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Goldenvoice
Sick Tour

NEW FOUND GLORY
with Bayside, The Movielife, Ryan Key

THU, 14 JUN 2018 at 07:30PM PDT
Ages: All Ages
Doors Open: 06:30PM

OnSale: Fri, 19 Jan 2018 at 12:00PM PST
Announcement: Tue, 16 Jan 2018 at 09:00AM PST


New Found Glory

Jordan Pundik ? Vocals Chad Gilbert ? Guitar Ian Grushka ? Bass Cyrus Bolooki ? Drums


The word resurrection invokes the act of rising again, the possibility of revival despite opposing circumstances. There is no better for the title of New Found Glory?s eighth album. The collection of songs, produced by the band and engineered by Paul Miner, reflects four musicians determined to overcome no matter the odds. The Florida band, who have been creating infectious pop-punk since 1997, has learned to embrace the struggle and allow it to spawn a new beginning, opening a chapter where New Found Glory is stronger and more unstoppable than ever.

Following the release and promotion of 2011?s notably successful album Radiosurgery, New Found Glory found themselves pared down to a four-piece. With this new tightened lineup, the musicians were interested in creating a new album that embraced the combined sound of four instruments. They went back and listened to some of their favorite records to seek inspiration, studying how four musicians can build the same level of anthemic sound as if there were more. ?The goal for the new record was to make it sound really authentic and natural and not filled in,? Chad says. ?It was trying to make the biggest sounding record stripped down as four people.?

The musicians, who live split between Florida and Southern California, began writing in early 2014. They were interested in expanding beyond the recurring themes of relationships that often pops up in New Found Glory lyrics. For Jordan, Resurrection is an expression of the overall human experience and what it means to take the cards you?re dealt and move on in a positive way. ?We?ve always a been a band that has written about life experiences from a deeply personal place,? Jordan says. ?Some of it fictitious and some of it not fictional, but it?s all been stuff we?ve dealt with in our lives.?

The songs on the album were recorded in Miner?s studio in Orange Country in the summer of 2014 over the course of a month. The process marks the first time New Found Glory has gone into the studio with all the songs written and prepared. The band elected to produce the music themselves as a way of showcasing their independence and confidence in the band. Chad, who has produced albums for A Day To Remember, Lisa Loeb, as well as others, brought that experience to the process. It was a notably stress-free experience that resulted in a boisterous, infectious album that aptly balances polished hooks with a raw punk rock edge. ?This is the most prepared we?ve ever been,? Chad notes. ?Writing as a band now has never felt so easy. We really came together with ideas. We?ve gone through a lot and figured a lot of things out. This album has been very cathartic for us.?

?Selfless,? the album?s rollicking opener, sets the tone for Resurrection. The song is grand and driving, revealing how big four instruments can sound together. ?We?ve been through ups


and downs,? Jordan explains of the song. ?At the end of the day, it?s how you are as a person and how people view you as a person.? The album?s title track features Terror?s Scott Vogel on guest vocals and, in many ways, uses its catchy chorus to sum up the band?s experience over the past few years. Bayside?s Anthony Raneri pops up on rock-heavy ?Stubborn? and Turnstile?s Brendan Yates appears on propulsive album closer ?On My Own.?

One of the album?s standout moments arrives on ?Ready and Willing,? an immediate number that grapples with the idea of struggling against the odds. The song reminds the listener that if they have a dream they should pursue it no matter what, always remembering why you had that dream to begin with. ?It?s about trying to find that feeling again that you had as a kid,? Chad says. ?You have to know why you do it. We want to challenge our fans to one day do the same thing.?

For New Found Glory, it?s eternally important to remember why they do what they do. The band has been playing together since the musicians were only in high school, breaking out of Florida to become one of the most influential pop-punk bands of our time. The group has headlined Warped Tour, toured with Green Day and performed on the mainstage of festivals like Reading and Leeds, their songs connecting positively and universally with fans around the world. Their message of encouragement continually resonates: never settle for what life has dealt you because you can do better. It?s that passion and optimism that has kept New Found Glory together for all these years and all these albums and all these tours.

?Bands have a lot of different reasons for being bands, but we are 100 percent in this band for the music,? Chad says. ?All my life, this was my passion. That?s true for all of us. That?s why we still do it. We love writing and playing songs so we?ll do whatever it takes to make that happen. Our band can get through anything and nothing would stop us from doing that and that?s because we genuinely love it. Our passion is our music and that dominos into everything else. And it makes our fans happy, too.?

?We are always appreciative,? Jordan adds. ?We appreciate each other and we appreciate our fans. Those are the two things that have kept us doing this, happily, for so long.?

On sale Friday, 12/1 at 6am!
$30 - $40

Born in 1986, Ólafur hails from the suburban Icelandic town of Mosfellsbær, just a few kilometres outside of Reykjavík. He has immersed himself completely in a world of delicate symphonic compositions generating near weightless orchestral pieces. Arnalds explores the crossover from classical to pop by mixing chamber strings and piano with discreet electronics which makes him a perfect fit for cinematic music label Erased Tapes. His motivations are clear: 'The classical scene is kind of closed to people who haven't been studying music all their lives. I would like to bring my classical influence to the people who don't usually listen to this kind of music?open people's minds.'

Through relentless touring and determination this young artist has steadily gained recognition worldwide since his 2007 debut 'Eulogy for Evolution'. His 2008 follow-up EP ?Variations of Static? earned Ólafur acclaim from both the contemporary and classical field ? transcending a traditional divide. He has sold out some of the world?s most renowned music venues including Barbican Hall in London and has been awarded ?Best Live Session of 2008? by BBC Radio 1 presenter Gilles Peterson.

Over the past eighteen months Arnalds has advanced from a former support-act for Sigur Rós to an internationally respected artists in his own right. In April 2009 Arnalds created the 7 song series 'Found Songs' ? recording a song a day for 7 days and instantly making each track available via Twitter and the official Erased Tapes website with over 300.000 people downloading for free.

Goldenvoice presents

KYARY PAMYU PAMYU ?THE SPOOKY OBAKEYASHIKI?

WED, 20 JUN 2018 at 08:00PM PDT
Ages: All Ages
Doors Open: 07:00PM

OnSale: Fri, 9 Mar 2018 at 10:00AM PST
Announcement: Fri, 2 Mar 2018 at 10:00AM PST

Kyary Pamyu Pamyu(KPP) is Harajuku?s iconic existence. Her debut single ?PONPONPON? has been played over 123M times over YouTube. Her album ?Nanda Collection? debuted No.1 on Japan?s national music charts, selling over 400K physical copies. In 2016, she released her first best of album ?KPP BEST? and went on her 3rd world tour. She even made her first collaboration with her producer Yasutaka Nakata featuring the English pop star Charli XCX. KPP is the most followed Japanese artist on Twitter and she is truly Japan?s most influential pop icon.

Goldenvoice presents
The Mystifying Oracle Tour

GHASTLY
with Dion Timmer, Kompany and Swage

FRI, 15 JUN 2018 at 09:00PM PDT
Ages: Over 18s Only
Doors Open: 08:00PM

OnSale: Fri, 16 Mar 2018 at 10:00AM PDT
Announcement: Wed, 14 Mar 2018 at 10:00AM PDT

Growing up on a goat farm in Arizona might not be considered the typical American upbringing for the next big DJ and producer, but then again Ghastly isn't just your typical American artist. Many have described him as a partially insane young man with a dark sense of humor. Politely abominable and casually destructive, he wields the catch phrase "born to die" as a mantra to his chaotic lifestyle. His sets have been heralded as "Energetic and eclectic live performances which are sometimes followed by odd speeches about the abnormalities of life, regretful sexual encounters, and well cooked food." With such a diverse personality and rapport for his fans, it's clear that Ghastly has one thing on his mind, and that's to change the world.After entering the music scene and practicing his talents with touring metal bands such as The Irish Front, David Lee Crow finally found his calling with dance music and it inspired him to pack up and head to Venice Beach, California to live out of his van with no contacts or connections in a chosen gesture to truly start from the bottom and pursue a new career in electronic production. It didn't take long for him to find his place in the scene, as Ghastly quickly claimed himself a position as Bassrush Resident DJ at Exchange LA, and has also secured a number of releases on chart-topping labels such as OWSLA, Buygore, and Dim Mak to name a few.Ghastly's approachable yet hard-hitting style ushers a forward-thinking dynamic that is not often seen in today's saturated scene, and his solo productions and collaborations present an unequivocal level of determination and finesse. Uniquely blending house, trap, and dubstep into a pot-pourri of bass, the young producer definitively pushes the boundaries of the entire EDM scene today, and a handful of the industry's finest have recognized his potential including Skrillex, Diplo, Dillon Francis, Tchami, DJ Snake, Datsik, Borgore, Zomboy, and Zeds Dead. With slew of mentally-stimulating originals and physically-altering collaborations under his belt, such as his original "Miami Connection" with Jauz and single "Crank It" with Mija & Lil Jon, it's safe to say that Ghastly is on a mission to redefine dance music for all.

Goldenvoice Presents

METRONOMY

TUE, 26 JUN 2018 at 09:00PM PDT
Ages: All Ages
Doors Open: 08:00PM

OnSale: Fri, 16 Feb 2018 at 10:00AM PST
Announcement: Mon, 12 Feb 2018 at 10:00AM PST

Joe Mount hasn't always been the songwriter, producer, multi-instrumentalist auteur Metronomy fans know and revere him as today. Eight summers ago, he was ? in his own words ? ?25, constantly drunk, single and living in London desperately trying to be cool.? Then a fledging bedroom producer, his second album, Nights Out, was a few months away from release, and life was a restless whirlwind of boozy cab rides from gig to gig, grimy London dive to grimy London dive. ?I can't remember a single night in, sat in a nice room, just watching the telly,? he reminisces now. ?It was quite manic, remembering it.? Instead of burying that wild-eyed time in his memories, Mount's about to return to it. Summer '08 is his sequel to Nights Out. And it's album he's waited eight years to make.
?It's not a regressive record at all,? says Mount, who wrote it ? playing every instrument himself, as on every Metronomy album ? from his newly adopted home city of Paris ?between tours and breast-feeding? (he's recently become a father of two). ?I'm always listening to the world, what's going on. But to help my creative process, I tried thinking back,? he says. ?So, here's what happened. Nights Out came out in September. The summer in the run-up to that was the first time I started touring and I haven't had a summer off since. The symbolic nature of that summer, it was when it all began, really,? he explains.
?At that point I didn't know what the next 10 years were going to be like. I hoped my life would change. And it did.? The blitz of hype he found himself immersed in as the album became a cult-acclaimed hit, landing a top 10 spot in the NME best albums of 2008 list, was a lot to process, so he put together a plan. ?I kind of immediately wanted to write an album called 2008. About that year and all its madness. It's great, but when you start touring and getting a bit bigger, the more successful you become, the more chance there is you'll not be there for people. You miss friends' weddings, birthdays, whatever.?
2008 was supposed to navigate those feelings: the guilt at spending key moments in loved ones' lives in the back of a tour bus, the confused mania of finding himself a critical darling (Pitchfork described Nights Out as having moments of ?synth-pop supremacy? while the BBC observed Mount had left behind the ?obscure laptop larks? of his debut album Pip Paine... in favour of some of the best ?pop songs of the year, if not the decade?). Instead, another opportunity came his way and 2008 was made to wait. ?Because of the success of Nights Out, I had the resources to go to a studio and do a different type of record,? explains Joe, who'd till then crafted his sonic experiments surrounded by piles of laundry and mess in his bedroom.
What followed was the expansive and even more acclaimed The English Riviera, a record reflecting on his Torbay homeland that cawed with seagull sounds and romance. It bagged a Mercury nomination and elevated Mount to British pop visionary status, landing him with ?a different agenda? when it came to album four, 2013's massive, Motown-inspired Love Letters. How far could he push his pop writing credentials, having flirted from the fringes on The English Riviera? The answer: a top 10 spot in the UK album charts on release, their biggest ever single in the form of its glittering title track, and sell-out dates at London's Brixton Academy and Alexandra Palace. ?So 2008 was made to wait again,? says Joe.
When touring Love Letters came to a close, Mount knew: the time was finally right. ?I had those other albums out of my system, those ideas of how I wanted to record in bigger studios out of my system. I wanted to make another record with the naivety of Nights Out. I wanted to bash out another record that's in that spirit. 10 tracks, straight up, up-beat: write another banger, then another, and don't really think about it.?
Musically, Summer '08 seeks to fill a hole in Mount's music taste left by artists who simply aren't making the records they used to. ?I love OutKast. I love David Bowie and old Daft Punk. All these people aren't making music anymore, or aren't making the sort of music that they used to. I wanted to do a mature, quite eclectic pop record in that vein. Oh that also had a scratch DJ on.?
Step forward one of the album's two surprising guests ? Beastie Boys' turntablist and Joe's childhood hero, Mix Master Mike, who features on Old Skool. ?I had decks in my bedroom when I was 16 or 17. He had this record, a really good record, called Anti Theft Device. I was obsessed.? So, Joe emailed him, because, well, why wouldn't you ask Mix Master Mike to be on your album? ?What happens is, you send an email to his manager and they go on the internet, look you up and by now, if you look up Metronomy, you see I'm an established thing. So it happened like that. Dream come true! When you realise, hey, this is a childhood fantasy and I can make it real now, I don't give a shit ? I'm sending that email.?
The result is a cowbell-clattered cocaine pop belter glimpsing '00s London from the backseat of an Addison Lee, that descends into a scratch frenzy. ?Have a party in the west end, make some money, make more money, with your new friends have a party,? sings Mount over grooving low-end. ?I love sex and I love dancing and reclining in your backseat.?
?I was living in East London in 2008 and felt like all this stuff was happening in the West end. It's nonsense really, but I felt it was this privileged end of town, all the musicians there had wealthy parents and were living in Ladbroke Grove and Notting Hill. So that song's about being totally idiotic and just jealous,? Joe grins.
Elsewhere, there's warbling festival anthem-in-the-making Miami Logic, which sounds like Word Up as performed by Devo; an early East Coast hip-hop rough ride called 16 Beat about a love affair between man and drum machine (?my sweet 16-beat, the way you taunt me...? Joe sings); and a brilliant moment of Bowie worship titled Mick Slow. ?I checked the weather... it's only getting wetter, man,? croons Mount, teetering between hilarity and heartbreak. It's the album's duet with Swedish superstar Robyn, Hang Me Out To Dry, mixed by Erol Alkan, that's the songwriter's favourite though. ?It's a song I started recorded for The English Riviera. I always liked it, and it's finally realised its potential.? Many tracks in fact here have been kicking around in rough draft and loop form since that late '00s era. ?It's liberating getting them out,? says Joe. ?A really good feeling.?
Recorded in Black Box Studios in France and mixed by Bob Clearmountain (Bruce Springsteen, David Bowie) and Neal Pogue (OutKast), the album's his most daring yet for good reason ? Metronomy won't be touring it anytime soon. ?The nutshell is, I want to have a break from touring but I don't want a break from putting out music,? says Mount. ?I've got two children. It's an important part of my children's lives and I want to be there. But I also want to put out music. One of my biggest gripes with the music world is you're expected to put out one record every three years. Which is fine. But in a 10 year career, you've put out three albums. Ask any musician, and I'm sure they'll tell you they're not satisfied with that ratio. No one is.? The decision freed him up to experiment in a way like never before. ?Making a record with the thought of 'shit, how we gonna perform it?' is so counter-intuitive and really stifles creativity. Going into a studio thinking 'I do not give a shit how we play this live' is how you end up with a scratch DJ on your record,? he laughs.
The missing link between Nights Out and The English Riviera, Summer '08 is Mount's most funkalicious piece of the Metronomy puzzle yet. From the irresistible pull of Night Owl to the fizzing near-rap of Back Together (?perhaps you'll come to lunch with me? I'm sure I'll find some time inside my diary...?) it's an album that underlines Joe's status as one of Britain's truest dance-floor trail-blazers. ?This record is a homage to a different time in my life,? he says. ?I was a different person then.? A lot can change in eight years, the album attests. Where this pop auteur will be in another eight is unknown, but after the magical Summer '08 ? anything feels possible.

Ensemble for These Times
56×54: Focus on the Cello
Nanette McGuinness, soprano; Anne Lerner-Wright, cello; Dale Tsang, piano; David Garner, composer

World Premieres of works by Lawrence Kramer, David Luna, and R. Michael Daugherty
US Premieres of works by Frederick Schipizky and George Hatzimichelakis
West Coast Premiere of a work by Gene Pritsker
plus works by Gladys Smuckler Moskowitz and David Garner

Ensemble for These Times (E4TT) is a new music chamber group consisting of award-winning soprano, co-director and co-founder Nanette McGuinness, Van Cliburn competitor pianist Dale Tsang, cellist Anne Lerner-Wright and 2015 The American Prize winner, composer, co-director and co-founder David Garner. The Ensemble focuses on 20th and 21st century music that is relevant, engaging, original, and compelling, music that resonates today and will speak to tomorrow. E4TT strongly believes in the power of artistic beauty, intelligence, wit, lyricism, and irony to create a deep understanding of our times and the human condition. This program continues their multi-year project 56X54, in which the they performing 56 scores by 54 composers drawn from a pool of works submitted to a call for scores they put out in early 2016. This program focuses on works written for cello by, and includes numerous World, US and Bay Area premieres, as well as a new work by ensemble member David Garner.

Please join us for a pre-concert talk at 7:30 with composers Lawrence Kramer and Frederick Schipizky..

Venue: Old First Church, 1751 Sacramento Street, San Francisco

Tickets: Sliding scale $5-25

www.oldfirstconcerts.org

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#56x54, #focusonthecello, #DavidGarner, #E4TT, #EnsembleforTheseTimes, #newmusic, #season10, #oldfirstconcerts, #cello

Curium
Agnieszka Peszko, violin; Natalie Raney, cello; Rachel Kim, piano

Chen Yi Tunes from My Home
Kaija Saariaho Light & Matter
Dmitri Shostakovich Piano Trio in E minor, Op. 67

Curium: the 96th element in the periodic table named after the pioneering female scientist, Marie Curie. Founded in the summer of 2017, the women of Curium piano trio specialize in performing the music of female composers along with traditional piano trio repertoire. They are committed to bringing creative and diverse programming to their audiences and have brought together a community of people with their representation of diversity and women.

The program will feature two rarely heard piano trios by women from different parts of the world. Finnish composer Kaija Saariaho wrote her piano trio, Light and Matter, while watching the changing lights and colors of Morningside Park from her window in New York. The piece emanates light kinetic energy with its uniquely luminous, sometimes weightless sounds, while other parts feature dramatic gestures, rapid exchanges between instruments, and slow chordal passages within an ever-spinning texture. Chinese composer Chen Yi?s piano trio, Tunes from My Home, incorporates three traditional Cantonese tunes, as well as Cantonese instrumental techniques and sonorities within the work. Dr. Chen Yi frequently transcends cultural boundaries by blending Chinese and Western traditions in her music. Finishing the program will be the dark and richly emotional Piano Trio No. 2 in E minor, Op. 67 by Dmitri Shostakovich. Known as one of Shostakovich?s most haunting works, an eerie melody for muted cello, played entirely in harmonics, sets the somber mood of this music. At times driving, solemn, scintillating and grotesque, it is a measure of Shostakovich the artist that he could transform his anguish into music of such power and beauty.

Amy Stephens, piano

Amy Stephens Becoming World Premiere
Catherine Rollin City Suite West Coast Premiere
David Canfield Kitty Sketches West Coast Premiere

Jazz composer and pianist Amy Stephens presents the World Premiere and album release of Becoming, her seven-movement suite for solo piano. Amy, who has performed and recorded extensively for the last 18 years, is particularly fond of Third Stream music, the very unique style of jazz that fuses of classical form with jazz language and sensibilities. Becoming is a delightful musical journey, taking the listener through contemporary jazz, rags, blues, world music and more. Amy has been called ?a formidable originator of new music ? the future of instrumental jazz ?? (Michael Nastos, All Music Guide), and her piano playing has ?stunning finger work, effortlessly negotiated? (Colin Clarke, Fanfare Magazine). Amy has fronted her jazz quartet, the Amy Stephens Group (ASG), since 1998. The three quartet?s albums of Amy?s original jazz compositions?My Many Moods, Gold Through Fire, and Amy Stephens Group debut album?have earned acclaim and steady airplay on jazz radio around the US and internet jazz radio around the world. A graduate of Indiana University?s world-renowned School of Music, Amy earned two Bachelor degrees and a Master?s degree in classical and jazz piano, as well as the coveted Performer?s Certificate. She currently lives in San Francisco with her husband and three sons, composing, performing, and teaching. For more information please visit amystephens.com.