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Thursday, July 24, 2014 8:30:06 PM
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Thursday 07/24/2014 9:00 PM | 21+
$14 Doors

Bombadil's last album was almost its swan song. The quartet of singers, songwriters and multi-instrumentalists - Stuart Robinson, Daniel Michalak, Bryan Rahija and James Phillips ­ recorded All That the Rain Promises in ten days, while living in a barn in Oregon. The barn was so cold, they had to warm their hands by a wood-burning stove between takes. The album's sparkling blend of folk, rock and gentle psychedlia earned rave reviews, but Michalak's continuing hand problems made the future look grim. He¹d developed a case of neural tension that made playing and driving painful. They toured sporadically and weren’t sure about the future of the band.

Happily, a regimen of relaxation and stretching exercises has Michalak's pain under control, and the band is rebuilding its momentum. They spent most of 2012 touring and recording the songs that became Metrics of Affection. The album is their most melodic and adventurous outing yet, a cornucopia of styles marked by mischievously surrealistic lyrics and their familiar lush harmonies. Their inventive arrangements add funk, country, boogie woogie, rap, early rock and hints classic pop songwriting, circa 1940, to their already eclectic sound.

“We produced the album ourselves,” Robinson says. “We recorded in our house in Old North Durham. James [Phillips, our drummer] engineered it in our home studio. It's the first time we recorded at home, instead of going somewhere to make a record. It was also the first time that we used drum machines, synths and samplers. James sang more on this record than ever before, Daniel rapped for the first time, Bryan wrote a cello part for the first time and I recorded pitched wine glasses for the first time. We all write songs and we're not afraid of jumping out of our box to write any kind of song we like, whether it's classical, hip-hop, punk or bluegrass.”


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Friday 07/25/2014 9:00 PM | 21+

7Horse began as a hypothetical: What if, longtime band mates Joie Calio and Phil Leavitt thought, we bury our musical past and see if we can discover rock ’n’ roll’s Ground Zero? That question having been explored in bold fashion on their 2011 debut “Let the 7Horse Run,” the blues duo returns with an even deeper sense of purpose on the follow-up, “Songs for a Voodoo Wedding” (due June 10). The larger question: What if the mission were not to locate rock ’n’ roll’s chewy center, but to find and channel their own personal identities?

“I’m a grown man with wants and needs and temptations and faults, and I’m not gonna be afraid to write about any of it,” says Leavitt, the singer/drummer whose sometimes-bawdy, always-honest narratives are filtered through an array of vintage microphones. “Everybody now wants to tell you how sensitive they are. Enough of that. Where’s the attitude? Where’s the swagger? If we can be a two-man Rolling Stones, I say we go for it.” Adds Calio, who spent much of his career as a bassist before refining the finger-picking and slide skills asked of a blues guitarist: “I feel like on a base level this is what I’m all about as a human being. I feel like we’ve found a renewable source of energy.”It’s all the more remarkable considering 7Horse started as a trial balloon, with Calio and Leavitt exchanging riffs, lyrics and song sketches via iPhone from their homes in Seattle and Los Angeles, respectively. Those ideas in hand, the pair blew through studio sessions that saw them arrange, refine and record one song per day. The results coursed with rawness and immediacy, and it’s a process they replicated in making “Songs for a Voodoo Wedding.”

Part of what informed the sophomore album, however, was the “quality” time Calio and Leavitt spent together in the interim. Though accustomed to touring in the relative luxury of a bus for much of their careers, the pair piled into a van to tour the U.S. behind their first record. On the vehicle’s stereo for most of the slog: The masters, such as Johnny Cash, Waylon Jennings, George Jones, Merle Haggard, along with early blues legends such as Little Walter.



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  • Pivot Gang x New School Poetics x Heart Of The City TV present:
  • Saba COMFORTzone Release Show
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Saturday 07/26/2014 7:00 PM | All Ages
$7 Adv. / $10 Doors


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Sunday 07/27/2014 12:00 PM | All Ages
FREE!

The Greenleaf Band, based in Chicago, plays a unique blend of folk, pop, bluegrass and country styles, performing their original tunes at a variety of venues. Describing the band's sound, the Chicago Tribune wrote: “Lovely vocal harmonies couple with real-deal pickin' and pluckin', to irresistible effect." The Greenleaf Band offers distinctive, toe-tapping music in performances that are engaging and energetic.

Check out the brunch menu here!



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Tuesday 07/29/2014 5:30 PM | All Ages

For over a decade, School of Rock has been teaching guitar, bass, drums, vocals, and keys through an innovative performance-based method. Through a series of private lessons and group rehearsals, students get to show what they're learning on real rock stages to real rock audiences.

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Wednesday 07/30/2014 9:00 PM | 18+

After years toiling away as a guitarist in other-people’s bands, Courtney Barnett finally gained the courage to step out as a solo artist less than two years ago. Gathering together a bunch of like minded friends, she recorded a debut EP of rambling garage pop and began life as a front-woman.

That EP I’ve Got A Friend Called Emily Ferris received glowing reviews in her home country of Australia but that trickle of critical acclaim turned into a river of praise upon the release of her second EP How To Carve A Carrot Into A Rose.

While the sprawling guitar jams of her band “The Courtney Barnetts” barely hide her remarkable pop sensibility it’s Courtney’s honesty, wit and unique turn of phrase that set her apart from the rest. Reviews range from calling her “The next queen of Australian rock and roll” to just wanting to be mates with her, “I’ve only ever met her once but I can tell she’s a legend.”

2013 has seen Courtney release a bunch of killer singles such as the free associating ‘History Eraser’ (praised by The Guardian as “a perfect summary of the earnest freewheelin’ and rambling wit that makes music from this end of the world just so great.”) and the anaphylactic balladry of ‘Avant Gardener’. With a second EP complete (produced by The Drones’ Dan Luscombe), a debut album around the corner and an increasingly impatient international audience waiting for her to leave her shores, it’s an exciting time to be one of Courtney Barnett’s friends.



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Thursday 07/31/2014 9:00 PM | 18+

The third album from J. Roddy Walston & The Business, Essential Tremors borrows its name from a nervous-system disorder that’s long plagued the band’s frontman. “It’s this condition where my hands shake?sometimes not at all, but sometimes pretty bad,” says singer/pianist/guitarist Walston. “I’ve referenced it throughout all our records in some way, but it made sense to be more open about it on this album, which is partly about owning and embracing your weirdness instead of letting it hold you captive because you don’t even want to talk about it.”

For J. Roddy Walston & The Business?who formed in 2002 in Walston’s hometown of Cleveland, Tennessee?embracing weirdness means a mumble-out-loud celebration of that great and terrible burden of being human. Forcing the oft-clashing worlds of art and rock-and-roll to make nice, the band (including guitarist/vocalist Billy Gordon, bassist/vocalist Logan Davis, and drummer Steve Colmus) deals in a scrappy yet sublime sound that honors both their Southern roots and punk spirit. On Essential Tremors, J. Roddy Walston & The Business builds off that formula with a mix of heavy hooks and elegant melodies revealing their affinity for artists as disparate as Led Zeppelin, pre-disco-era Bee Gees, The Replacements, Randy Newman, and the Southern soul outfits that once populated the Stax Records label. Co-produced by Matt Wignall (Delta Spirit, Cold War Kids) and Grammy-winning producer/engineer Mark Neill (The Black Keys) at Neill’s own Soil of the South Studios (a Valdosta, Georgia-based facility where J. Roddy Walston & The Business were the first to ever record), the follow-up to 2010’s much-acclaimed self-titled sophomore album also finds the band crafting lyrics that ultimately serve as a secret language to the initiated listener.



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