This show has passed.
with Joan Of Arc and Hurry
From the Promoter
tickets also available at Vertigo Records and both Compact Music locations
lineup, date, venue, times and ticket price subject to change without notice.
It is no mistake that mewithoutYou have become one of today’s most fascinating experimental rock acts. The last 15 years have borne witness to the Philadelphia five-piece exercising stylistic evolutions and aerial dynamics with humbling dexterity and untamed ambition. At their roots may be a theatrical progressive punk/post-hardcore band, but they’ve never been content to remain comfortably within a familiar genre. Their continuous multi-directional movements have left them increasingly difficult to classify, the growth of their branches impossible to predict. The group’s sixth full-length album, Pale Horses, is the best evidence to date of their eclectic agility.
The one constant in mewithoutYou’s storied career has been lead singer Aaron Weiss’ ability to sketch ornate, thought-provoking narratives. Seamlessly weaving his signature holler amidst whispered storytelling and stream-of-consciousness outpourings, his latest offerings vacillate between the emotionally wracked, vibrantly symbolic, and ambiguously metaphysical. His meandering, technicolor vision of a world apocalyptic—populated with werewolves and vulturemen, shape-shifters and apparitions, android whales and an Idaho bride—combines the fantastic opulence of the group’s recent albums with the vulnerable personal confessions of their earliest work.
Longtime band-mates Mike Weiss, Rickie Mazzotta and Greg Jehanian continue to craft dramatic, nightmare soundscapes which lavishly complement their singer’s ecstatic hallucinations. The addition of Brandon Beaver (of Buried Beds, the Silver Ages) allows the group as a 5-piece to revisit its earlier intricate, layered fretwork, while adding new depths of vocal harmonies and ever-peculiar arrangements. Musically, the group hearkens boldly to the raw intensity of 2004’s Catch for Us the Foxes, while building on the rich imagery of 2006’s Brother, Sister. Epic in scope, Pale Horses is mewithoutYou at their best, breathing fresh life into the end times, gloriously terrifying and hauntingly iconic.
Their latest album also marks a new beginning for the band, as it’s their first to be released on Run for Cover Records. Teaming with the rising Boston independent label was the outgrowth of their partnership with Will Yip, whose masterful production transforms the band’s transcendental musings into a widescreen experience. Drums and bass lines quake with the faults of the earth, as an army of guitars and multi-instrumental nuances ring in the paranoia, mass hysteria and peaceful exaltation. The result is a stunning collage—fitfully disturbing, steadily bizarre, uniquely celebratory—undoubtedly the grandest musical adventure yet conceived within mewithoutYou’s expanding tapestry.
JOAN OF ARC
Joan of Arc began in 1996 with the clear goal of “creating music for no audience.” And by this we meant that we were constant and voracious consumers and keen observers of many scenes contemporary at the time: hardcore, punk, post-punk, post-rock, riot girl, emo, math rock, no wave, noise, experimental, drone, free jazz, kraut rock, dub, glitch, drum and bass, psych, folk, and twee. All of these scenes had their own codes of membership and conformity. We set out knowing that our failure to be embraced by any prefab audience would be the proof of the singularity of our expression.
Elements of all these genres were mangled together on our first record. And though we have changed forms and approaches many times since then, collage, juxtaposition, and fusion have remained our consistent guiding principles in structure, production, and style. And recalling that initial mission statement we know we are a success: we have travelled the world many times over and still manage to frustrate expectations. And still no one anywhere would dare claim to like us to appear cool.
Most bands break up when they realize that being a band isn’t likely to make them rich and the industry expectations are most often demeaning and exhausting. Of course the standard practices of the music business are meant to squelch ongoing collaborative creativity in favor of quick profit. That’s simple business: maximize returns on minimal efforts. But we are not a business first and foremost. Impracticality and counter-intuitiveness remain as vital to our ongoing survival as practicality and intuition.
As we have grown as people and as a band we have necessarily shifted from squeezing our real lives in around band activity to integrating the band into our lives. This has meant adopting a more open collective style membership in favor of the common clear cut mentality of standard gang membership. And doing so has deepened the trust between us, the subtlety and nuance of our expression and the expansiveness of our collective imagination. We remain dedicated to the struggle for utopia by design and in practice.