Thu Feb 15 2018

8:00 PM Doors

Imperial

319 Main Street Vancouver, BC V6A 2S7

$30.00

Ages 19+

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Timbre Concerts proudly presents a co-headlining show featuring Parquet Courts and Thurston Moore With Guests Heron Oblivion.

  • Timbre Presale: Thurs Oct 26 @ 10am - 10pm
  • General Onsale: Friday Oct 27 @ 10am

 

For more info on Timbre Concerts and their upcoming concerts visit www.timbreconcerts.com.

 

www.timbreconcerts.com
Parquet Courts, Thurston Moore
Heron Oblivion

  • Parquet Courts

    Parquet Courts

    Pop

    Parquet Courts began their 2014 release Content Nausea with the repeated refrain, “everyday it starts – anxiety!” And while that track left off at just its start, Human Performance dives in, picking apart the anxieties of modern life with the band’s most innovative and emotional collection of songs to date. Not that that’s the whole story.

    “The final product of this album is Exhibit A that we made it through the shit, solved the problem, had the chuckle, took the piss, made up with the other guy, and got home in one piece,” laughs bassist Sean Yeaton.

    Whereas other Parquets Courts albums were recorded in a matter of days or weeks, for Human Performance the band took an entire year; it’s the first LP that finds all four band members contributing songs.

    Human Performance brings expansive sonic experimentation and shining melodic introspection onto matters of the heart, matters of humanity, of identity. “I told you I loved you, did I even deserve it when you returned it?” singer/guitarist Andrew Savage wonders on the title track. It’s also their most pop-oriented collection yet, coming only months after the release of the largely instrumental Monastic Living EP; a record that was actually made at the same time.

    “In a way, Monastic Living was like a palate cleanser for us as a band,” explains singer/guitarist Austin Brown, who produced the entire record, and mixed it in Austin at Jim Eno’s Public Hi-Fi, “maybe a return to our roots of improvising together, and being a bit more free, and seeing what kind of new sounds we could make.”

    The recording sessions started at Justin Pizzoferrato’s Sonelab in Western Massachusetts. Some of it was also made with Tom Schick and Jeff Tweedy at The Loft, Wilco’s visionary studio in Chicago, but the majority of Human Performance was made at Dreamland Studios, a massive upstate NY pentecostal church where records have been made by The Breeders, Dinosaur Jr, and the B-52s (including “Love Shack”). They spent three weeks straight there, writing by day and recording with Pizzoferrato by night. 

    The result is a record with a palpable sense of fragility. “The process of writing and recording Human Performance, for me, was a fairly uncomfortable confrontation with my emotions,” Savage says. “Emotions I don’t think I’ve fully explored in my life, artistic or otherwise.”

    Human Performance is fittingly laced with as much static as softness, with tight-wound percussion pushing along meandering, wistful melodies. There are dazed and disoriented earworms, echoing group chants, downtempo ballads with wired riffs. Lovers leave, existential confusion replaces them, weeks pass, the J train rolls by.

    The record leads with “Dust”, a 4-minute opener that takes the mundane daily duty of sweeping the floor and turns it into a frantic, obsessive call for action. “Dust is everywhere … Sweep!” they drolly repeat, before their cyclic back beat gives way to explosive, everyday city sound of car horns.

    Savage says “Human Performance” is his most personal song on the record, a solemn musing on love drifting away, a picture-perfect memory of the beginning of things and a hazier recollection of the ending. “It didn’t feel right to be shouting, barking,” he says, reflecting on his tendency to really sing for this first time on this album. “I think a lot of people are attracted to a sort of cerebral side of Parquet Courts, in the lyricism. There has always been the emotional side of our band, which I think has always been an important balance, but Human Performance marks a point where the scales have tipped. I began to question my humanity, and if it was always as sincere as I thought, or if it was a performance. I felt like a malfunctioning apparatus. Like a machine programmed to be human showing signs of defect.”

    Across six years, four full-length albums, and two EPs, Parquet Courts have always littered their lyric sheets with question marks, interrogating the outside world to varying degrees. Light Up Gold considered peanuts versus Swedish Fish, an introduction of their sharp, young wit and language of mundane, everyday NYC imagery. Sunbathing Animal channeled that language into noisy punk philosophy, raising wide-view questions about agency versus captivity, choice versus freewill. Content Nausea wondered about anxiety and emotional deterioration under the age of big data, in an aptly self-aware way: “And am I under some spell? And do my thoughts belong to me? Or just some slogan I ingested to save time?”  And with Human Performance—their fifth album and second for Rough Trade—the question marks get turned on themselves more than ever.

    “There is a lot of darkness, and general anguish being worked out on this record,” Brown adds. “But it ends kind of peacefully, kind of accepting that you can’t do much about it.”

  • Thurston Moore

    Thurston Moore

    Pop

    Thurston Moore moved to NYC at eighteen in 1976 to play punk. He started Sonic Youth in 1980. Since then Thurston Moore has been at the forefront of the alternative rock scene since that particular sobriquet was first used to signify any music that challenged and defied the mainstream standard. With Sonic Youth, Moore turned on an entire generation to the value of experimentation in rock n roll – from its inspiration on a nascent Nirvana, to Sonic Youth’s own Daydream Nation album being chosen by the US Library of Congress for historical preservation in the National Recording Registry in 2006. Thurston records and performs in a cavalcade of disciplines ranging from free improvisation to acoustic composition to black/white metal/noise disruption. He has worked with Yoko Ono, John Zorn, David Toop, Cecil Taylor, Faust, Glenn Branca and many others. His residency at the Louvre in Paris included collaborations with Irmin Schmidt of CAN. Alongside his various activities in the musical world, he is involved with publishing and poetry, and teaches writing at Naropa University, Boulder CO, a school founded by Allen Ginsberg and Anne Waldman in 1974. Thurston also teaches music at The Rhythmic Music Conservatory (Rytmisk Musikkonservatorium) in Copenhagen.

    Presently he performs and records solo, with various ensembles and in his own band, The Thurston Moore Group (with mbv’s Deb Googe, Steve Shelley & James Sedwards). In 2014, the band released The Best Day which critics described as “optimistic and sun-drenched in beauty” and “[has] experimental attitude dovetailed with instantly accessible pop melodies.” The Best Day was a record defined by positivity and radical love.

    The Thurston Moore Group’s new full-length album, Rock n Roll Consciousness was recorded in The Church studios in London with producer Paul Epworth. The songs are expansive, anthemic and exploratory with lyrics that investigate and herald the love between angels, goddess mysticism and a belief in healing through new birth. Ranging from opener “Exalted”, an unfolding and emotional journey in homage to sacred energy and exaltation, to “Cusp” a charging, propulsive piece with a feeling of Sonic Youth mixing in with My Bloody Valentine. “Turn On” is a pop-sonic poem to holy love both intimate and kosmiche to the contemplative mystery of life-defining time travel in “Smoke of Dreams”. The record concludes with “Aphrodite”, a strange and heavy no-wave rocker in salutation to the idol of love, beauty, pleasure, and procreation.

  • Heron Oblivion

    Heron Oblivion

    Rock

    Pastoral pummel. Listening to Heron Oblivion’s album feels like sitting in a lovely meadow in the shadow of a dam that’s gonna heave-ho’ any minute. Members of this new San Francisco combo have put in time in both raging and relatively tranquil psychedelic sound units—this is the premise and the synergy behind this very unique and special new album.

    On the West Coast side, Ethan Miller and Noel Von Harmonson were together in the mighty Comets on Fire, who spent a large chunk of the mid-2000s playing unbridled, blistering rock worldwide, fueled by a steady diet of amphetaminized Crazy Horse, High Rise, MC5, Chrome, and Fushitsusha. They were molten and melting down at all times—with twin-guitar blowtorch jams inflected with Noel’s careening electronic infusions, and songs and structures holding on to the wheel (barely) while destruction ensued. Noel did time afterwards with Sic Alps and Six Organs of Admittance, while Miller settled into a new level of interactions with Howlin’ Rain and Feral Ohms. Charlie Saufley resided at the psychedelic pop fringes with his band Assemble Head in Sunburst Sound (kindred spirits to Comets to be sure.) He was joined in California by Meg Baird of Philadelphia’s Espers. The East Coast connection, Baird was an already-established leading light in the modern psych-folk canon both in Espers and as a solo artist (most recently releasing the gorgeous Don’t Weigh Down the Light LP on Drag City,) as well as original drummer for Philly’s post-hardcore degenerates Watery Love. 

    Ethan and Noel were loosely jamming in an improvisational unit called Wicked Mace at this point. Via osmosis, Charlie and Meg came floating in for weekly hangs that still resided in a somewhat free zone. “We just did pure improv’ for a few months under no pressure to ‘be anything’ or ‘be a band’”, says Miller, “I think Noel and I sort of pushed for the idea of Meg on drums, me on bass, and Noel and Charles on guitars just to mix it up a bit, get outside our usual mold a little.” Though Noel and the newfound rhythm section took roles with instruments they were familiar with—but not particularly known for—ideas bubbled up quickly, and each member contributed to the songwriting process. “As expected, Charles and Noel had killer guitar chemistry, incredible fuzz sounds, symbiotic interplay,” Miller recounts. Though a multitude of other parallel musical projects kept the pace slow for the foursome, it moved steadily forward—and down paths much less trodden and familiar for the players involved. It was something new, unfamiliar, and invigorating to say the least. Eventually, seven songs were tracked at Eric Bauer’s San Francisco studio “The Mansion,” and the results are stellar.

    Three shades of light run through Heron Oblivion: Baird’s rich, beautiful vocal approach, the locked-horns bass and drums of her and Miller’s streamlined-but-motorik rhythm section, and a twin guitar tapestry that both aligns with the dreaminess of the songs and crackles out of containment to froth over the rim. It’s a seamless but pronounced thing: “Oriar” sports dramatic spires of solos that fly high out of the gate, slowly settling in to lilting verses then exploding again, “Rama” drifts like an Opal/Fairport wedding with more tumbling, syrupy electric lines all around. 

    Meg’s gorgeous singing resides within an untouchable domain and never struggles, nor has to combat the avalanche of guitars that ebb and flow. The only other record this could be remotely compared to maybe is the Slap Happy Humphrey record on Japan’s Alchemy label years ago, where female vocal melodies combat sick walls of noise guitar. But in this case a definite West Coast style reigns—where elements meld rather than stand as opposing black-and-white walls: Even the heights of guitar destruction on Heron’s “Faro” build steadily and organically from the beginning to end.

    The group first properly gigged in April of 2014 opening for War On Drugs. They finished the record independently, then inked a deal with Sub Pop in early 2015. Most recently they toured the West Coast with Kurt Vile and Cass McCombs. 

    -Brian Turner/Music Director WFMU Jersey City NJ

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limit 8 per person
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$30.00

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This event is 19 and over. Any Ticket holder unable to present valid identification indicating that they are at least 19 years of age will not be admitted to this event, and will not be eligible for a refund.

www.timbreconcerts.com

Parquet Courts, Thurston Moore
Heron Oblivion

Thu Feb 15 2018 8:00 PM Doors

Imperial Vancouver BC
Parquet Courts, Thurston Moore, Heron Oblivion

$30.00 Ages 19+

Timbre Concerts proudly presents a co-headlining show featuring Parquet Courts and Thurston Moore With Guests Heron Oblivion.

  • Timbre Presale: Thurs Oct 26 @ 10am - 10pm
  • General Onsale: Friday Oct 27 @ 10am

 

For more info on Timbre Concerts and their upcoming concerts visit www.timbreconcerts.com.

 

Please correct the information below.

Select ticket quantity.

Complete the security check.

Select Ticket(s)

Ages 19+
limit 8 per person
General Admission
Regular Ticket
$30.00

Delivery Method

Mail
Will Call

Terms & Conditions

This event is 19 and over. Any Ticket holder unable to present valid identification indicating that they are at least 19 years of age will not be admitted to this event, and will not be eligible for a refund.