NSFWknd: CHASTITY BELT, Weaves, Downtown Boys, Priests, Flasher

Parade of Flesh presents . . .

NSFWknd: CHASTITY BELT, Weaves, Downtown Boys, Priests, Flasher

Saturday, March 18, 2017

7:00 pm

Club Dada

Dallas, TX

$18 (Tickets also available at the door)

This event is all ages

Chastity Belt
Chastity Belt
Chastity Belt is a rock band consisting of four friends - guitarists Julia Shapiro and Lydia Lund, bassist Annie Truscott, and drummer Gretchen Grimm. They met in a tiny college town in Eastern Washington, but their story begins for real in Seattle, that celebrated home of Macklemore and the Twelfth Man. Following a post-grad summer apart, a handful of shows and enthusiastic responses from the city's DIY community led them, as it has countless others, into a cramped practice space. They emerged with a debut album, No Regerts, sold it out faster than anyone involved thought possible, and toured America, a country that embraced them with open-ish arms. Now they're back and the tab is settled, the lights are out, the birds are making noise even though the sun isn't really up yet: it's Time to Go Home, their second long-player and first for Hardly Art.

In the outside world, they realized something crucial: they didn't have to play party songs now that their audience didn't consist exclusively of inebriated 18-22 year olds, as it did in that college town. Though still built on a foundation of post-post-punk energy, jagged rhythms, and instrumental moves that couldn't be anyone else's, the songs they grew into in the months that followed are equal parts street-level takedown and gray-skied melancholy. They embody the sensation of being caught in the center of a moment while floating directly above it; Shapiro's world spins around her on "On The Floor," grounded by Grimm and Truscott's most commanding playing committed to tape. They pay tribute to writer Sheila Heti on "Drone" and John Carpenter with "The Thing," and deliver a parallel-universe stoner anthem influenced by Electrelane with "Joke."

Recorded by José Díaz Rohena at the Unknown, a deconsecrated church and former sail factory in Anacortes, and mixed with a cathedral's worth of reverb by Matthew Simms (guitarist for legendary British post-punks and one-time tourmates Wire), Time to Go Home sees Chastity Belt take the nights out and bad parties of their past to their stretching points, watch the world around them break apart in anticipatory haze, and rebuild it in their own image with stunning clarity before anyone gets hungover.
Weaves
Weaves
In a little over two short years, Weaves have gone from a collection of voice memos on Jasmyn Burke's iPhone to establishing themselves as one of the most stridently individual acts to emerge from Toronto's fertile and multifaceted DIY scene. Led by the collaborative efforts of Jasmyn Burke and Morgan Waters, the band have built a devoted audience while capturing the attention of the international media with a brand of ebullient, art-damaged pop music as difficult to categorize as it is to ignore.

The group began in a series of sessions in the bedroom of Water's Chinatown apartment, where Waters and Burke would record increasingly elaborate demos built from Burke's phone full of songs. They transitioned to a full band line up in late 2013, adding bassist Zach Bines and drummer Spencer Cole, and quickly set to work recording their debut EP which was released on Buzz Records in the summer of 2014. The EP made an immediate splash, garnering praise from Noisey, Rookie and Spin, and earning Weaves a "band to watch" tag from Rolling Stone. Glowing write ups of the band's performances at that year's CMJ from The Guardian and NME followed, cementing Weaves' reputation as one of the year's most exciting new bands.

Word continued to spread in 2015 with the release of their single "Tick," ahead of the band's first European tour, which included dates with Hinds, Dan Deacon and Pissed Jeans, and appearances at Glastonbury and Iceland Airwaves. With their already sterling live show only sharpened by their time on the road, the band returned to CMJ in October and emerged as one of the hottest acts of the festival, earning "best of the festival" write ups from NPR and The New York Times among others, and further building the anticipation for their forthcoming full length.

Weaves have been working on their debut LP for almost as long as they have been a band, tracking with Leon Taheny (Dilly Dally, Owen Pallett, Austra) in sessions that span most of the last two years. Mixed by Alex Newport (Death Cab for Cutie, Melvins, At The Drive In) and mastered by John Greenham (Death Grips, Sky Ferreira), the result is an album that traverses the band's history, exploring every facet of their always adventurous approach to pop music and leaving no idea unexplored. Filled beyond bursting with hooks and possibilities, it's the sound of a band propelled forward by the thrill of discovering the limits of their sound and gleefully pushing past them. "We're always trying to push ourselves," says Waters, "sometimes it feels like bands aren't necessary, like they're not the one's pushing music forward, so I think we're trying to hopefully prove that bands aren't boring. If we are going to be a band and if we are going to do this guitar, bass and drums thing then we might as well see how much we can fuck it up."
Downtown Boys
Downtown Boys
The United States’ myriad inequalities, hatreds and phobias are painfully evident in 2017, offering proof that the age-old dichotomy of “political bands” versus “apolitical bands” simply doesn’t exist. Either you are comfortable and unfazed by the current reigning power structures, or you choose (or have no choice but) to use your music as a vehicle for the dismantling of oppression and the creation of something better. No matter what your songs are about, you are choosing a side.
The position of Providence, RI’s Downtown Boys has been clear since they started storming through basements and DIY spaces with their radically-minded, indefatigable rock music: they are here to topple the white-cis-het hegemony and draft a new history. In the words of vocalist and lyricist Victoria Ruiz, they are “five unique and individual people who believe in the spectrum of people, experiences and emotions.” On their self-titled 2014 EP on Sister Polygon Records (run by their like-minded friends in Priests), they offered songs like “Slumlord Sal,” which strikes out against abusive landlords. Its accompanying video relays the idea that cops can be literally smacked out of their oppressive mindsets and into an exuberantly queer dance party. This is how Downtown Boys began, combining revolutionary ideals with boundless energy and contagious, inclusive fun, and their resolve has only strengthened as both their sound and audience have grown.
Cost of Living is their third full-length, following a self-released 2012 debut and 2015’s Full Communism on Don Giovanni Records. They recorded it with Guy Picciotto, one of indie-rock’s most mythological figures, in the producer’s chair. (Although best known for his ability to sing while dangling from a basketball hoop, he’s also produced pivotal albums by The Gossip and Blonde Redhead, among others.) “He very much enabled us to believe in what we were doing enough to get the record done, and get it done well,” says Joey La Neve DeFrancesco, Downtown Boys’ guitarist, vocalist and primary songwriter. Picciotto fostered the band’s improvisational urges while also pulling the root of their music to the forefront: unflinching choruses, fearlessly confrontational vocals, and the sense that each song will incite the room into action, sending bodies into motion that were previously thought to have atrophied.
Downtown Boys are keenly aware of the increased visibility and credibility that comes with signing to a corporate-media conglomerate such as Sub Pop. They’re using this platform as a megaphone for their protest music, amplifying and centering Chicana, queer, and Latino voices in the far-too-whitewashed world of rock. Opener “A Wall” rides the feel-good power that drove so many tunes by The Clash and Wire as it calls out the idea that a wall could ever succeed in snuffing the humanity and spirit of those it’s designed to crush. “Promissory Note” is a bold self-introduction to the exclusive clubs that either ignore Downtown Boys’ existence, or possibly worse, feign appreciation: “So what’s the matter, you don’t like what you see? I can’t believe you’re even talking to me!” Ruiz shouts that she won’t light herself on fire to keep you warm, and, like underground rock pioneer Alice Bag’s vitriolic verse, it’s a claim you wouldn’t dare question. “Tonta,” one of the three songs written and sung primarily in Spanish, is an introspective and emotional portrait of anguish, and it calls to mind the mighty scrum of Huasipungo at an ABC No Rio matinee.
Compared to previous efforts, Downtown Boys have shifted from a once-meaty brass section to the subtler melodic accompaniment of keyboards and a saxophone, coloring their anthems with warm, bright tones while Ruiz spits out her frustrations, passions, and intents. Some might say it shows a sense of maturity, as Downtown Boys have undoubtedly smoothed down some of their earlier edges, but there is no compromise to their righteous assault and captivating presence. Like the socially conscious groups of years past, from Public Enemy to Rage Against the Machine, Downtown Boys harness powerful sloganeering, repetitive grooves, and earworm hooks to create one of the most necessary musical statements of the day. We should all do well to take notice!
Priests
Priests
Priests is a 4 piece punk band from Washington DC. They released their first single "Radiation/Personal Planes" on their own label, Sister Polygon Records, and co-released their EP "Bodies and Control and Money and Power" with Don Giovanni Records last summer. The band is now at work on a debut full length record.
Flasher
Flasher
Formed in 2015, Flasher is Taylor Mulitz (guitar, vocals), Daniel Saperstein (bass, vocals), and Emma Baker (drums, vocals). Long-time friends, they are also established members of Washington, D.C.’s re-emergent DIY music scene.
However, while Flasher is a product of that crew, its music operates with different physics. Where their local peers favor direct and volatile gestures, Flasher’s music exists in the tension between conflicting feelings and sensibilities. They’re jagged, but woozy. Tender, but aggressive. When you’re singing through peavey speakers on sticks in a venue that’s more underwater ashtray than group house living room, it’s hard to project anything resembling sensuality. Flasher does, though.
Originally, released on cassette in April of 2016 and now reissued on vinyl, the band’s self-titled debut includes seven songs recorded at Lurch, a studio run by Saperstein and Owen Wuerker (fellow D.C. resident and member of Big Hush).
The songs are born from a process of deconstruction and reassembly. Melodic motifs are transmuted into fodder for the rhythm section. Call and response vocals warp and skew established gender roles. Lyrically, the trio take on experiences of shame, guilt, and pleasure, and haul them away from abstraction toward a place of physical expression. The songs are intended as experiment in how far a body – whether composed of flesh and bone, or melody and rhythm – can be restructured and reinvented while remaining desirable or even functional.
The results speak to the band’s transformation over the last year, both in personal matters and as artists. Closing track “Destroy” began as a heartsick home demo written years before Flasher formed. At that time, the chorus, “I just want to be your boy,” was a plea for connection. Here, the song is fundamentally changed for the better. There’s more bite in Multiz’s delivery, maybe even a bit of sarcasm. “Destroy” ends amid layers of guitar skree and volume. What was a moment of vulnerability is now all attitude.
Venue Information:
Club Dada
2720 Elm St.
Dallas, TX, 75226
http://dadadallas.com/