KROQ, FILTER, and Oh My Rockness present
PAPA
Chief, Sean Bones, DJ Jenny Eliscu
Mon, January 28, 2013
Doors: 8:00 pm / Show: 8:30 pm
Bootleg Theater
Mondays in January - Free
Free
This event is 21 and over
http://www.foldsilverlake.com/event/191193/
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PAPA
There’s a poetic purity that runs through PAPA’s music. Each song’s groove exudes a dark sexiness, suggesting insidious truths and adept lies among the lines conveyed by singer/drummer Darren Weiss’ earnest vibrato, which assumes a Springsteen-like growl in his best moments. PAPA encapsulates the furious grip of the dance floor, the cold weather bearing down, and the shelter that it demands you find. With the help of Weiss’ musical partner and childhood friend, bassist Danny Presant, their soulful rock bellies a hip-hop sensibility that separates PAPA from simple revivalists and propels them into timeless territory.
Last year’s debut EP, A Good Woman is Hard to Find was an imploding bubble that captured the attention of the lost, hurt, and amorous across the country. Over the course of a year’s extensive touring PAPA converted listeners into believers with passionate, high-energy performances at shows with Temper Trap, Girls, Of Monsters and Men, as well as a series of summer festival dates.
Their new single, “Put Me To Work” is the sonic explosion of their former bubble. No longer consumed by the static energy of failed romance, PAPA’s new sound takes on the feel of propulsion and hunger, providing a sense of urgency missing from many young bands. Lyrically Weiss’s references stretch from shadow boxing, to the innocence of chilldhood, to the bible. It is the force behind lyrics like “I want to see the lights, put me to work tonight,” that help to visualize the act of reaching toward and through the limitations of ones grasp that moves the sound, this band, and their potential to reach the light.
A Good Woman is Hard to Find was an album as ripe for sorrowful romance as it was for ecstatic midnight perversion. Their forthcoming full-length, however, breaks new ground pedestaling rhythm as king and keeps the shadows dancing through the frigid night ignoring the requests for shelter; unconstrained.
“I always like the idea of the Clash being referred to as the ‘only band that mattered,’” says Weiss, “So we have no interest in doing anything, unless we feel deep in our guts that it’s going to matter.”
Catch them on tour with Grouplove this November.
Last year’s debut EP, A Good Woman is Hard to Find was an imploding bubble that captured the attention of the lost, hurt, and amorous across the country. Over the course of a year’s extensive touring PAPA converted listeners into believers with passionate, high-energy performances at shows with Temper Trap, Girls, Of Monsters and Men, as well as a series of summer festival dates.
Their new single, “Put Me To Work” is the sonic explosion of their former bubble. No longer consumed by the static energy of failed romance, PAPA’s new sound takes on the feel of propulsion and hunger, providing a sense of urgency missing from many young bands. Lyrically Weiss’s references stretch from shadow boxing, to the innocence of chilldhood, to the bible. It is the force behind lyrics like “I want to see the lights, put me to work tonight,” that help to visualize the act of reaching toward and through the limitations of ones grasp that moves the sound, this band, and their potential to reach the light.
A Good Woman is Hard to Find was an album as ripe for sorrowful romance as it was for ecstatic midnight perversion. Their forthcoming full-length, however, breaks new ground pedestaling rhythm as king and keeps the shadows dancing through the frigid night ignoring the requests for shelter; unconstrained.
“I always like the idea of the Clash being referred to as the ‘only band that mattered,’” says Weiss, “So we have no interest in doing anything, unless we feel deep in our guts that it’s going to matter.”
Catch them on tour with Grouplove this November.
Sean Bones - (Set time: 8:30 PM)
Sean Bones' Buzzards Boy is one of an evolving artist setting out to test new waters only to find himself weathering a stylistic and emotional sea change. As with most second records, there's much to prove, but in the case of Buzzards Boy, Sean Bones transcends a varied stylistic past to reveal himself as an intriguing songwriter capable of truth and sonic spells.
On Buzzards Boy, Sean and his bandmates hooked up with a producer for the first time. Shane Stoneback was sought out for his uncanny recording methods (oil cans, toys amps) and his enthusiasm for the demos he was absorbing between his other name-brand projects (Fucked Up, Sleigh Bells, Cults) The sessions were brief and at some point during the week Bones resolved to taking on the rest of the project alone. Traveling between rehearsal spaces, bedrooms and eventually to the West Coast, he built an awesome second record from the foundation laid through this partnership.
The island he's trawling this time is darker and more lush. Tracks are swathed in reverby surf guitars and loose percussion. Its easy to imagine hearing this album out doors, at night. A full listen reveals a wide range of influences digested into something wholly Bones' own. "Tell Me Again" is a folky harmonium piece played over what sounds like the Miami Sound Machine. "Four Dub" explores open space and urgency. The sublime "Black Gold" starts with a scruffy hip hop beat until giving way to another one of those swoony boy-girl ballads that he's good at.
On Buzzards Boy, Sean and his bandmates hooked up with a producer for the first time. Shane Stoneback was sought out for his uncanny recording methods (oil cans, toys amps) and his enthusiasm for the demos he was absorbing between his other name-brand projects (Fucked Up, Sleigh Bells, Cults) The sessions were brief and at some point during the week Bones resolved to taking on the rest of the project alone. Traveling between rehearsal spaces, bedrooms and eventually to the West Coast, he built an awesome second record from the foundation laid through this partnership.
The island he's trawling this time is darker and more lush. Tracks are swathed in reverby surf guitars and loose percussion. Its easy to imagine hearing this album out doors, at night. A full listen reveals a wide range of influences digested into something wholly Bones' own. "Tell Me Again" is a folky harmonium piece played over what sounds like the Miami Sound Machine. "Four Dub" explores open space and urgency. The sublime "Black Gold" starts with a scruffy hip hop beat until giving way to another one of those swoony boy-girl ballads that he's good at.
