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Thursday, August 28

Slint

Tropical Trash

8 p.m. doors, 9 p.m. show

All ages welcome

$29 advance, $35 day of show

Slint

Slint began in 1986. Before that, drummer Britt Walford, guitarist David Pajo, guitarist/vocalist Brian McMahan, and original bassist Ethan Buckler had played together in various bands within the tight-knit Louisville punk scene. Brian and Britt formed their first band - Languid and Flaccid - in middle school, when Britt was just eleven. The older punks collapsed in fits of laughter when Britt and Brian's dads carried in their amps and set them up on stage. Languid and Flaccid also featured Ned Oldham, later of the Anomoanon and older brother to Will Oldham a.k.a. Bonnie ‘Prince' Billy. Everyone in the band traded instruments from song to song. Brian and Britt also played in the beloved melodic hardcore band Squirrel Bait.

Slint's first show was during a service at the Unitarian Universalist church that Ethan's parents attended. Even the people who held their ears told the band afterward how much they enjoyed it. In 1987, Slint recorded their first album, Tweez, in Chicago with Steve Albini, who also produced albums for the Pixies, PJ Harvey, and Nirvana. Tweez was released on the minuscule Jennifer Hartman Records and Tapes label in 1989 and later reissued by Touch and Go Records in 1993. Ethan Buckler left the band after Tweez to pursue his own vision with his band King Kong and was replaced by Todd Brashear. In the fall of 1989, the members of Slint scattered to various colleges throughout the Midwest. Britt and Brian wound up at Northwestern University in Evanston, Illinois. Before the school year was out, both were invited not to return. Then, over four days in August of 1990, Slint recorded their second album, Spiderland, and the world would never again sound the same.

Produced by Brian Paulson at River North Recorders in Chicago and released by Touch and Go Records in April of 1991, the six songs on Spiderland methodically map a shadowy new continent of sound. The music is taut, menacing, and haunting - its structure built largely on absence and restraint, on the echoing space between the notes, but punctuated by sudden thrilling blasts of unfettered fury. It is a sound that no one had heard before and that no one will ever forget. The eerie, now-iconic black and white cover photo of the four band member's heads breaking the surface of the water was taken by their friend Will Oldham. PJ Harvey was among the respondents to the band's call for interested female vocalists on the back cover.

Spiderland spawned a whole new genre, frequently called Post-Rock, and came to be regarded as one of the most important and influential records of the past thirty years. The album was introduced to a wider audience when the song "Good Morning, Captain" appeared on the soundtrack for Larry Clark's controversial 1995 film Kids. In 2010, Spiderland was enthroned in the popular and acclaimed 33 ? series of books about seminal record albums. Slint broke up shortly before Spiderland was released. Band members went on to play in Tortoise, the Breeders, Palace, The For Carnation, Papa M, Evergreen, Interpol, and the Yeah Yeah Yeahs. In 2005, Slint reunited to headline the All Tomorrow's Parties festival in Camber Sands, England, followed by a subsequent eighteen date tour. In 2007, the band performed Spiderland in its entirety for a series of European shows and at the Pitchfork Music Festival in Chicago. In late 2013, they co-headlined the final All Tomorrow's Parties weekend at Camber Sands.

 

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Tropical Trash

Historical - confessional - symbolic - educational...
"First time I found a saxophone I didn't know whether to pleasure myself with it or treat it as a flower pot" Says Martin of his original sin - "why not?" Now I've learned many things [what have you learned?]. It wouldn't be right without mentioning a dispensation of fading beauty. For the middle parts, each soloist is given a few choruses [of a confessional nature] until it gets to the final section - at which time your nervous system has been dissected. In other words, "Spontaneity was the thing; he told everybody what he wanted - he wanted crescendi [...] and decresendi [...] - a historical mission insofar as anyone can ever advise anyone else in how to listen! I suggest that they start feeling sounds, sleeping four hours and a husk which is not too hard and retains firmness," Davis suggested.

3:22 A.M. Kyoto: Japan in the night - endless meetings with investors - he wants on and on for minute after minute, coughing, a formal practice of orgiastic excitement peculiar to the regional musicians. "If you're ready to drop preconceptions the impact can be revelatory until your hands touch the floor - sometimes my mouth fills up with saliva including searching and the cry of the blues [Tokyo era] but to do that at each stage we have to keep cleaning the mirror" says Thompkins. Regionally, greater lust are in the history, are in the paradox of what man can express. Viscount Thompkins relates, "I heard each new album and it sounded like water - I arose with NU, dryness transmuted into courage/dropping, I was on my own - I found it virtually impossible to keep my mind - insofar as any one can begin to produce strange tingling in the layers of self defense [...] it takes a while before my dissonance manifests in the presence of others - this should not cause concern in the left side of my head, briefly serene(?)"
McCoy "plugged in"

Themes 1, 4, 12a
The terrible fate of his widespread interest, energy, and luxurious chair became mildly spastic - a word I didn't know yet. "Lyrically, the daggers are poisoned, and yet...you look radiant," relates Martin to Smith. Pulling on his overcoat replaced it with something other than a human being - "the disfigurement will be frightful" he whispered jerking his meat suit off. Morally, you know morally, you will sample the chrysanthemums on Sunday for the rest of her life (a horizontal shaft invested with the sense of ecstasy - banal, hateful a jerk of the thumb). Says Davis, "Tonight my nerves are passages of subterranean strings to experience on occasion ecstatic epileptic auras."

"Making room for me in having our young mans way" says Smith of the near Olympic mixing sessions, "it would have been difficult to instruct anyone." Insofar as Sparrow McCoy's production methods lend themselves to keyboard/digital treatments, the group decided to go for a "live" feel utilized through hundreds of hours of state of the art overdubs. "Beyond the powers of bullying we had improved the concrete. He looked at me hard, the original risk" says Martin of McCoy. "[Sparrow] said to me, ÔLet us assume both the man and the woman stay, how often will the man get news?' and I was just blown." Smith says of McCoy's methods, "The pigeon is released with the energy source, the fall of a body with intent - a touch of horror and other methods plugging him into a direct continuum with the greats." It may have been an hour or more before I started bringing in the cassettes, at any rate, I was aware of a loud lapping and gurgling - Martin's technical complexity remained a final experience. Vis. Thompkins relates of the sessions, "The depths of the doctor became the cavern, the asylum [I made my way to the mouth, a singularly difficult melancholy vigil] clenched between my teeth, a cunning romantic revelation...the creature was swift! In a moment, I was asked to see him projecting bulbs, white and sightless - laying all night in the cave, six weeks have now elapsed without bloodstain. Where there was, was now a dead, cold, hairy leg - forcing him to know the riddle - his own leg ;) - suggesting animal life (though I didn't want it cured). What made me realize my own poverty was that I was not fully alive until the Wrigglyh's got me!" I believe, in my own opinion, a lumbering matter attempted to conceal from memory (insofar as you can instruct anyone in how to say another word) a sinewy profundity i.e. "now Tommy, into your cage! Sweet j-sus!" - and the grain retained the signature of an amateur seasoner. Long before the seizures in both temporal lobes, I was prepared for failure - in paradox, you'll be interested to know my movements were as therapists, teachers, scientists...in other words, compelling. "Frankly it needs a romantic" says Davis, "in which case I was already devoted to counting change - the simplest calculations. I fulfilled the conditions superficially, a mass of handicaps...though it was not enough."

-Eggo
Christmas Eve, 187 A.D.

 

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