Japandroids, Cloud Nothings

Japandroids

Cloud Nothings

Mon, April 22, 2013

7:00 pm

The Glass House

Pomona, CA

$18.00

This event is all ages

PLEASE BE ADVISED OF THE FOLLOWING STIPULATIONS FOR THIS SHOW****- No transfers - Will call only - 4 ticket MAX per order, household, credit card, address. All violators will have their order cancelled without notice. NO EXCEPTIONS

Japandroids
Japandroids
Japandroids is a two piece band from Vancouver, BC. This 'band' started in 2006 and consists of Brian King and David Prowse. Originally intending to be a trio, the boys decided to forego the logistical nightmare of having a 'lead singer' and do it themselves. As a consequence, Japandroids are one guitar, one set of drums, and two vocalizers. Japandroids are maximal – a two piece band trying to sound like it's a five piece band. Their 'songs' run the gauntlet of rock & roll subgenres, with the boys ripping off too many different bands to sound like any other duo making music right now.


After self-releasing two EPs, 2007's All Lies and 2008's Lullaby Death Jams, Japandroids released their critically acclaimed debut album Post-Nothing via Polyvinyl in 2009. The boys toured extensively throughout 2009–2010, playing over 200 shows in more than 20 countries, and quickly gained notoriety for their extremely energetic live performances. Finding it difficult to write and record a second album in the midst of such a heavy touring schedule, Japandroids released a series of 7'' singles throughout 2010, each one recorded during a brief interval between tours. The same year, Japandroids re-released their first two EPs as a compilation titled No Singles, which included a booklet detailing their early history.


5 long years in 2 short paragraphs. Not bad.


Perhaps the most pertinent detail omitted from said paragraphs is the fact that at no point during this time did Brian and David even discuss the possibility of writing, let alone recording, a second Japandroids album. With the band having more or less imploded late in 2008 (after what was considered to be a valiant but ultimately fruitless effort), one single regret still lingered, and despite their wounds and subsequent estrangement, continued effortlessly to slander them and their attempts to move on, like the subtle scent of skin on the sheets days after the desecration. Ipso facto, the sole motivation for revisiting the band many months later was simply to see if they could exploit their sudden newfound internet popularity and take Japandroids on the road. Due in part to the unexpected (and untimely) discovery of the band early in 2009 by certain online entities and their congregations, what previously seemed reserved for only the most ardent hearts, presented itself to Japandroids like a deal from the devil himself. Cautiously seduced, Brian and David decided in favour of their romantic notions of the open road, and set upon a crusade to swindle the soul of a continent. Tour was the fire to which they fed themselves.


As days became weeks, so too did months become years. Finally, having exhausted themselves, as well as the immediate charm of Post-Nothing, and with only one final recording session looming on the horizon, the boys found themselves at a crossroads. Would they abandon their days on the wind and nights on the rocks in favour of the gentle lull of a geographic coma? No one knew; not even the boys themselves. That is, until one cool New York night, when under the spell of the city's swill, they cast off the demons of doubt, having come in through the out door, back out through the window.


For months, they laboured. Through the endless rains and windless chills of a northwestern winter, Japandroids fought tirelessly against their own creative limitations, struggling to expand their sound beyond the simple sloganeering that dominated Post-Nothing. Stuck knee deep in the swamp of summer, time had chased them down, and caught them waiting patiently. Had it not been for the fever of fall, with the boys back on tour where they belong, all might have been lost. Run out of town, they vowed not to return in anything less than triumph. Settling under the sulfurous skies of the south, Japandroids continued to labour through the dying months of 2011, returning reluctantly with nothing short of an album.


As with countless previous recording sessions, the boys would bestow their faith solely upon Heaven's native son, Jesse Gander. An inexhaustible rocket of patience and dedication, Gander's unique ability to build cathedrals out of criminals was pushed to its absolute limit, as Brian and David demanded he coax only the purest nectar from their delinquent hearts. And so he did:


"Let's make this one a little more cruising down the highway, and a little less doing crystal meth on New Year's…"


"That take was the perfect mixture of pee and poo – it had the fluidity of pee, and the solidness of poo…"


And so on and so forth, until not even the deepest and darkest of nights could extinguish what can only be described as living fireworks. Celebration Rock – a title in and of itself so controversial that at first utterance, it was so feared and hated that Polyvinyl felt compelled to plead for an alternative. But the band would not yield. Hell was just going to have to come and get them.


So there you have it. 1 year, 8 songs, 35 mins. Not bad.


As for everything else, I've got no answers. Any questions?


Reference materials: 8 song albums – Raw Power by The Stooges, Born To Run by Bruce Springsteen, IV by Led Zeppelin
35 min albums – Let It Be by The Replacements, Revolver by The Beatles, Pet Sounds by The Beach Boys
Cloud Nothings
Cloud Nothings
In 2009, Cleveland’s Dylan Baldi began writing and recording lo-fi power-pop songs in his parents’ basement, dubbing the project Cloud Nothings. His music quickly started making the Internet rounds, and fans and critics alike took note of his pithy songcraft, infectiously catchy melodies, and youthful enthusiasm. Baldi soon released a string of 7”s, a split cassette, and an EP before putting out Turning On—a compilation spanning about a year’s worth of work—on Carpark in 2010. January 2011 saw the release Cloud Nothings’ self-titled debut LP, which, put next to Turning On, found Baldi cleaning up his lo-fi aesthetic, pairing his tales of affinitive confusion with a more pristine aural clarity. In the interval since the release of Cloud Nothings, Baldi has toured widely and put a great deal of focus on his live show, a detail that heavily shapes the music of his follow-up album, Attack on Memory.

After playing the same sets nightly for months on end, Baldi saw the rigidity of his early work, and he wanted to create arrangements that would allow for more improvisation and variability when played on the road. To accomplish this desired malleability, the entire band decamped to Chicago—where the album was recorded with Steve Albini—and all lent a hand in the songwriting process. The product of these sessions is a record boasting features that, even at a glance, mark a sea change in the band’s sound: higher fidelity, a track clocking in at almost nine minutes, an instrumental, and an overall more plaintive air. The songs move along fluidly, and Baldi sounds assured as he brings his vocals up in the mix, allowing himself to hold out long notes and put some grain into his voice. Minor key melodies abound, drums emphatically contribute much more than mere timekeeping, and the guitar work is much more adventurous than that of previous releases.

For all of early Cloud Nothings’ fun and fervor, Baldi admits that it never sounded like most of the music he listens to. With Attack on Memory, he wanted to remedy this anomaly, and in setting out to do so, Baldi and co. have created an album that shows vast growth in a still very young band.

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Venue Information:
The Glass House
200 W. Second St
Pomona, CA, 91766
http://www.theglasshouse.us/