A TRIBUTE TO THE REPLACEMENTS
Featuring a performance of
Sorry Ma, Forgot To Take Out The Trash
with special guest vocalists
Performing in the First Avenue Mainroom
Story Of The Sea featuring David Campbell and Jim McGuinn
High On Stress
Black Church Service
Arzu (Pink Mink)
Brendan Green (The Goondas)
Brian Vanderwerf (Chooglin’)
Chris Besinger (STNNNG)
Christy Hunt (Pink Mink)
Dale T. Nelson (Otto’s Chemical Lounge)
Erik Hendriksson (2010 contest winner)
Gabe Douglas (The 4onthefloor)
Jacob Mullis (Fort Wilson Riot)
Joey Ryan (Joey Ryan & the Inks)
Nick Leet (High on Stress)
Orion Treon (Phantom Tails)
Reed Wilkerson (The Japhies)
Sarah Nienaber (Gospel Gossip)
A Benefit for the Twin Cities Music Community Trust
Sponsored by Gimme Noise and 89.3 The Current
The 4onthefloor’s new album, Spirit Of Minneapolis, evokes the spirit of American rebellion. That same pioneering spirit that brought us everything from modern aviation to rock & roll. Harnessing that spirit, the band is using it to break down modern music’s barriers down to our basic musical traditions. That ageless sound of rock & roll isn’t what it used to be, but the rumble of stomping feet emanating from Minneapolis is an omen of great things on the horizon.
The 4/4 beating of the bass drums recalls the American ideal of onward and upward, turning our prevailing spirits to the sky after a reaching the end of the land. The 4-barreled onslaught can be a train building up steam right behind you, the king of the jungle chasing you down, or your wheels on the highway. It’s the soundtrack of America moving forward. Delta blues, classic rock, and a lifetime of attentive listening have produced a sound whose time has come. The energetic and powerful delivery of this band cannot be overstated. Their huge, soulful anthems leave nothing on the floor as Gabriel Douglas’ guttural howl soars through the ether. There’s a readiness to be found in listeners now. The fervor of discovery and innovation is coming back to the American masses and the excitement surrounding the birth of rock & roll is now roaring out of the doldrums with a fury. Let go. Take flight. Indulge in life’s pleasures and stomp with them.
Bandmates since childhood, Singer/Guitarist/Frontman Adam Prince and kid brother/drummer Ian Prince grew up in a musical family in Michigan’s Upper Peninsula. A grown-up move to the Twin Cities and various stints in well-known local bands (Manplanet and Houston) eventually led them back to what they know best: each other. They began STORY OF THE SEA as a guitar and drums two-piece, initially noted for Ian’s famous airtight skills on the kit. The brothers then added stand-out bass talent John McEwen from Align to record their first LP.
Lunar Co. is a darker, richer collection of songs than the group’s lauded debut effort, Enjoying Fire. No sophomore slump, it’s smartly mixed by J. Robbins, complete with donated tambourine and satisfying, feel-good handclaps over “Own Device”’s plinky coda. The new line-up adds more depth and texture, as expected; a more melodic resonance including some terrific 70’s three-part vocal harmonies and keyboards.
DAVID CAMPBELL is host of "Radio Free Current," Saturdays 7-11 p.m. and "The Local Show," Sundays 6-8 p.m. Campbell is a long-time veteran of the Twin Cities scene. A fan, musician, record store clerk, record label staffer, and a 10-year staffer of KQRS and Drive 105's "Homegrown," Campbell's love for Minnesota music makes him a perfect fit for The Current. Best FM Radio Personality 2010, City Pages
JIM MCGUINN joined MPR's The Current in January 2009 as Program Director and on-air host, moving to the Twin Cities from Philadelphia, and WXPN. From seeing the Clash for his first concert, Jim has been hooked on rock and roll-- and whether it was radio programming, playing bass, or even teaching university level courses like Rock and Roll Cinema and Radio History. Jim has received numerous accolades for his innovative programming, and was even named Best AAA Air Personality in 2008 by Radio and Records. He lives in Saint Paul with his wife Christine, son Jameson, and cat Sylvia.
BNLX is an experimental/noisepop/post-punk group based in Minneapolis, MN. Members include Ed Ackerson (formerly of widescreen psych-pop pioneers Polara), Ashley Ackerson, and David Jarnstrom, with special assistance from PD Larson, Knobby, and Blinky. BNLX has been releasing a series of 4-song EP's at quarterly intervals and has been making regular live performance excursions to the east coast and the midwest. BNLX is 100% DIY; we write, record, manufacture and distribute our own music and other art products. Currently BNLX is comprised of Ed Ackerson (e.a-guitar, vocals, noise), Ashley Ackerson (a.a-bass, vocals, noise), David Jarnstrom (d.j-drums, noise) and PD Larson (p.d-visuals).
An organization devoted to creation and extrapolation of memes and other specialized cultural products, BNLX is the midst of executing its Second One Year Plan. Its goal: to meet and/or exceed expectations as it renders mission-critical services to The Revolution, The Industry of Human Happiness, The Kids, and its other valued customers. Based in L’Anse Aux Meadows, Newfoundland, BNLX has executed field operations in numerous locales including Minneapolis, MN, La Pointe, WI, Brooklyn, NY, and Berlin, DE. BNLX creates class-leading pop/noise/obfuscation products which are marketed in the recorded, live performance, and audiovisual arenas. Sous le pavés, la plage!
For such a patently American locale, the Twin Cities have lacked a remarkable group that evokes the American rock canon in a classic manner for a long time. Enter Night Moves. Formed in 2009 by guitarist and vocalist John Pelant, bassist Micky Alfano and multi-instrumentalist Mark Ritsema, Night Moves is a distinctly original concoction. Their honey-dipped sound seethes with a kind of down-home tenderness - and like the best glittering music - the arrangements are colossal in shape. Night Moves’ powerful debut Colored Emotions is this Minneapolis group’s first album.
The three core members of Night Moves first met at Southwest High School in Minneapolis. Following the tangential fits and starts typical of early music projects (including a detour to college and back), the ensemble took definite shape as Night Moves and is the crowning achievement to the long-standing collaboration between John Pelant and Mark Ritsema, who first met as freshman. Pelant’s taste for Dylan, Blind Lemon Jefferson, et. al, would prove most propitious for their future work together in Night Moves. Ritsema describes himself as being into electronic music at the time – a Daft Punk fan – when he met budding folknik Pelant. Pelant throughout high school would write some solo material but hadn’t been keen on sharing. Whatever musical differences there were between them faded as the motivation to play music together persisted over the next years.
In 2009, with the group at last solidified with the addition of bassist Micky Alfano, Night Moves began the long, astounding odyssey that was recording their meticulous debut album Colored Emotions. Nearly two years in the making, the debut exudes the craft and professionalism of a seasoned band. It was these painstakingly self-recorded tracks Night Moves prepared themselves that attracted interest from Domino, further developed with the appointment of studio guru Thom Monahan to take the album and set it free, so to speak.
Pelant’s tone-perfect vocals on Colored Emotions serves Night Moves not just as its lyrical core but also its glittering adornment. With an extensive vocal range, his voice ventures where lone guitar solos cannot. Hence, there’s no cornball guitar hero antics in Night Moves. Instead, they carefully built their songs around strong acoustic and rhythmic grounds, the clarity of crystal-clear production, and Pelant’s deft howl. The reverb of hollow-body guitars, the bright wash of crash cymbals, the haze of harmonica and organ tremolo – this is the album’s bedrock and it shines like gold. The songs of Night Moves conjure a spiritual energy only twenty-somethings dislodged by adversity and isolation could produce. An album like Colored Emotions seems intent to turn inward to create a joyous universe within its own boundaries. Certainly, the group’s musical abilities are innate without ever being too self-conscious about it. It’s as if Colored Emotions came second nature to them and the arrival of the rest of us took them by surprise. [Anthony Atlas]
Muddy Waters once said, "If you want to play the blues, you have to go to church. A Black church. Because that's where you learn to put your soul into music." While making no claims to be in the same league as legend Muddy Waters, the concept of injecting soul into music was fascinating to Ramones-obsessed members of the BCS. Based in Minneapolis, the Black Church Service has few goals other than to play some decent punk rock music, injected with the soul.
Black Church Service is infamous; a cult formed with one purpose: to create a musical disturbance. This cult worships blues with a mojo hand in the recipe. It cooks up a jambalaya of musical proportions. This group takes to its roots, creating a sonic boom of evil rhythm and blues. It's a take-no-prisoners rock and roll testimonial that brings a gramophone to a gang fight, blaring the word of Americana. Dig it.
Connecticut transplant Joe Roberto is the driving force behind Poverty Hash. As the principle songwriter, Joe took his 20 plus years of performing, song writing, and life experience and poured all of it into the music represented on this album. What emerged is an album of hauntingly beautiful imagery that includes songs like “Blood Stained Hands”, a warning to all bar loudmouths, standing in stark contrast to “Rally Cry”, a semi autobiographical portrait of the songwriter.
Joining Roberto is bassist and fellow founding member Jason Murray. A seasoned veteran of the Minneapolis scene, Murray joined forces with Roberto in Connecticut and brought him back when he returned to St. Paul. The two then enlisted the help of Robert Zemlin, a long time band mate of Murray and newcomer Dan DeMuth, a rising star on the Minneapolis scene whose other projects include Communist Daughter and Paranoid Dandroid. With these additions the current lineup of Povery Hash began making its mark on the local scene.
High on Stress is a 4-piece band that has received excellent notices and airplay in not only their hometown of Minneapolis MN, but across the nation and from as far away as the UK, the Netherlands, and Belgium. The band has weathered enough personnel changes, geographic obstacles and wardrobe malfunctions to have killed a less recalcitrant band. Reviewers have favorably compared the band’s “almost alt.country” sound to REM, the Replacements, Wilco, and Josh Rouse among others. Their third and latest album, Living is a Dying Art, is due out in fall 2011.
Martin Devaney has always embraced his local identity, literally dubbed the Mayor of St. Paul by friends and compatriots in the music scene. A classically trained musician with a jazz sax background, the accomplished singer-songwriter got his start playing with revered hip-hop ensemble Heiruspecs before embarking on a solo career. After self-releasing an EP in 2001, Martin followed with four full-length albums, each garnering more praise and attention from press and fans. Described as “a charming, bushy haired, sweet voiced tunesmith” by No Depression, Martin became quickly known for his poetic, yet unpretentious songs and inspired live performances.
Now, over four years after his last release, Martin Devaney unveils his best work yet. The West End, another project with Mark Stockert and Underwood Studios, features an all-star cast of musicians Dave Boquist (Son Volt), Steve Murray (Molly Maher and Her Disbelievers) and Mick Wirtz (Bellwether). It also highlights the long-time collaboration with Jake Hyer (vocals, violin, mandolins). Harmonies with Hyer provide the bread and butter to Devaney’s artful, sincere songs, and obviously guided much of The West End’s creative energy. In addition to his own band, Devaney plays sax with Twin Cities’ indie-folk darlings Roma Di Luna, recently mentioned in Rolling Stone, and heads the local rock band Crossing Guards. In the past decade, Martin Devaney has shared the state with and impressive list of national acts, including Andrew Bird, Mason Jennings, The Jayhawks, Semisonic, Soul Asylum, Billy Bragg, Evan Dando, Mary Lou Lord, Robbie Fulks, Dan Bern, Ike Reilly, Damien Jurado, Rhett Miller, Mike Doughty, Mary Lou Lord, The Roots, Southern Culture on the Skids, and Richard Buckner.
I’ve taken to introducing Ashleigh Still as “the Eva Cassidy of Woodbury,” because her soul – even more so than her stunning voice – recalls the late great D.C.-area thrush’s depth of feeling. Which is to say that Ashleigh sings from a deep place informed by her hardscrabble experience as a gospel-trained, church-raised single mother of two whose fashion photos could grace the cover of either “Bust” or “Glamour.” (When asked how she knows so much about men, she recently said, “I don’t! It’s all imagination…”)
But beyond her outer beauty and the wisdom that comes from the day-to-day struggle of making a living for her and her kids, there is an inner flame that burns brightly and has something to say; something about what it’s like to be a woman trying to dig out from the conformity of society, religion, and family. In that sense, Ashleigh also reminds me of Anne Sexton and Billie Holiday. Like those two express-myself-or-die classic talents, she manages to stop time when she opens her mouth/heart, and we’re all the richer for it. [Jim Walsh, Summer 2009]
The guy and his guitar (and sometimes his backing band) has been done to death, but every so often something new comes along and demands that people take notice. John Swardson and Get Gone are the latest band in this vein to rear their bearded, denim-jacketed selves, and have quietly started garnering accolades. Swardson and company have played only a handful of live shows in the past couple of years due to multiple lineup changes, but this stellar dream of a triple bill should finally start the ball rolling the right direction. The sharp lyrics and occasionally quirky arrangements should quickly lay to rest any "Oh, it's just another guy strumming his guitar and wailing about life"-type reservations you may have, and by the end of the set you'll find yourself wanting more. It's easily accessible while not having been constructed out of easily identifiable, recycled material. Sure, the usual influences are there, but they're referred to on the sly, instead of being used as a shopping excursion. [Pat O'Brien, City Pages, March 2009]