Split Ends - A Bad News Media film

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at Cat's Cradle
7:30PM Doors - 8:30PM Show
$20 Adv - $23 Day Of
Tix: http://bit.ly/FeeliesJune23

Formed in Haledon NJ in 1976, The Feelies released 4 albums- including their critically acclaimed and influential debut Crazy Rhythms, which was voted 49 in the top 100 albums of the 1980s by Rolling Stone magazine and chosen by Spin Magazine as 49 of the best alternative records of all time. Supporting the release of their first four albums the band appeared on the The Late Show With David Letterman and in concerts with The Patti Smith Group, REM, and Bob Dylan as well as touring with Lou Reed. The twin-guitar attack of songwriters and founders Glenn Mercer and Bill Million is the infectious sound of the group. Paired with driving drums and percussion, it has left an indelible mark on the landscape of rock and roll.

In 2008, the Feelies re-united to open for long time admirers Sonic Youth at Battery Park and then resurrected their tradition of playing low key gigs at strategic intervals throughout the year rather than doing lengthy tours. In 2009 Bar/None re-issued Crazy Rhythms and The Good Earth, this being the first band-sanctioned CD release of the former. In 2011, they released a new studio album Here Before.

In March 2016, Bar/None Records re-released the third and fourth albums, Only Life and Time for a Witness. As a special Record Store Day release Bar None/Coyote Records will co-release the Feelies Uncovered. This will be a limited edition 12 ? EP featuring studio recordings of four cover songs, none commercially available before. In addition, the Feelies recently wrapped up work on a brand new studio album, expected to be released later this year.

They continue to regularly perform live. Their music has been featured in the films Married to the Mob, Something Wild, Prelude to a Kiss, The Truth About Charlie, The Squid & the Whale and Ricki and the Flash.

at Cat's Cradle
7PM Doors - 8PM Show
ADVANCED: $23.00 - DAY OF: $28.00
Tix: http://bit.ly/MOCarrboro

at Cat's Cradle
7PM Doors - 8PM Show
ADVANCED: $20.00 - DAY OF: $23.00
Tix: http://bit.ly/StephenMalkmusJune19

at Cat's Cradle
7:30PM Doors - 8:30PM Show
$23 Adv - $26 Day Of
Tix: http://bit.ly/KurtVileJuly11

Having been the subject and willing conspirator of many intentional lies planted in Sonic Youth bios over the years, I know first hand the way album lore can bend reality to its truth. After the infamous Byron Coley originated the SY ?Trilogy? myth in the Murray Street bio, we had no choice but to fulfill those expectations with Sonic Nurse. ?Why did you decide to make a trilogy?? was always the first question asked in interviews around that time.

But this is Kurt Vile?s bio, and I wont do that to him. Anyway, Kurt does his own myth making; a boy/man with an old soul voice in the age of digital everything becoming something else, which is why this focused, brilliantly clear and seemingly candid record is a breath of fresh air. Recorded and mixed in a number of locations, including Los Angeles and Joshua Tree, b?lieve i?m goin down? is a handshake across the country, east to west coast, thru the dustbowl history (?valley of ashes?) of woody honest strait forward talk guthrie, and a cali canyon dead still nite floating in a nearly waterless landscape. The record is all air, weightless, bodyless, but grounded in convincing authenticity, in the best version of singer songwriter upcycling. In Kurt?s words, ?I wanted to get back into the habit of writing a sad song on my couch, with nobody waiting on me. I really wanted it to sound like it?s on my couch ? not in a lo-fi way, just more unguarded and vulnerable.?

For a record that plays like a cohesive acoustic experience, its musicality marks Kurt?s departure from an electric guitar experience to include a range of instrumentation with a large group of players. From the banjo he plays on ?I?m an Outlaw? to the piano and lapsteel on ?Life Like This,? and the myriad other instruments on other songs, including farfisa, resonator, arps, horns and synth, one never thinks about what exactly yr listening to as it all serves the song.??The heart of the record is ?Stand Inside.? The music is quiet and the melody, like a hymn, folds in on itself, and embraces full strength in a sexy, floating forcelessness that slowly gathers into a wave that doesn?t go where you think it will or rather gives in to itself and celebrates a man willing to be defined by a woman and his love for her as witness to each other?s lives? Don?t stand by my side, stand inside gives up roleplaying for true exposure and vulnerability.

at Cat's Cradle - Back Room
8PM Doors - 9PM Show
$5 Admission
Tix: http://bit.ly/2JpxHHj

at Cat's Cradle - Back Room
7PM Doors - 8PM Show
$12 Admission
Tix: http://bit.ly/YoungWidowsJune18

Young Widows celebrate the 10 year anniversary Old Wounds with a string of performances, playing the album in its entirety. Emma Ruth Rundle will be performing solo June 8th through 14th, Alexis Marshall (of the band Daughters) will be reading from his book as well as other poems June 9th through June 14th, and Null from Birmingham Alabama (members of Coliseum) will be performingJune 15th through 21st. Looking forward.

at Cat's Cradle - Back Room
7PM Doors - 8PM Show
$15 Adv - $17 Day Of
Tix: http://bit.ly/MapsJune17

at Cat's Cradle - Back Room
7:30PM Doors - 8:30PM Show
$13 Adv - $15 Day Of
Tix: http://bit.ly/QuietSlangJuly7

?Rock and roll is sort of my consolation prize for wanting to have been a writer,? says James Alex. It?s a humble admission from the frontman of Philadelphia?s Beach Slang, a fiery punk quartet whose raucous gigs often find the songwriter?s earnest lyrics bellowed back at him. Still, consider it a feat that fans are even able to hear those words from behind the trembling walls of distortion that serve as Beach Slang?s raison d?etre. Everything about Beach Slang is loud, from the guitars to its attitude to Alex?s weathered rasp.

Considering that, there?s something almost cheeky about the title of his new project: Quiet Slang. As the name implies, Alex is embracing minimalism, smothering the fuzz in favor of a cello, a piano, and his voice. In October, Quiet Slang released We Were Babies & We Were Dirtbags, an EP comprised of two Beach Slang songs and two covers from The Replacements and Big Star. Consider it an introduction to what Alex calls ?chamber pop for outsiders,? because it simply serves as prelude to Everything Matters But No One Is Listening, a collection of 10 Beach Slang covers that comprises Quiet Slang?s debut fulllength.

The project?s seeds were planted just six months after Beach Slang?s formation, when Alex was asked to a solo Tiny Desk Concert for NPR. ?That was just me, my guitar and a clumsy excuse for charm. But, yeah, the response was beautifully unexpected and really nudged my thinking,? he says. ?Even now, at almost every show we play somebody?s like, ?I got turned onto your band from that NPR thing. You should make a record like that.?? A successful solo tour last year solidified the idea in Alex?s mind, but he says he wasn?t content to make a ?campfire record,? elaborating that he ?wanted it to have more weight than that.?

That?s when he turned to the project?s key influence: The Magnetic Fields? Stephin Merritt. Merritt?s influence lent itself not only in his heartrending use of cello and piano via his work with the Fields, but also in one of his most famous lyrics. ?Why do we keep shrieking/ When we mean soft things?? goes the final lines of ?100,000 Fireflies.? ?We should be whispering all the time.?

?That just always stuck with me,? Alex says, ?how quiet can sometimes be more powerful.? He continues, ?If Beach Slang is me fawning over The Replacements, Quiet Slang is me head-over-heels for Stephin Merritt.?

Though a new Beach Slang record is next up on Alex?s docket, he?s open to the possibility of more Quiet Slang. The project?s sophomore release, he notes, would contain original songs. ?I guess I wanted to chase reinterpretation first. I dug the challenge of it. But, yeah, Quiet Slang deserves its own voice.?

Regardless of its future, however, he hopes the project can convey one simple thing: ?Tenderness. I suppose that sounds overly simplified. But, still, it makes it no less sincere. Look, I?m trying to soften the world a little bit?there?s worse ways to be remembered.?