Day: Friday, May 9, 2014
Door Time: 7:00 PM
Age: All Ages
Advance Ticket Price: $17.50
Day Of Show Price: $21
|Lynxapalooza 2015 Featuring Manchester Orchestra
CU Denver Live! presents Lynxapalooza 2015 featuring Manchester Orchestra and New Leverage. CU Denver's welcome back concert is hosted on Auraria Campus (Spruce lot) but is open to the general public.
Doors are at 5:30 and we are excited to have CU Denver band New Leverage start the night off followed by Manchester Orchestra at 8:00pm. Come join us for some food, fun, and great music!
Manchester Orchestra is an indie rock band which formed in Atlanta, Georgia, United States in 2005. They consist of Andy Hull (vocals, guitar), Robert McDowell (guitar), Jonathan Corley (bass), Christopher Freeman (keyboards) and Jeremiah Edmond (drums, 2005-2010). The band has released two albums - 2006’s “I’m Like A Virgin Losing A Child” and 2009’s “Mean Everything to Nothing”.
Mean Everything To Nothing , the second album from Atlanta’s Manchester Orchestra, is everything you want a rock record to be: raw, urgent, emotional, and 100 percent authentic. “There is nothing fake about this record,” says frontman and lyricist Andy Hull. “There’s not one fake sound on it. We recorded it live because we wanted it to sound like a band, and I think it does: live and loud!”
Inspired by the pounding, primal assault of Weezer’s Pinkerton , Nirvana’s In Utero , and Foo Fighters’ The Colour and the Shape , this young band has created its own version of what a classic rock album should sound like, complete with fiercely beautiful melodies, shifting guitar and keyboard textures, loud/soft dynamics, and an urgency in each band member’s performance, especially Hull’s cathartic vocals.
The drama is magnified by the fact that the album’s first six songs bleed into one another without stopping. The blistering opener “The Only One” immediately gives way to the propulsive “Shake It Out” and the torrential first single “I’ve Got Friends,” followed by the anguished “Pride” and the menacing “In My Teeth,” before slowing down on the darkly funny “100 Dollars.” Then the album pauses and down-shifts into less relentless yet equally gripping territory on songs from “I Can Feel A Hot One” (which was featured on Gossip Girl last September), to the ruminative closer “The River.”
The breakneck pace is both exhilarating and exhausting, which Hull says was intentional. “I like the fact that there isn’t a chance during the first six songs to say anything if you’re listening to it with somebody. It’s seamless. We did that to emphasize that there are two halves to the album.” The first half is a brooding tale of teenage angst and anger — the confusion and disillusionment of growing up and becoming an adult. The second half is about redemption and an overall re-evaluation of the self. It’s about Hull beginning to realize in his own words “that things are not ok, I am not ok, and there’s a beauty in that — a calming, a forgiveness,” he says.
A fully realized album, Mean Everything To Nothing is the sound of a band coming into its own after spending 300 days on the road in support of their debut album, 2007’s I’m Like A Virgin Losing A Child — a coming-of-age chronicle that expressed the then 19-year-old Hull’s hopes and aspirations as he sought spiritual knowledge. Virgin was an attention-getting shot across the bow that Rolling Stone praised as “expansive in scope and rich in texture, even while remaining lyrically focused on small moments of revelation” and the New York Times called “music to swoon to.” But whereas the songs on the debut were voiced by a fictional cast of characters that Hull created to obscure his own emotions, the intensely personal songs on Mean Everything To Nothing are all him. “I was able to be more honest when singing as someone else,” admits Hull, who is now 22. “Now I’ve realized, although it’s incredibly difficult, it’s more powerful to just say it myself.”
Although Hull writes all the lyrics, he describes the process of making Mean Everything to Nothing as more collaborative than that of its predecessor. “Writing the album was such a joy for me because the things these guys contributed were insane,” Hull says. “I had plenty of suggestions and opinions, but the parts are theirs. This was not a one-man show. Jeremiah is patient and wise; he’d make me play a song five times before jumping in during our writing rehearsals. Robert’s talent and creativity are obvious throughout the album. His vocals, keys, and guitar parts shine in moments where you don’t expect them to. Jonathan has always been an amazing bassist, but on this album he let go with more freedom in writing his parts than he has before. And Chris doesn’t really play keys, it’s more like lead guitar. Most of the moments that sound like a crazy guitar are actually keyboard. He really made the record his own by writing ambient swells, piercing tones, and adding chunky, beefy distortion.”
Indeed the band’s chemistry is palpable on Mean Everything To Nothing , perhaps because, after more than a year of touring with such artists as Kings of Leon, Brand New, Clap Your Hands Say Yeah, Say Anything, and Black Rebel Motorcycle Club, as well as performing their own headlining shows, Manchester Orchestra has become a powerful and well-oiled machine. “The touring made us so incredibly tight on all levels,” Hull says, “so there was no pride involved if someone said, ‘No that doesn’t work, don’t do that.’ No one got their feelings hurt because we were all dedicated to the same thing — making the best record we could.”
The band were supported in the process by their producers, studio vet Joe Chiccarelli (The Shins, My Morning Jacket, The Raconteurs) in conjunction with longtime friend and producer Dan Hannon and the band. “Joe is the absolute tone master,” Hull says. “The sounds he gets are so good. We wrote these songs so quickly and he was great in helping us do surgery to make them better. When Dan came in, it was like fresh blood pumping through the project. He’d move five knobs and click a few things and it was like, ‘Oh shit, that’s great.’ The whole thing was a great collaboration.”
Recorded last fall in Nashville and Atlanta, the album was made on the heels of a very active period for the band. In 2008, they played several major U.S. festivals, including Coachella and Lollapalooza, and released a five-song EP, Let My Pride Be What’s Left Behind , in October. Included with the EP is a DVD of the previously unreleased What’s Left Behind documentary film of the band directed by Sam Erickson (My Morning Jacket’s Okonokos ). In addition, Hull released The Eventually Home — the second installment of his epic solo project Right Away, Great Captain , which tells the ongoing saga of a 17 th -century sailor who catches his wife in an act of betrayal with his own brother. All of Hull’s and Manchester Orchestra’s output is released on Favorite Gentleman Recordings, the indie label Hull and Edmond founded in 2004 as a way to stay in control of their music and to pass along the good fortune of their own success by signing other artists, like Brooklyn-based singer-songwriter Kevin Devine.
“It’s all been great,” Hull says, “but I’d have to say the best thing about the past year has been developing the brotherhood the five of us have. This band has been through hard times and come out stronger than ever before. That’s what makes it worth it.”
Mean Everything To Nothing will be released by Favorite Gentlemen/Canvasback on April 21 st , 2009.
The release will be preceded by the accompanying EP “Fourteen Years of Excellence,” which features 3 new tracks and an alternate slowed down version of “Shake it Out.”
|Balance And Composure
|Balance and Composure is an indie/emo band from Doylestown, PA. The band formed in the winter of 2007 and has released a 6 song EP entitled ‘I Just Want To Be Pure’, a 12’/CD EP entitled ‘Only Boundaries’ and most recently a self-titled split with Scranton, PA’s Tigers Jaw.
|Kevin Devine & The Goddamn Band
|The first solo album I heard by Kevin Devine was a demo tape a friend gave me in 1999.
The tape was pared down sound, just a demo recorded in somebody’s basement with a four-track. Hard-strumming acoustic guitar, toe-tapping percussion, a kid singing his heart out. With vocals untouched, and nothing produced, it was music in its simplest form, addictive and compelling.
But there was an additional side to Devine that I discovered when he performed in the indie rock outfit Miracle of 86, who cut their teeth at punk and hardcore shows in the 90s. Devine could easily transform himself from singer/songwriter into a shouting, high-energy, indie rock singer.
After Miracle broke up, Devine continued to pursue a thriving solo career that has earned him an international following, releasing six studio albums to high acclaim—including Brother’s Blood (2010) and Between the Concrete and the Clouds (2011), both charting on Billboard’s Top 200 and the latter peaking at #1 on Amazon.com’s mp3 album chart. In addition, Devine’s released two Billboard-charting records as a member of Bad Books, a collaboration with the indie rock band Manchester Orchestra.
Now with the simultaneous release of Bulldozer and Bubblegum, his seventh and eighth studio albums, the Brooklyn-based singer/songwriter attempts two drastically different sounds on two separate recordings in a dual-album project independently funded through an historically successful Kickstarter campaign.
Bulldozer is laced with folk-rock and pop ballads produced by Rob Schnapf (Elliott Smith, Beck, Guided by Voices).
Bubblegum, produced by Jesse Lacey of Brand New, is a proper rock band record, a more evolved sound from his early days in Miracle of 86; a record with up tempos, feedback, loud fuzz guitars, and catchy hooks that bring to mind the best of the Pixies.
“After Miracle broke up,” said Devine, “I’d write two songs per record that would have been Miracle songs. And when you’re opening for rock bands like I was for so many years, [my band] got really good at pedal-to-the-floor rock…. I had the notion to make two different records, two different ways at the same time.”
In between writing twenty-two new songs and touring with Bad Books in fall 2012, Devine was uneasy about the ethics of using a Kickstarter model to fund an established artist. But he was also disillusioned by his experiences inside the traditional label system. In the late months of 2012, as he continued to write, Devine’s uneasiness with the Kickstarter model began to recede. He proceeded with the belief that he would be doing something different and true, placing his trust in his audience to guide him.
“I’ve made six records. In America they’ve been released on five different labels. It’s a pretty unstable industry… What’s made it a sustainable and a justifiable career for me has been the audience and their close, passionate connection to the music.”
The Kickstarter campaign launched in January 2013, and immediately his audience answered back: within eight hours of the 45-day campaign’s launch, his target financing of 50K to produce, record, and tour both records was met, allowing Bulldozer and Bubblegum to be made and released with complete independence. But it didn’t stop there. Devine’s audience surpassed his expectations, and by the end of the 45-day Kickstarter campaign, he had raised $114,805, more than double his initial target.
“When that audience tells you to keep doing it and here’s the money, it almost renders a very crass thing – the exchange of money over the creative process – into a staggeringly humbling and encouraging experience. When this happened, I felt so motivated I dove into making the records.”
From there Devine set out to make what he had called LP7 (Bulldozer) and LP8 (Bubblegum) on his own terms.
The ten songs that comprise Bulldozer, Devine’s acoustic album, were recorded in L.A. from March to April 2013 and produced by frequent collaborator Rob Schnapf. With Devine on guitar, Schnapf gathered a stellar group of musicians to back him—Russell Pollard and Elijah Thomson (Everest) on drums and bass, respectively; Isobel Campbell (Belle & Sebastian) on backup vocals; and Schnapf himself on guitar, mellotron, and percussion.
The commanding big sound of “Now: Navigate!” with its chiming guitars, tongue-in-cheek wordplay, is a stampede of power pop, as is the quintessential rock/pop sound of “Little Bulldozer.” Songs like “She Can See Me” bring out Devine’s punk rock roots.
“From Here” was written in the days after Hurricane Sandy when Devine put things on hold to volunteer around Staten Island, where he partially grew up, and Brooklyn, where he now lives. Primarily, he came to the aid of two close friends who had lost their homes in the hurricane. Devine aided in food and material drives and played in benefit concerts.
“But it’s one of those things no matter how much you do it never seems enough.”
On “For Eugene,” centered around the death of Eugene Contrubis, one of the many who drowned on Staten Island, Isobel Campbell, known most popularly from Belle & Sebastian, lends her voice to add a moving layer to a song that swells to high emotional peaks.
During the Fall of 2012, as Devine wrote and recorded demos of the twenty-two songs, he divided his catalog into two camps: the acoustic based songs he would record with Schnapf in L.A., and the songs he would record with Jesse Lacey in New York, some of which were written on bass guitar.
Bubblegum, Devine’s “pedal-to-the-floor” rock album, is the product of his special collaboration with Jesse Lacey of Brand New as producer, shaping and writing alongside Mike Fadem on drums and Mike Strandberg on guitar, the two members of his touring group the Goddamn Band. The album was finished in April 2013, recorded at Dreamland Recording Studios in Hurley, NY and at Atomic Heart Studios in New York City.
The twelve songs on Bubblegum create a hard-driving, angular, and mature indie rock sound. Set to the tempo of Pixie-like guitar riffs, as on “Fiscal Cliff,” and Devine’s more socially conscious and politically bombastic lyrics, this is a side of Devine that screams and shouts itself over the feedback. “Nobel Prize” is a head-bouncing intro that captures the record’s relentless energy. “Private First Class,” based on the imprisonment and scandal of Bradley Manning who leaked unclassified documents in Iraq, is a surf/punk- sounding anthem of the highest-measure. But even high-octane rock records need to slow down, and Devine does so on tracks like “I Can’t Believe You” and “Red Bird” without losing consistency or steam.
The record’s most poppy tracks hit back to back with “Bloodhound,” “Bubblegum,” and “Sick of Words,” a catchy song that sounds as if Devine assembled Black Francis, Kim Deal, and Jackson Brown to back him—testament to the Goddamn Band’s musicianship provided by Fadem and Strandberg, with a debt to Lacey who also steps in on bass and percussion, and backup vocals.