, Brendan Ryan on keyboards/accordion/horns, Billy Ryan on guitar/backing vocals, Frank Ferrer (Guns N' Roses, Psychedelic Furs) on drums and Lonnie Hillyer (Maggie's Dream, Bernie Worrell) on bass. Phil Palazzolo (The New Pornographers, Neko Case) engineers and mixes.
A direct inspiration to today's indie folk and pop artists alike (The Arcade Fire and Gnarls Barkley both regularly perform Gano's songs, the latter recording "Gone Daddy Gone" for their debut album St. Elsewhere) Under the Sun is only Gordon's second solo offering and surely his most cohesive. The ever-swimming shark, Gano and company move toward another chapter in the canon of rock.