Hosted by Lilith DeVille. With Special Guests Macabre Noir, Sophie du Mal, Amoxie Villain & Askasha Lestat
Hosted by Lilith DeVille. With Special Guests Macabre Noir, Sophie du Mal, Amoxie Villain & Askasha Lestat
With performances by:
Eric Frankenberg, Julia Frankenberg, & Co
Joe Hale(TYL) Anna Hale(Swampwalk)
Warren Pryde, Dane Adelman, et al (TBD)
Tessa Barber & Em Fear
Jen Sabol, Scott Fry, Greg Cislon, Jerry Lyon
Mike Baltzer (Benefits)
A Pittsburgh-based comedian who has performed throughout the northeast and midwest and has opened for Kevin Brennan and W. Kamau Bell among other folks, Jordan Weeks started doing stand-up at DIY shows and in less-traditional venues and settings during what geologists now refer to as The Epochal Era of Facebook Kicking MySpaces Proverbial Dick into Low Earth Orbit.
Throughout 2010 and 2013 Jordan frequently performed at the Weird Paul Rock Band's "$.99 Variety Show", a monthly interdisciplinary shindig held at a shifting roster of venues and featuring a sometimes alarming number and cross-section of participants. Providing rare opportunities for completely open performative experimentation, these shows sometimes saw Jordan appearing in abstruse ensemble sketches and improvisational situations and sometimes presenting stand-up and other comedy formats in widely varying permutations, often with collaborative accomplice and disgraced birdwatcher Greg Cislon.
In 2013 and 2014 Jordan appeared in both productions of live satirical juggernaut Pittsburgh Batman at Pittsburghs Bricolage andKelly-Strayhorn theaters.
In addition to producing his own film and video works, Jordan has also collaborated on and appeared in a number of other films, both shorts and features, including found-footage nail-biter Paranormal Excellence (2011), independent thriller The Quiet Arrangement ("Best Feature" 2380 Film Festival 2010),self-reflexive noir send up South of the City ("Best Film" Pittsburgh 48 Hour Film Project 2011), rarely seen existential puzzler Oh, Shit(2012), and elusive VHS-only caper Jeff Clouter the Wicked Awesome Thief(date expunged).
About a month ago a pretend janitor at NASA told Jordan that he should "start a podcast" - but hes not sure thats such a great idea since nobodys done one of those things in like ten years. This was reinforced earlier today when a guy outside of a McDonald's who looked lost but said he was "just checking things out" told Jordan, "Get your head outta your ass!" and informed him that theres no more room on the internet. Good points all around.
Yoni Wolf has spent the last two decades traveling the remote sonic terrain where underground hip hop, avant-pop, and psych-rock meet. Some of Yonis most compelling and critically-praised musical experiments have been issued under the moniker WHY? and his latest entry is no exception. On AOKOHIO Yoni condenses the essential elements of WHY? into a stunningly potent musical vision.
Co-produced by Yoni and his brother Josiah, AOKOHIO presents a rich palette of musical voices that emerge and disappear into a constantly shifting kaleidoscope of sound. I wanted a wide variety of sounds. I didnt want this album to sit in one sonic zone. Ive always felt like too jagged of a person to be smooth in that way, Yoni says. While the album features many notable guest contributors, from Lala Lalas Lillie West, to Nick Sanborn and Amelia Meath of Sylvan Esso, the listeners attention remains squarely directed on Yonis voice and vision.
AOKOHIO finds Yoni rethinking fundamental aspects of his approach to creating and delivering his music. The album is presented as six movements comprised of two to four songs each, with some segments appearing as brief fragments that dissolve within seconds.
When I started this project, I decided I needed to try a new approach in creating music and how I work, Yoni reflects. I wasnt feeling the idea of going back in and making another ten or twelve song album. It felt arduous. It felt like too much. So I wanted to pare the process down and make it manageable. I thought, Why dont I make small five or six minute movements and finish up each movement before I move on to the next. Thats how I started approaching it. The whole process took over five years, Id start working on something and set it aside for awhile. The earliest songs on this album started in 2013.
As Yoni reimagined his approach to creating music, he also began thinking of new ways to share the music with his audience. I initially wanted to release the music as I progressed through the project, Yoni says. When I finished a movement I wanted to put it up digitally on Bandcamp or Soundcloud. I just wanted to make little pieces of music and put them out there. But I had a call with my manager and the label and they said, We can release stuff through time like that, but we want to do it properly. So the idea of the project changed after that, but it retained the integrity of working in movements. Its definitely a very different way of working for me. I think it has yielded some interesting results.
The concept of sharing AOKOHIO in segments over time has been preserved with the release of an accompanying visual album. I think its a very artful way of putting the music out there, Yoni explains. Its like a television series, its revealing itself slowly over time. I think its cool that the audience gets to hear it one piece at a time, and has to wait and digest each piece before they get the next one.
I knew early on that I wanted that visual element for this album, Yoni recalls. My brother and I have worked on video stuff our whole lives. Our dad had video equipment since we were little kids, he had an editing suite in our basement. We werent rich, we were actually fairly poor, but somehow hed gotten ahold of these video editing decks and cameras. Even though my brother and I had dabbled in video as kids, its not what we do for a living. So we wanted to find someone, and fucking randomly a guy messaged me on Instagram and was like, Hey, I like your music and Id love to work with you. I looked at his work and I was like, This guy is for real!
The author of that fateful Instagram message was Sundance award-winning director Miles Joris-Peyrafitte. Miles directed the first three segments of the visual album and is the mastermind of the overarching video project, Yoni explains. Joris-Peyrafittes visuals cut contemporary footage of Yoni and actress Tatiana Maslany with vintage home videos documenting Yonis childhood life in Cincinnati. Its a fitting juxtaposition, as Yonis lyrics on AOKOHIO seem to question how memory, history, and place shape our anxieties and sense of self. I moved back to Cincinnati after living in the Bay Area for over a decade, Yoni says. This album is very much me thinking about my mom and dad, and my siblings.
Yonis return to his Ohio hometown brought on a period of critical self-reflection. Is there a word for bad nostalgia? Yoni asks. When I think of the word nostalgia, it seems like pleasant feelings and all that, but this is not really like that. Its more about reflecting on the anxieties Ive had since I was born. Why are they there? Is this epigenetics? Is that shit just inside of me because of the Holocaust and my relatives back then? What am I really? Why do I operate in these ways?
Ultimately AOKOHIO sees Yoni pushing to find meaning and peace of mind in the moment, even if its not exactly where he wants to be. The title is sarcastic I guess, Yoni offers. But its also wishful. A lot of my album titles have been names of maladies, like Alopecia and Mumps, Etc. I dont want to project that into the world. You know, A-OK Ohio, Im here and its fine. Its like a mantra, A-OK Ohio, Im here and its OK. Even though in reality, everyday Im like, Ive got to get the hell out of Ohio.
AOKOHIO feels like a consequential addition to the WHY? catalog, possibly even an artistic turning point. But its creator remains circumspect when asked to comment on the albums significance within his discography, instead preferring to characterize the work as the latest iteration of his deep commitment to his artistic practice. I have no idea if this record is good or not, Yoni says. But I never really know. I know that Ive never written a song thats indispensable to the American songbook. But in terms of what it is, its a piece of art. I put blood, sweat, and tears into this album, and struggled through the creative process as I always do. As far as where this sits with the rest of my albums? I cant answer that. I just know that my career is a lifelong career, and Im working it. Every time it feels right, it makes me feel good.
The Nerd Herders
The Nerd Herders influences stem from the golden age of the 1990s grunge/punk/hard rock scene, as reflected in our songs. Each band member is a musical veteran of Pittsburgh, and we all have over 10 years of gig experience.
ome experience the live Drinking Game Concert! Ali Spagnola will be playing her Power Hour Show. They play 60 of your favorite cover songs. All one minute long. Everyone cheers and drinks in between each song. Awesomeness ensues.
Join Club Cafe for a very special evening featuring Emerson Jay (Reunion Show)
Second show added! A night celebrating the music of Ray Charles featuring a variety of hits from all genres and generations
A night celebrating the music of Ray Charles featuring a variety of hits from all genres and generations
43 minutes. That is all Bill Deasy is asking of you.
Turn off your phone. Shut the door. Block out the world.
Wheels on road
Roads in moonlight
Moonlight falling on a midnight train
So begins "Timeless Things," the lead-off title track for Bill Deasy's eighth full-length studio record. Anton DeFade's driving bass pumps along beside Jake Hanner's steady kick drum. Rob James' (on loan from The Clarks) signature confectionary guitar work assisted by electric rhythm from newcomer Noah Minarik, laces through, tying the musical tapestry together. All are in support of Bill's voice, his acoustic guitar, and, of course, his words.
"Every now and then you strike a vein," Deasy says, reflecting on this latest batch of songs. "I didn't even know I was wanting to do a new project, but the songs kept coming, each one seeming to lead to the next."
Nowhere is his intuitive approach to songwriting more prominently displayed than on the record's closing track, "End of the Record Song," which recalls vintage Jackson Browne.
"That one was a real labor of love," Bill notes. "I wrote it over a long weekend and just kept singing it and singing it as the lines slowly appeared."
The song shifts at the midway point from third to first person, a choice Deasy explains holds personal significance.
"The first half of that song is about the character I used to be, wallowing in the sad heartache music of my melancholy youth. Then after the solo section, I find the guts to step out from behind the mask of all the story songs and just be myself. I am wallowing in happiness now. A nice change, for sure."
Though at first the songsmith envisioned recording this new material with his long-time band mates in the Gathering Field, scheduling issues made a solo project the best option. Deasy teamed with local producer Jake Hanner (Donora, Meeting of Important People) and the two set to work.
"We built each song from the ground up," Bill explains. "Jake referenced a rehearsal recording to create simple loops to which I then laid down solo acoustic performances. Once we felt great about those we started layering."
In addition to the studio band mentioned above, guests include singers Maia Sharp, Scott Blasey and Clark Slater. Gathering Field member Dave Brown contributes electric guitar on two tracks as well.
The result is a remarkably natural sounding recording of, perhaps, the strongest songs of Deasy's career.
"We realized as we got deeper into it that something really good was happening," he recalls. "Our job from that point on was just to let it."
Bill Deasy has recorded and toured nationally both as a solo artist and with the Gathering Field. Bill has also written for other artists including Martina McBride and Billy Ray Cyrus in addition to collaborating on songs with the likes of Howard Jones, the Clarks, Maia Sharp, Bijou Phillips, One Flew South, Kim Carnes, Odie Blackmon and many others. Bill's recording of "Good Things are Happening," a song he co-wrote on a trip to Nashville, became the long-running theme for Good Morning America on ABC and he appeared in the promo spots, strumming his guitar and singing.
In 2006, Bill added "published author" to his list of accomplishments with the release of Ransom Seaborn which went on to win the Golden Needle Award and is currently being adapted for film. Traveling Clothes followed in 2009 and Ghost Tree in 2010, both delivering generously on the promise of Ransom Seaborn.
Bill was recently included in the book Pittsburgh Born, Pittsburgh Bred as one of 500 of the most memorable Pittsburghers from the past 250 years.
The premier REM tribute band, dedicated to presenting faithful recreations of the band's entire musical catalog.
56-58 South 12th Street, Pittsburgh PA 15203 (In Pittsburgh’s Historic South Side)