Due to many stressors on the kids at Twain there is always an annual shortage of funds to replace lost books. Last year the library had to raise $1400 to cover those costs beyond their normal budget. This year we as a group of musicians want to help give the library money before books go missing so no kid needs to go without during the school year. Come and have wonderful food and listen to some great music while doing a great thing for your community.
Please join me for the release of my new record, "Slouching Towards Tomorrow" which will be available to purchase on cassette tape. I will be be joined by one of my favorite bands I have played with, Minneapolis' American Cream. Me and my band members will also be spinning records throughout the night. Doors will be at 9pm and show will begin at 9:30. Entry fee is $7.
Anthony Worden and the Illiterati
//Anthony Worden has cut his teeth in the Iowa City the past two years. His advocacy for DIY show spaces in town has led him to perform alongside various inflections of rock and roll, from the psychedelic to singer-songwriters. He’s allowed these influences to shape the trajectory of his newest full-length release, “Slouching Towards Tomorrow”, forthcoming September 21, 2018. Recorded at Flat Black Studios, Worden’s sophomore album expands the soundscapes from the structures of his debut.
Where “Ideal Conceptions of the Beautiful and Good” was composed with a finger on the pulse of canonical and indie rock, Worden’s sequel gives us that same delicate swagger but enveloped in textures both angular and capacious. Easily compared to the syncopated colloquialisms of Lou Reed, Worden showcases a range that coalesces with his atmospherics. “Slouching Towards Tomorrow” kicks off with buoyant flares, then washing adrift towards where our “innocence is drowned”--a truly Yeatsian destination. The revolution begins with love, empathy and togetherness
American Cream (MPLS)
//"Anyone can listen and listening is the key to having a conversation. Jazz was always for the punks" Nathan Nelson (fmrly of STNNG) heads the illustrious Minneapolis configuration, American Cream. With an ever changing line-up as well as musical inspiration, every show that Nathan and the group puts on provides the listener with a truly unique experience. I am more than happy to have the band back to Iowa City.
Doors 9/Show 9:30/Entry $7
Little Village and Dead Coast Present:
A Listening Room Performance Featuring
Willy Tea Taylor
with special guests
Brian Johannesen & Tom VandenAvond
Thursday, August 9th at The Trumpet Blossom
8:00PM Doors | 8:30PM Show
$12 in advance | $15 at the door
Willy Tea Taylor is a father, brother, and son. His remarkable ability to sing about profound subjects in a simple way makes his songs a great place to lose yourself. Much of that comes from his upbringing.
Willy grew up surrounded by rolling hills and horses in the small town of Oakdale, California. Known as the “Cowboy Capital of the World” for breeding so many world champion rodeo cowboys, Oakdale is still Willy’s home and the setting for many of his songs.
Despite coming from a long line of cattlemen – his grandfather Walt was one of the most respected of his generation – Willy’s first love was baseball. As a catcher, he had a gift for the nuances of calling a game from behind the plate. When a knee injury ended his ability to catch, Willy turned his attention to music.
At the age of 18, a discerning and intimate set by Greg Brown at the Strawberry Music Festival inspired Willy to pursue life as a folk singer. Strawberry would play an integral role in Willy’s development as a musician, going from spectator to stagehand, to performer. He made his main stage debut with his band the Good Luck Thrift Store Outfit at the 2009 festival. In 2015, Willy made his solo debut on the main stage. Willy has charmed fans at some of the best festivals in the country.
Willy calls John Hartford, Roscoe Holcomb, Bob Dylan, KISS, Weird Al Yankovic and Willie Nelson his biggest influences, but is always quick to advocate for his favorite contemporary songwriters which include Tom VandenAvond, Nathan Moore, and his Good Luck partner in crime, Chris Doud. He and VandenAvond have travelled the country together on a series of tours they call “Searchin’ for Guy Clark’s Kitchen” where each evening’s show is just a precursor to an endless quest for the kind of serene late night scene depicted in the cult classic documentary Heartworn Highways.
On his new release Knuckleball Prime, Willy received support from greats like Benmont Tench (Tom Petty & the Heartbreakers), Greg Leisz (Bruce Springsteen, Eric Clapton), and Gabe Witcher and Noam Pikelny of the Punch Brothers. Of the album’s title, Taylor says “most baseball players peak in their twenties, but knuckleball pitchers tend to blossom in their late thirties and early forties. I’m staring down my knuckleball prime.”
Led by producer Michael Witcher, the songs on Knuckleball Prime are arranged and accompanied magnificently by a first rate team of musicians and engineers. If you’re a fan of well-written lyrics, alluring melodies, and a voice that ties them together with emotion as deep as the artist’s own roots, you’ll savor Knuckleball Prime, and just about anything else Willy Tea Taylor has ever done.
Forbes/Billington Duo (of Tiger Hatchery)
Reviews of Tiger Hatchery's album "Sun Worship:"
"Right away, it smacks you. The opening... attacks with the explosiveness of Albert Ayler, Ornette Coleman's frenzy and John Coltrane's scream, and doesn't let up until the closing... fades to silence. Saxophonist Mike Forbes rages like Peter Brötzmann, Evan Parker and John Butcher all morphed into one being, while Ben Billington's drums recall the pace of Rashied Ali and Han Bennink's solid insanity. Sun Worship is in-your-face brutality, an all-out assault on your preconceived notions of music." - Chuck Foster, The Big Takeover
"One of the best openings in music I’ve heard this year happens on 'Chieftain,' the first of three tracks on Sun Worship, a short and to-the-point CD by the young Chicago free-jazz band Tiger Hatchery. There's no lead-in, no windup: It's as if all members were running as hot as possible, frozen in time, and then unfrozen: Blam, drums and cymbals under attack, tenor saxophone gasping, electric bass on extreme low judder. Sun Worship is released on ESP-Disk, the imprimatur of some of the best New York free jazz in the early- and mid-'60s, but it feels different, especially after the initial onslaught, through its various episodes of velocity and mood. Andrew Scott Young, the bassist, uses the rugged tone you'd associate less with jazz than, say, the Jesus Lizard's David Wm. Sims; the tenor player Mike Forbes and drummer Ben Billington have 50 years of free jazz from around the world, as well as nearly that much of improvised noise, to assimilate. They bring these three pieces home rather elegantly, and begin the other two much more softly. But I’m fine with the record's first five seconds." - Ben Ratliff, The New York Times
Sinner Frenz are Luke Tweedy and Brendan Lee Spengler, who previously played together in the underground supergroup ft(The Shadow Government). Since then, Tweedy has cultivated Flat Black Studios in Lone Tree, Iowa and Spengler has continued to perform in various acts including Viva L’American Death Ray Music. Together, they have collected a pile of modular synthesizers and an evolving sound system that they use for their act. Sinner Frenz is equal parts beats and melody, electronic music for people that listen to rock music, and hi-fi dance music for noise punks.
KEE AVIL (Montreal)
Kee Avil is a solo song project based in Montreal, QC. It combines guitar, voice and electronics into weird song forms that stagger between structure and improvisation. Kee Avil evolved from playing the guitar with broken cymbals and drumsticks into creating strange beats glued together by samples of screws dropped into crystal bowls.
Blank Thomas x Nadir Smith (St. Louis)
Special collaborative set, sturdy beats and woozy synthscapes.
Daniel Wyche is a Chicago-based guitarist, composer and improviser. Working with a wide range of physical preparations, extended techniques, and pedal instruments, his recorded work and live performances are characterized by long-form structured improvisations. Daniel’s early records are a methodical crawl through the timbral subtleties of the guitar through sweet and unhurried layering, inspired by the ambient and deep listening traditions. However, with Our Severed Sleep (Eh? 2016), his most recent solo record, he has returned to his earliest inspirations on the uncomfortable periphery of rock and free improvisation, in an extended exploration of the relationships between resonance, overtones, and noise. The result is a pair of compositions called “a blowout to wake the dead” by the Wire, “reverent music,” by Decoder, and “an infinite swansong of bliss” by Tiny Mix Tapes. Over the past several years, all of this work has become increasingly integrated with the exploration of multi-channel performance, the spatialization of sound, and site specific-composition, and new compositions for quad and 8-channel guitar are currently being developed.
Along with his solo guitar work and duo recordings with primary collaborator Ryan Packard (Fonema Consort, Skeletons), Wyche is involved in several regular collaborations. Most notable among these are a series of ongoing performances with Julian Lynch (Real Estate), and his trio with Mark Shippy (US Maple, Invisible Things) and Ben Baker Billington (Tiger Hatchery, ONO, ADT), which will release two new records in 2017 on the Astral Spirits and No Index imprints.
Daniel has been a curator at Elastic Arts in Chicago since 2013, has severed as part-time faculty at the School of the Art Institute of Chicago, and is an PhD candidate in the history and philosophy of religions at the University of Chicago.
Link to work- Daniel Wyche
Justin K Comer
Justin K Comer is a saxophonist, composer, and improviser living and working in the bustling metropolis of Coralville, IA. He experiments with noise, sampling, extended techniques, rhythmic phasing, and evolving repetitive patterns. His music has been used in dance, theater, and film productions. In addition to his solo work, he also collaborates with like-minded artists under the banners of JCϟjp, Wombat, and Emery Clair Comer Hart. In collective improvisations, he practices musical anarchy, where individuals are given complete freedom to pursue their own interests and cooperate as desired. He also organizes and hosts the iHearIC concert series and radio show. Find more at justinkcomer.com.
Hot Tang Album release
kid friendly event
doors at 8, music at 9
Denver, CO’s Esmé Patterson has been making waves all around the country since going solo in 2012 (she was previously in Denver-based Paper Bird). Her voice is smooth and sweet when she wants it to be, and then fully rock and roll when you least expect it. Each of Patterson’s songs listens like and intensely personal diary entry, and you’ll likely find yourself relating to all of them with wide-eyed wonder.
Elizabeth's sound and songs flow fluidly across many genres, inspired by artists from Alabama Shakes, Sharon Van Etten, and Angel Olsen to Stevie Nicks, Joni Mitchell, and Bonnie Raitt.
This summer will be stocked full of great shows and festivals in Iowa and the Midwest. Moen has previously released a self-titled EP in 2016 and a vinyl LP titled "That's All I Wanted" in 2017.
Sun in Aquarius, Moon in Virgo, Leo rising. Brooks has been making solo albums for 10 years: The Misanthrope and his Doubtful Faith(2007), Dead Animals(2009), Apostatize!(2010), My Foreign Right Hand(2011), Acid Casual(2013), Renaissance Beast(2014), Aeiouns(2014), The Chymical Wedding of Brooks Strause(2015), Christ of the Abyss(2016) and Benjamin(coming soon).
Can This Even Be Called Music? Imagine slowed-down, funky pop tunes from the eighties (or an original composition aimed at mimicking that aesthetic) with screams and blast beats that would fit nicely on a black metal album, as well as many audio glitches.
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