ADVANCE: $15
DAY OF SHOW: $17
DAY OF SHOW: $17
Audio / Video
Gallery
About This Event
Minimum Age:
21+Doors Open:
8:00 PMShow Time:
9:00 PMDescription:
This is a general admission, standing event.
Artists
Deerhoof & Friends:
Like all the best pop music, Deerhoof has always been strikingly new and yet strangely familiar. Melodic beauty, as if out of a half-remembered dream, is set against flashes of brilliant innovation that seem to be as much of a surprise to the band as to the listener. With Deerhoof every song is an adventure. Classic rock, J-pop, jazz, classical, and noise suddenly become inseparable, as if no stylistic barriers had ever truly existed. This is reflected in their equally wide following: Ask five fans to pin down Deerhoof's sound and you'll get five completely different answers.
Their mid '90s debut saw them being branded "too noise for pop" and "too pop for noise." But even as this combination eventually proved basic to the sound of contemporary indie rock, lifting the band out of obscurity in the process, Deerhoof has remained a genre unto themselves. From the cartoon surrealism of Milk Man
(2004) or Friend Opportunity
(2007) to the gritty realism of Apple O'
(2003) and Offend Maggie
(2008), they have invented their own instantly recognizable way of writing, playing and recording a song.
They are a study in contrasts. Vocalist/bassist Satomi Matsuzaki's light, cool delivery, and the laser beam clarity of her melodies, create a magical tension with her bandmates' ragged power and hyperexpressivity. Underlying any seemingly mythic tendency in the lyrics is a very human concern with worldly love and friendship. And while they can pull out all the stops with some breathtaking songwriting sophistication and virtuosic sparkle, always present is an unpretentious Deerhoofian joy. Ultimately their only rule has been to throw away the rules. As successful as they've become, they are an inspiration to their ever-growing audience because they've stayed DIY, stayed positive, and stayed pure.
Photos in gallery of Deerhoof performing at LPR in 2009 by Annie Lesser.
Their mid '90s debut saw them being branded "too noise for pop" and "too pop for noise." But even as this combination eventually proved basic to the sound of contemporary indie rock, lifting the band out of obscurity in the process, Deerhoof has remained a genre unto themselves. From the cartoon surrealism of Milk Man
(2004) or Friend Opportunity (2007) to the gritty realism of Apple O' (2003) and Offend Maggie (2008), they have invented their own instantly recognizable way of writing, playing and recording a song.
They are a study in contrasts. Vocalist/bassist Satomi Matsuzaki's light, cool delivery, and the laser beam clarity of her melodies, create a magical tension with her bandmates' ragged power and hyperexpressivity. Underlying any seemingly mythic tendency in the lyrics is a very human concern with worldly love and friendship. And while they can pull out all the stops with some breathtaking songwriting sophistication and virtuosic sparkle, always present is an unpretentious Deerhoofian joy. Ultimately their only rule has been to throw away the rules. As successful as they've become, they are an inspiration to their ever-growing audience because they've stayed DIY, stayed positive, and stayed pure.
Photos in gallery of Deerhoof performing at LPR in 2009 by Annie Lesser.
Father Murphy
Reverend Murphy was born in Brooklyn, New York, hundreds years ago in a hot hot summer.
He had one son and a daughter: Freddie Murphy and Chiara Lee. They choose 2 different ways: the little Lee went to China, while Freddie was stuck in Brooklyn.
They kept in touch for a while, then both felt asleep for many years.
Three years ago they met again in Venice, where they got baptized by Vicar Vittorio Demarin, and there you go: Father Murphy was born.
TALIBAM!
TALIBAM!, the NEW YORK duo of Kevin Shea and Matt Mottel have been on an inspired path since forming in 2003. Their decision to name the band after the New York Post headline 'TALIBAM!' on the first day of America bombing Afghanistan defines this era of culture, propaganda, and contradiction. In 2010, the name 'TALIBAM!' is still utterly contemporary and important in that it reminds us of a militaristic culture of provocation and war, that we are against. Unlike most bands of this era that chose easy consumable 'hip' names, TALIBAM! is a cultural signifier, one that questions authority and power in both oblique and direct ways.
The music of TALIBAM! though is not a serious smoldering affair. TALIBAM! are interested in fun, performance, and nuanced humor that creates a psychadelic pastiche of 'black sabbath' 'sun ra' and 'cheech and chong.' This pervasiveness for diverse performance led to rave reviews of their last studio album 'BOOGIE IN THE BREEZE BLOCKS', issued on the venerable ESP DISK, newly reformed.
The music of TALIBAM! though is not a serious smoldering affair. TALIBAM! are interested in fun, performance, and nuanced humor that creates a psychadelic pastiche of 'black sabbath' 'sun ra' and 'cheech and chong.' This pervasiveness for diverse performance led to rave reviews of their last studio album 'BOOGIE IN THE BREEZE BLOCKS', issued on the venerable ESP DISK, newly reformed.