Psyko Steve Presents



Mon, February 25, 2013

Doors: 6:00 pm / Show: 7:00 pm

Club Red

Mesa, AZ

$20.00 - $22.00

Tickets Available at the Door

This event is all ages

If you look up the word "vital" in that dictionary app you downloaded onto your phone, you'll
discover that the word embraces a variety of meanings. Why are you looking this up? Because
you should consider all possible interpretations of the title of Anberlin's sixth album, Vital.
The disc follows the group's 2010 effort Dark Is The Way, Light Is A Place, paring down the
musicians' musical tendencies and influences to their essential form and culling together
Anberlin's decade of existence.
The idea this time was to bring everything the musicians have learned while reinvigorating
the music with the spark that initially fueled the Florida band during their early years of
slogging around the country in a van. Stephen, in particular, was inspired by Anberlin's
history of raucous live shows and aimed to infuse the new music with that palpable raw vigor.
"I recognize now that what I love the most about Anberlin is the high energy, the high
momentum, the veins that are popping from necks when the fans scream along," Stephen
notes. "That's the most fun. That is where I feel like Anberlin exists, in those kind of
situations. And I think that's where we excel."
As the band embraced their roots, they also brought in new ideas, driven by the songs and
albums the musicians had been listening to lately. The surging electro indie pop crafted by
artists like Active Child and M83 trickled into the songs, melding the band's past with their
present in a way that will still feel genuine to fans. "I feel like this record is like our
interpretation of what we're into without completely abandoning what Anberlin is," Nate
says. "For us this is the closest it could be to what we're kind of into without leaving behind
everything that's made us the band we are."
The members of Anberlin spent time penning music individually before heading into the
studio with longtime producer Aaron Sprinkle. The band, which has always embraced the
spirit of collaboration and democratic input, fostered an environment for all voices to rise to
the surface, most recently notable in that of Nate, who wrote the basis of four songs that
appear on Vital. The musician says, "I started trying different stuff – stuff what we normally
wouldn't do – and some of it stuck really well and some didnt. I would get the gist of
something and send it to Christian, Joey or Stephen just to get their opinion and we'd work
from that. I just got inspired and wanted to do more than just play drums."
Nate's ideas joined those of the other band members and Anberlin laid down the album over
two sessions earlier this year, the first in Seattle and second in Nashville. Sprinkle, who
helmed the group's first three albums, helped fuse the band's new predilections with past
tendencies, building on his previous work with Anberlin. "We thought that with all we'd
learned working with Aaron now seemed like perfect timing," Stephen explains. "Now that
we know exactly who Anberlin is, now that we know exactly where we want to go in the
future. We just felt like it was the perfect time to work with him again."
The resulting album reflects its title, refracting all is essential about Anberlin ten years and six
albums into their career. Disc opener "Self-Starter," a propulsive rocker pairs hard-hitting instrumentals with a surging melody. Another album standout, "Orpheum," best reveals
Anberlin's collaborative spirit. Hoping to augment the number with chorus vocals the band
put out a plea online for fans to submit YouTube videos of themselves singing, and in the end,
four fans crafted the choral backdrop to the song. Although much of the album perpetuates
Anberlin's smashing rock songs, all facets of the band are showcased, particularly on
"Innocent," an electro-tinged ballad that almost didn't make the record. "Anberlin hadn't
really experimented that much with those kind of beats," Stephen says of the song. "And yet it
ended up on the record. So even though this is our sixth record it may be one of the most
creative ones that we've ever put out."
It's up to you to interpret how the meaning of Vital's title applies to this album and to the
band itself. For a group that has sold over a million records, toured the globe extensively and
landed 2008's single "Feel Good Drag" at No. 1 on Alt Radio and stayed on the chart for 59
weeks, there is a lot to sort through when determining the elemental aspects of Anberlin. For
the musicians, though, success is measured mostly by longevity, something they credit their
fans for. "I think the biggest testament of Anberlin is just how long we've been around," Nate
concludes. "We've always joked around that Anberlin is going slow and steady to win the
race. I'm thankful that I feel like we're actually at that point where we're a real band." Now
go check out that definition again.
Here's the situation. In Nashville, there's an old, decrepit plantation house where three bedraggled but refined, white gentlemen drop beats, craft wordplay, design artwork, and arrange orchestral maneuvers in the dark. The structure is called Joy Mansion, and the men who dwell there staring each other down and exercising their creative rivalry for all it's worth collaborate under the moniker of Paper Route. Having toured relentlessly with the likes of Passion Pit and mewithoutyou, won hearts and minds with their debut album Absence (2009), paid musical tribute to Lou Reed to the man's imperturbable face at South by Southwest, and insinuated themselves into pop culture consciousness when their song, "The Music," appeared in the film (500) Days of Summer, Paper Route have now seen fit to go for broke on the possibility that epic earnestness, lyrical depth, and poetic heft can all coincide within one ridiculously catchy song collection primarily preoccupied with—wait for it–tragedy, disappointment, and loss. Behold The Peace of Wild Things.

"Everyone can relate to hurt," observes J.T. Daly, Paper Route's chief lyricist, singer, and artwork conjurer. For Daly and bandmate Chad Howat, The Peace of Wild Things banks on the hope that popular art can be made to arise out of horrible situations. Whereas the timing of the album's production schedule coincided with a dire cancer diagnosis within Howat's immediate family, the lyrics Daly brought to the table largely document the dissolution of his marriage. As Daly sees it, the risk of raw candor and vulnerability is the whole point, "If I'm not terrified by what I'm doing, I'd prefer to move back to Ohio and work on my art. I'm drawn to the fact that it makes me feel uncomfortable."

With songs like "Letting You Let Go" and "Glass Heart Hymn" he's determined to show his hand at every turn. Irony and cool detachment be damned.

The same goes for in-house, music-making competition and the angst Daly felt as he stood on the staircase listening to everything Howat was working on. "I'm going to have to come up with something better than that," he'd note with dread as he leaned into their collective commitment to try to out-interesting each other. In this sense, Daly and Howat are joined together in a pact of escalating catchiness, a refusal to "throw in the towel on this whole idea of instant melody." Daly explains, "I have so much respect for artists who continue to infiltrate pop culture" with "ideas executed so brilliantly that they've kind of Trojan-horsed malls across America." The trajectory he has in mind is evident with The Peace of Wild Things' lead single, "Better Life," which is carefully calibrated to colonize the public imagination in under five minutes.

Given such standards, it's no surprise that names like Kate Bush and Peter Gabriel are spoken with awe and reverence around Joy Mansion. Howat notes the way Peter Gabriel's So is comprised of one undeniably infectious track after another even as it's clearly a creative labor in which he's "trying to please himself" at every turn in "a perfect juxtaposition of pop culture and artistic endeavor." With mixing and recording responsibilities falling in Howat's lap ("The computer is my first instrument"), the work of sorting through two to three albums' worth of material and narrowing it all down to something worthy eventually became a question of serving the band's obsession with block-rocking beats: "Everyone in the band loves beats, and the beats we gravitate toward are hip-hop-esque beats." For Howat, the love affair began at 14 when a Yamaha V-50 was vouchsafed upon him ("My dad bought it for me as an 8th grade graduation present.") an artifact Paper Route won't get caught touring without. Incidentally, it's the move from studio to live performance that wouldn't be possible without the energies of drummer Gavin McDonald (Howat: "We wouldn't be a band without Gavin.") who landed with Paper Route through his work with fellow Joy Mansion occupant Canon Blue (AKA Daniel James).

While The Peace of Wild Things lyrically chronicles specific experiences of soul- crushing disillusionment and a fractured sense of faith and wonder down to the minute particulars, its creators presume—very much in the traditions of Romantic poetry and 80's New Wave (Tears for Fears, A-ha)–that creatively fixating on the local, the achingly personal even, is probably the surest path to the universal. And it is here that the concluding track, "Calm My Soul," offers a determined hopefulness well-earned by the preceding sad songs which have said so much. In this way, Paper Route shoots for a continuum with Daly's go-to writers, Wendell Berry and Douglas Coupland, whose presence as an influence is as a-typical and unexpected as the band's guiding presumption that pop songs, making them and hearing them, might occasionally render pained life more livable.
"Loud and personal," is one of the ways that lead singer/guitarist Nathan Hussey describes ALL GET OUT. Generally when a band is self-described as loud, imagery of guitars propelling distortion and mood over the audience is the resonance to dwell on and personal is not often the conjoined description. Loud has always been the cryptic way to say a band likes to hide behind blankets of fuzz and hard... to decipher symbolisms that keep the players of the song at restraining order distance from the audience. With ALL GET OUT nothing is hidden; everything is personal; and loud.

All of life's ups, downs, triumphs, ditches, and valleys are in ALL GET OUT's self titled EP. Songs like, "Come My Way", are filled with hopeful guitars and melodies then swoon and swim in a way that are not to be forgotten. And then a song like "Wasting All My Breath" holds nothing back while dealing with death and assigning blame. These quick changes from hoping for the serene to dealing with sucker punches that come wrapped as gifts is what life is about, and that is what ALL GET OUT is about—the mess of life. Being personal is never a clean paint by numbers affair. It's about the chase, the fall, and getting back up without checking on your own cuts.
Iamwe has been on earth for about 2.5 years.

During this time the collective synergy of their five minds has brought them to places no one really expected them to go.

Their debut album, Run Wild, has been described as a "cohesive, glammed out, space rock extravaganza" And was named one of Phoenix's Top 10 records of 2012 by Phoenix New Times (Caldwell).

In their short history they have been lucky enough to share the stage with great national acts as well as with the best local bands Phoenix has to offer. Winning a global "battle of the bands" gave them a slot at the "Hard Rock Calling" festival in London, England in June of 2011. More recently, they
toured the East Coast with Anberlin and Morning Parade.

Their most recognizable song to date, "So They Say" has won over the local scene with its infectious percussion and tribal vocals. Their hypnotizing live performance mixed with their haunting lyrics is sure to make a fan out of any music lover.
Venue Information:
Club Red
1306 W. University Dr
Mesa, AZ, 85201