FIELD REPORT: Lower Dens // TEEN

All Photos: Brandon Bakus

Gerard Marcus

It's a rare occurrence, but every now and again the stars align in Brooklyn and I get the chance to see two of my absolute favorite acts on one bill. After the release of their fantastic new album, Escape From Evil, I was giddy when I heard that Lower Dens would be playing at the Music Hall of Williamsburg for the Northside Festival. For weeks in advance of the concert I had the record on repeat.

And if that wasn't enough, a week before the show I discovered that another of my favorites, Brooklyn locals TEEN, were going to be the opening act. I had wanted to see TEEN ever since their Carolina EP dropped, but for some reason or other I had always missed them when they played in New York. And unlike most things I let myself get my hopes up about, the concert was phenomenal and both acts delivered incredible performances. We've got the photographic proof right here.

TEEN

I love TEEN. In my mind they can do no wrong. And after several years of trying to see them live, finally witnessing them in action has only made me love them more.

"Stylish" is the only word I can think of to describe these guys. Everything they did on stage, every chord or rhythm they played had an air of cool that still washes over me a week after the fact. If you ever get a chance to see TEEN live, do yourself a favor and go.

Lower Dens

Lower Dens have also been on my list for some time, ever since I first heard Nootropics. Even with a few technical difficulties with what seemed like a new sample playback system, I have to say their performance was better than even I could've hoped.

If STYLE is the one word I could think of to describe TEEN the CONFIDENCE is the word I would use to describe Lower Dens. Every member locked into each song with the skill of a practiced musical veteran justifying in my mind why they are one of the best at what they do.

The group's overall relaxation, their mastery of the material, and Jana's shout-out to the late great Jazz saxophonist and composer Ornette Coleman definitely made the whole experience a night to remember. 

Interview: Arborea

photo: Jeanne Madic

Will Shenton

Lewiston, Maine’s ethereal, elegiac folk duo Arborea first emerged on the scene in 2005, and they haven’t showed any signs of slowing down since. With uniquely haunting vocals and eclectic, meditative instrumentals, their ability to capture the somber, wistful, and contemplative has placed them among the best of contemporary folk groups. Never have I found myself so gleefully melancholy.

As they approach their ten-year anniversary as a band, the wife-and-husband duo has decided to celebrate the milestone by crowdfunding a new album. I had the chance to sit down with Shanti and Buck last week (on Halloween, of all days) and discuss their plans for the record, Shanti’s dabbling in the occult, and Buck’s secret love of the Bee Gees.

ThrdCoast: I’ve always been curious, what are your respective musical backgrounds?

Shanti Curran: My mom was a singer-songwriter folk musician in Norfolk, Virginia, and before that she was doing it up here in Maine. When I was three or four she had a duo with another woman who played the flute, they were called Time and Space. [Laughs] It was the seventies. So my mom always played music – it was a completely different style than what we do – but I grew up in a household where there were always musicians around and we were always going to gigs. I think I took it for granted, like, oh God, more guitars, more bongos, more saxophone players, so I wasn’t really into music when I was younger. I wanted to focus on photography. But that’s my background, I’ve always been surrounded by music.

Buck Curran: I have a long, sordid past [laughs]. I guess it started with my record collection – well, my parents’ record collection. It was the seventies, so I had all kinds of R&B, funk…

SC: The Bee Gees [laughs].

BC: The Bee Gees. John Williams, classical guitar, Tim Buckley, stuff like that. It led to a fascination with all that music. There was a neighborhood kid who was dating my sister who played acoustic guitar around the community pool, and listening to him all the time really propelled me into picking it up myself. My dad had an old classical guitar that he never played, and I started trying to learn stuff like AC/DC on that. I had a little microphone pickup plugged into an amp just so I could get some distortion on the classical guitar. By the time I was a senior in high school, I dropped out of long-distance running so that I could focus on music and eventually getting a record deal. I joined the service so I could get money to go to guitar school out in California, but by the time I got out I didn’t want to do that anymore – I just wanted to pursue my own muses rather than learning a bunch of rudimentary guitar stuff. So when I got out I stuck around the Virginia Beach area and started playing blues, which was an early love thanks to all of the Hendrix and Cream and stuff. Then I started working at a folklore instrument shop, and we were also a venue for some of the world’s best English folk musicians. It introduced me to a lot of British Isles folk music, people like Sandy Denny, Martin Simpson, June Tabor, you know, legends of British folk music from the sixties and seventies. So that kind of propelled me into the acoustic side of things. And throughout all of that, I’d always been a writer, so songwriting was very important as well. But I waited a long time to actually release a record. When Shanti and I got together, I knew she could sing, but it was kind of a slow development.

SC: I wasn’t interested [laughs].

BC: She was very shy. But in 2004 she made a record of her singing for me for Christmas, which was kind of the first time she broke out of that shyness. I knew she needed an instrument of her own to inspire her to do more than just singing, so that following summer I got her a banjo for her birthday.

SC: Before that, though, I almost bought a kora, an African instrument, and it was between that and a banjo. The only reason I went with the banjo was that I figured the kora would take too long to learn how to tune.

BC: I found her a banjo that was already in an alternate tuning, and we spent that whole summer improvising, having backyard jams, and the music just developed from there.

TC: What can you guys tell me about your songwriting process? Do you work collaboratively, or do you put things together individually and then bring it all together?

SC: All of the above. If we sit down to play music, a song will come just from the two of us playing around together.

BC: Usually instrumentally.

SC: Then I’ll get bored and walk away, like, all right, I’m done [laughs]. We’ll both work on the lyrics and really cut it a lot, making sure that it sounds like what we’re trying to say with the song. Then, other times, one of us will come to the table with a complete song, and the other one will add a little bit to flesh it out, like some different guitar or backing vocals. So it’s really both an individual and shared creative process.

BC: Also, there are usually one or two tracks on our albums that are traditional songs, so we try to find the right song that hasn’t been covered a million times already.

SC: Or we try to cover it in a different way.

BC: We try to develop a unique approach to the song. “When I Was on Horseback” is a good example. It’s a traditional Irish song that I knew from when I was working at the folklore shop years ago, but I wanted to take a different approach than the other bands that I’d heard do it before, like Steel Ice Band or Martin Simpson. We took our kids with us on our North American tour at the time, so there was sort of an educational aspect to the stops, like visiting Civil War battlefields. That gave me the idea to rewrite the lyrics to reflect more of an American feel.

TC: This new album you guys are working on is going to mark ten years as a band. What’s changed over those ten years in terms of your songwriting, style, and inspirations as artists?

SC: I feel like it’s becoming more honed. It feels like it still retains that original quality that we started with, but we seem to be more adept at communicating the feelings we want to convey. The new songs seem, lyrically… there’s a lot of mysticism in it, a lot of the occult, a lot of focus on the cosmos. It’s a little less earth-bound and a little more based in alternate dimensions and stardust, stuff like that. And then with the new record we’re looking to expand the songs in such a way that there will be more drums and varied instrumentation. It’s a much bigger vision than what we started with.

BC: We’ve gotten tighter and more dynamic with our music because we’ve been playing live together for so long. We’ve played so many shows over the years, and you get really honed when you do that.

SC: Except when you stop for a few weeks [laughs]. Also, recently I’ve been studying a lot of Middle Eastern music, because it’s allowed my voice to go places it’s never really gone before. I want to create some songs for the new record that really showcase the highs, lows, and in-betweens that I’ve been exploring vocally.

TC: You mentioned that mysticism and spirituality, and it’s something I see throughout a lot of your music. Is that something you’ve always been interested in, or did it develop alongside the music?

SC: I’ve definitely always been interested in it. I was raised with quite a unique spiritual background coming from my parents, and now I study astrology… I mean I’m interested in everything. Different religions, different ways of looking at the world. I like studying the way that energy works and the powers of our minds. I’ve been known to dabble in those things. Some of the meditation I’ve been doing is based on the new moon and the full moon, and different rituals having to do with that. I’ve actually been doing a live show called Emerge during the new moon. So I think the interest has always been there, but nowadays, with the amount of information available at your fingertips, I’ve been able to study that sort of thing a lot more.

BC: A pretty big inspiration for me, though I’ve never studied it, is Middle Eastern music and classical Indian music. It’s informed certain ways that I approach playing the guitar modally. Also, poetry. A lot of the songs that I’ve demoed for the new record combine poetry and spirituality and romanticism, as well as cosmic, celestial things and some almost fairytale elements… I keep going down to this river that’s very close to where we live, and every time I go there I seem to write something. Something just comes. I think water imagery has become very important to me, as well as celestial things. A lot of nature, obviously, but not so much woods. Mostly water.

SC: Yeah, we’re totally done with trees now [laughs]. No more trees.

TC: I know you guys are heading out on tour to Ireland this week. Are there any other stops planned after that?

BC: After Ireland we’re just going to do regional things in the northeast, then in April we’re heading to Italy on our next big tour. Then we’re going to Germany, and after that the new record will be out and we’ll do more US shows. We’d love to come out to California and the Pacific Northwest as a part of that.

SC: We’re also planning to go to Egypt for some shows in June. But this winter I think we’re going to be spending a lot of our time focusing on recording the new album and doing our side projects with other people, sticking closer to home.

You can support Arborea’s new record by donating to their Indiegogo campaign here. And if you’re in Ireland, be sure to check out one of their upcoming performances!

Review: SALES - SALES EP

photo: Harryson Thevenin

Sarah Tembeckjian

Pick a word. Any word. “Simple” keeps rolling around up there as I ruminate on SALES’ self-titled debut. But that doesn’t quite cut it. Yes, this music has a certain simplicity to it, but I’m not trying to use the term condescendingly. I can just see the scrunched up face of a dismissive critic saying “it’s… simple,” waving their hand, and leaving it at that. Instead, I want to take a more detailed look at how that might just be the EP’s biggest asset.

SALES kicks things off with “renee,” which opens on a short guitar motif that repeats throughout, keeping the pulse uniform and driving. It’s uncomplicated. It’s boxy. And subsequent instrumental and vocal variations fit within the rhythmic constraints of the original pattern, putting heavy emphasis on the downbeats. This metronomic approach to layering can be dangerous, often leaving behind a jagged, square, and ultimately predictable aesthetic. However, SALES has managed to avoid this by keeping it clean, with only two to three lines to concentrate on at a time. Even though these lines exist within the same rhythmic space, they are individual musical ideas that stand alone and can be followed simultaneously. By paring it down to these essentials, SALES has eliminated excess weight and opened the track to a lighter, airier feel.

The tentative, hesitant start we got in “renee” quickly disappears as the EP progresses. With every new track, SALES gets stronger and more confident in their music and performance. Not only can we hear it in Lauren Morgan’s vocals, but also in the musical direction the band takes over the course of the EP. The wonderful quality to this oeuvre is that it features the band spherically. We get to hear SALES take on bubble gum uke pop with “chinese new year,” mellow rock ‘n’ roll with “vow,” and patient melodic patterns with “getting it on” that gently ripple into a warm and inviting aesthetic, lending itself extremely well to slow, circular head bobbing (the best kind of head bobbing).

“getting it on” is a new addition to the SALES repertoire. (We’ve heard the first three songs on this EP over the past year and a half, but with the debut of this EP, the Orlando natives have added two new tracks and a remix.) “getting it on” adheres to a similar framework as “renee,” with multiple lines simultaneously operating within the same rhythmic space. However, on this go around there are more musical trajectories to keep track of, leaving behind a warm, full bed of smooth instrumentals. This song immediately puts you in a trance, holding your attention with simple guitar repetitions and harmonic colors that seamlessly weave in and out of each other. Interestingly, if you break it down, there are just two sections to this song that alternate back and forth. One is more straightforward with an evenly divided rhythm. The other has some playful rhythmic variation that is quite subtle, but really packs a punch when put in contrast with the opening pattern. It’s simple, but absolutely brilliant. This tactic keeps the song driving forward without sacrificing any of its character.

SALES has mastered the art of simplicity with this EP. Each track has its own, distinctive character, yet the band has been able to achieve that while maintaining cohesion throughout. There’s definitely a quality of pop accessibility, but just enough roughness around the edges to keep things interesting. All in all, while it’s mostly just a repackaging of their singles, the band’s debut has certainly impressed both aesthetically and technically.

Interview: Abracadabra

Will Shenton

Despite splitting most of his time between St. Louis and Chicago, Adam Obermeier’s dreamy, languid, unpolished sounds have all the hallmarks of coastal sunset-rock. But where some bands fall into the trap of trying so little that they collapse under the weight of their own apathy, his solo project, Abracadabra, manages to embrace a lack of structure while still being thoughtful.

Abracadabra’s eponymous debut is an exercise in immersion. Without feeling too repetitive, the EP builds and quite artfully maintains an enveloping, introspective atmosphere from start to finish. The mishmash of synths, acoustic and electric guitars, percussion, and understated vocals bring to mind an Atlas Sound with more lo-fi approachability. And though Obermeier himself refers to the record as “basically a bedroom project,” it’s put together with a degree of professional consideration that promises great things to come.

I recently spoke with Adam on the phone (after a few predictably futile attempts with Skype) and asked him about the origin of his stage name, the beauty of words as objects, and translating experience into relatable lyrics.

ThrdCoast: Tell me about your musical background. Are you self-taught, or do you have any formal training?

Adam Obermeier: When I was really young I was always drawn to the piano in our house, and I became sort of morbidly obsessed with The Beatles. I had a crying fit at school when George Harrison died. I had to be taken out of class. So I guess I’ve always had a pretty fervent relationship with music. Then I started guitar lessons when I was ten or so, but other than that I’ve mostly just taught myself keyboard stuff and did jazz band in high school. Nothing too formal. I don’t really like to approach music from a very stern, formal perspective. It kind of kills the magic. When I was taking guitar lessons I learned some music theory, and I did some clinics with professional jazz musicians, and it was a total killjoy for me. The approach of, “well, this sounds cool because it’s using this particular scale” totally takes the magic out of the whole process. So Abracadabra is kind of my effort to rediscover music from a truly emotional, artistic perspective. I’ve found that writing music is very visual for me, and I’ve been trying to go in a more intuitive, associative direction. Sorry, that was kind of a rant.

TC: Don’t worry, nobody reads these interviews to hear me talk. Anyway, is Abracadabra a totally solo endeavor?

AO: Yes, it is. I sing, I play all the instruments, but I don’t want to say I produce it because that sounds super pretentious. I mostly just add reverb.

TC: Where’d you get the name?

AO: It took a while for me to find a name that felt really pure and true to the music. I played around with a bunch of names like “Gems” or “Emeralds,” things like that, because I wanted to have the name of the project really engulf you in the world of the music. I felt like Abracadabra managed to do that with its connotations. And when you view the word as an object, written out, it’s really beautiful, and there’s a really nice phonetic ring to it. I don’t know, I guess I just fell in love with the word, and it felt obvious when I finally thought of it.

TC: It seems like it ties in with that whole concept of “keeping the magic alive,” too.

AO: Exactly, yeah. It has a lot of magical connotations. And it’s kind of archaic, in a way. It’s not a word that’s used much anymore, so that adds a little layer of dust to everything, which I like.

TC: Who are some of the artists who have inspired you and shaped your sound?

AO: Brian Wilson from The Beach Boys is one of my heroes. I guess I really admire that mad genius sort of persona in music. That’s sort of an underlying foundation that’ll never fade away. There are some other people I’m super into now, like this Brazilian singer Astrud Gilberto. She’s kind of bossa nova, but it’s basically just like pop music. It sounds very trancelike to me. There’s this one album she has with this organ player, and it creates this sound that makes you feel like you’re in a corridor in a dream or something. There’s no vibrato, it’s very trippy. As far as other pop people, there’s Roy Orbison. I would say just the song “In Dreams” has had a pretty profound impact on my life. And I really love psychedelic music, like the British band Broadcast. I’d say that they’ve inspired me a lot. Bands like Animal Collective that just constantly put out really idiosyncratic, amazing music pretty much every year. It’s incredible to me that they can be themselves all the time and be so prolific.

TC: How about your lyrics? Are there certain stories you like to tell, or is it more impressionistic?

AO: I wouldn’t say impressionistic, but it’s definitely along the more abstract route. Growing up I did lots of poetry workshops, so I don’t really like to have much of an underlying narrative, per se. But the lyrics are all very personal. They’re abstract in that I don’t say exactly what the situation is. Everything comes from an experience, and then I translate it into something that people can put their own imprint on. There’s no inherent, objective meaning. I really appreciate things that are, you know, tastefully cryptic, like Bob Dylan. You can totally put yourself into his lyrics because they’re not overly specific. I also just love the sounds of words, and the sensuality of that. I think Astrud Gilberto is a great example of that, because she sings in Portuguese and I have no idea what she’s saying [laughs]. But it makes you realize that the sound of the words themselves can be an instrument, not just the melody of the vocals.

TC: Are you working on any bigger projects at the moment, like a full-length album?

AO: Yeah, I’d say so. A lot of the songs I recorded on the EP were written in my senior year of high school, and I didn’t really know how to make a whole, cohesive record. They were just sort of a backlog. It’s the same deal with the two new singles, too. I just created the songs and immediately uploaded them, because I got so wrapped up in the feeling of completing them and figuring out the cover art and everything. Putting music up on the internet is, strangely, a really gratifying experience. It feels like I actually did something [laughs]. But I have four or five really rough ideas for songs that I’ll be working on, and I definitely want to use those to create a more formal album in the very near future. I always have songs that I’m working on, so it’s a matter of finding a group of them that feel like a family.

Interview - Oshwa

Duncan Reilly

Oshwa isn’t trying to be a complicated band. While their most recent album, Chamomile Crush, showcases the Chicago four-piece’s ability to integrate complex polyrhythms and intricate, interlocking parts into sophisticated, fun, and deeply weird indie pop, their 2013 EP, Tigers, shows them moving into more straight-ahead territory – while still keeping it sophisticated, fun, and weird. I visited them in the Pilsen (neighborhood in Chicago, not fourth most populous city in the Czech Republic) apartment where they practice, and talked to them about their musical backgrounds, being called a math-rock band, and their plans for their next album.

ThrdCoast: What are your musical backgrounds?

Mike MacDonald: I guess just writing songs on the guitar. I wasn’t trained like [Alicia Walter and Jordan Tate] were trained, so mostly just chasing a certain aesthetic all the time and trying to find it. I’ve been doing that since I was a kid, and I haven’t found it yet.

Matt Noonan: I dunno, I was in high school band. I was in pit for a while, playing percussion and tuba. That’s about it, though. I actually blew a whole year of my life studying music in college.

Jordan Tate: I did that too.

MN: And now I’m here. So that’s cool.

Alicia Walter: I took piano lessons as a kid, all through high school, and I was in high school marching band with Matt. I went to Illinois Wesleyan to study piano performance, but I transferred out because I thought I hated it, and I kind of did. But I ended up going to Columbia [College] for music composition, and that’s where I graduated from. So I actually blew more years studying music than Matt.

JT: I played piano through my childhood, and also went to Columbia for composition. Basically exactly what she said.

TC: How did you all meet and start playing music together?

AW: Matt and I went to high school together, Jordan and I met in college. Mike and I both used to live in a co-op up in Rogers Park, and we lived in a house with a bunch of people. I started playing as a solo project in about 2010, and then asked Jordan to play a show. So it was originally just me and Jordan. It was a really different setup; I was doing a lot of vocal looping and playing the ukulele. Mike started playing with us after a few months – he joined on guitar, and that’s about when I switched to guitar too – and then Matt joined us a little after that. So now we’ve been a band for… I don’t know, two years?

MN: I feel like we’ve been saying two years for two years.

MM: It can’t be two years. It’s like four.

AW: It’s not four years.

MN: It’s approaching four.

MM: Definitely more than two.

AW: Yeah, but we weren’t even a band then. I mean this.

MN: We were called the same thing.

AW: But we, physically, have been this band for two years.

TC: Do you think the solo work you were doing at the beginning impacted the direction the band decided to go in?

MM: It’s kind of different now.

AW: Everything’s changed.

JT: Yeah, it’s evolved throughout the time we’ve been a band.

AW: I think it would’ve changed even if it were me personally writing that music – four years ago, I was a very different person with a very different writing style – but we each changed a lot individually, and the way we write our music did too. Like, we still have some universal truths that we sound like. We still sound like Oshwa, but our sound itself has evolved.

MM: As different members came in and started playing, you started to hear the different elements. Like, Jordan’s drums, my aesthetic, and Matt’s aesthetic, you can start to hear that in Transmissions from the Midwest.

AW: Yeah, that was our first release as a full band.  And ever since then, it’s been full band songs. The stuff before that is more, like, bedroom recording stuff.

MN: We’re a band now.

MM: Everyone writes their own parts, it’s collaborative. Whereas on the Midwest album it was less collaborative, since Alicia was writing some of my guitar parts. The next album was a little more collaborative, with a lot more guitar work from me, so you can hear that difference. It’s a lot more colorful, I’d say, and in some ways it’s a lot more thick, where that album is a little more spaced out. But you can still kind of hear some of Alicia’s solo stuff in that album.

TC: What else, musical or non-musical, influences your songwriting?

MN: Barenaked Ladies [laughs].

AW: Yeah, right. I kind of feel that my listening has changed so much in the past few years. I really only used to listen to bands that I would identify with as a direct inspiration. I would listen to bands that we kind of sounded like, I would only listen to quirky indie bands or something. But now I feel like I listen to so much more music, just generally speaking. I don’t know. I don’t even know how to directly answer that.

MM: It’s kind of a hard question to answer. I mean, we get them from so many places that it’s hard to even answer a question like that.

AW: Well, I think we all have really high individual standards for our own performances. We’re all very particular people, and we’re not just approaching this as a very hands-off process. Our writing process is pretty intense, and we’re very specific and very intentional with our parts. I think even our own standards, and how we treat our band as a job kind of influences what we sound like.

MM: It sounds like us.

TC: So talk to me about what the songwriting process is like. Can you walk me through the creation of a song?

MM: It kind of changes from song to song. Usually we start with a section or a part that I wrote, or that Alicia wrote. Lately Alicia’s been writing more whole songs.

MN: Whole structures, anyway. Maybe not whole songs.

MM: Whereas on our last album, that was not the case at all. I would write a section, she would write a section, we would do a section together, and we would figure out as a band how to put them together.

JT: Overall, it’s going a lot more smoothly. Because Alicia’s presenting it totally complete, where she has a song all written out and she plays it for us.

MM: So you can kind of understand the vibe a little better, as a whole.

AW: And it’s inherently cohesive, whereas before we were trying to force parts together.

MM: It came off really episodic. Like, take the song “Chamomile Crush,” where it’s like, two different ideas entirely.

AW: Yeah, and I think we thought it was – not that I don’t like the music, I do like that album, but it’s a little more streamlined now.

MN: Even our writing style is more accessible.

AW: Everything’s way more accessible.

MM: It doesn’t confuse older people.

AW: And that’s a difference, too. I noticed at Wicker Park Fest, when we had just played three new songs, that our newer stuff really is much more accessible to my parents, and your dad.

JT: It’s dad rock [laughs].

AW: But I think accessibility is a good thing. My mom used to – I don’t know how she’d describe our music, but she thought it was crazy, and really couldn’t hear anything that sounded familiar, because it is really different. Now I think we’re way more appealing to a general audience. In a good way.

JT: Yeah, we weren’t really getting anything for being so outlandish, I guess.

TC: I’ve even heard it called math rock in the past. What’s your relationship with that term?

AW: I think that’s from multiple things. The video for “Old Man Skies” was one of the first songs that we released before the album [Chamomile Crush] came out, and that song happened to have irregular time signatures, and some noodly guitar parts. And our label is also associated with a lot of math-rock bands.

MM: It was put out by Matthew Frank, who plays guitar in The Paramedics and There There There, and there was also a lot of stuff posted on Reddit calling us a math rock band, and I think people just saw that and went with that, since that was the math-rock crowd. But we’re not necessarily a math-rock band at all. The next album’s going to be so different that people will realize that.

MN: I’m not offended by the math rock thing.

AW: Yeah, I’m not offended by it.

MM: It’s just inaccurate, I’d say.

MN: Sure, but I think a lot of our stuff is very compatible with people who are into that. We’ve played with math-rock bands and those people could still find us interesting, while acknowledging that we’re kind of poppy.

AW: It’s a good qualifier for a band, where if you’re just another indie pop band, and you’re kind of experimental – that word I don’t like either – I think it helps people understand.

MN: People who are hardcore into math rock might give us a shot.

TC: So you’ve mentioned new material in the works. What comes next, is it a new album, a tour…

AW: A Grammy? Yeah, we’re approaching the halfway point of being done with writing our sophomore album. Long game is hopefully to be done by next summer. Or at least to be able to tour by then, whether or not it’s recorded by then. And then, yeah. Put out an album. Tour the globe. Open for Beyoncé.

TC: Anything else you’d like our readers to know?

MM: We’re playing a show with Buke and Gase on Monday, October 6th at The Empty Bottle. Come check us out.