Eleventh Dream Day

Early Show

Eleventh Dream Day

Antietam, 75 Dollar Bill

Fri, August 21, 2015

Doors: 6:30 pm

Mercury Lounge

New York, NY


This event is 21 and over

Eleventh Dream Day - (Set time: 8:30 PM)
Eleventh Dream Day
Since first hitting the road in a battered Econoline van in the 1980s, Eleventh Dream Day continues to build on their history by moving forward musically,while never forgetting what inspired them. On Works For Tomorrow (released July 2015), core band members Rick Rizzo, Janet Beveridge Bean, Mark Greenberg, and Douglas McCombs are joined by James Elkington (Brokeback, Tweedy), marking the first time the band has recorded with a second guitarist since 1994. Elkington’s addition has unleashed the band’s strengths. The ferocious and visceral interplay between Rizzo and Elkington charge the band with a joyous exuberance that sweeps the listener in for the 43 minutes of Works For Tomorrow. The album also features performances by long time friend Martin Wenk (Calexico) and Chicago stalwart Rich Parenti on horns.

Eleventh Dream Day is known for their raw, inexhaustible live performances. They honed the songs on Works For Tomorrow during an extended residency at Chicago’s Hideout Club, and the packed, sweaty energy of those shows is unmistakable on this new recording. Drummer and sometime lead vocalist Janet Beveridge Bean breaks free as never before, her vocals igniting the songs with an animalistic urgency, as she furiously propels the songs with pure command from behind the kit. Works For Tomorrow was recorded and mixed by Greenberg at the Loft (Wilco’s studio) and Mayfair Recordings. The 10 tracks on the album center on embracing a future which does not succumb to the past, but challenges it in order to adapt and grow. This reframing and understanding of history is keenly stated in the album’s title track when Rizzo sings, “You see her, this must be the beginning or the end of whatever that was.”

“Vanishing Point,” the album’s opening track sets the tone with its brute force and driving rhythm. Written by Bean while on long distance runs, the song captures the thrill she feels on a motorbike as she takes that perfect line through the curve, setting her up for the burst of speed on the straightaway. The guttural urgency of Bean’s vocals on this track are counterpoised by a guitar tour de force. “Requiem For 4 Chambers” -- a clever song on the complexities of the human heart -- imagines the heart as a disembodied organism moving simultaneously toward destruction and light. From the reimagined, deliberate version of Judy Henske and Jerry Yester’s “Snowblind,” to the quieter, melodic tracks like “Deep Lakes,” Eleventh Dream Day’s fiery performances and inventive arrangements make for the most complex and compelling record of their career. Works For Tomorrow finds the band fixed on the road ahead, barreling toward the horizon with the radio turned up -- way, way up.
Antietam - (Set time: 7:30 PM)
Antietam is an American rock band born on Kentucky Derby Day, 1984. It has existed in its current form (Tim Harris, bass, Tara Key, guitar and Josh Madell, drums) since 1991. Across eight studio albums they have chiseled a sound that once was loose, chaotic, and sprawling into a fiercely focused rock ‘n’ roll maelstrom — harnessing the power of Key’s guitar and her primal singing into their own version of pop music.

Mr. Harris puts it well:
"…And then there is Antietam, in which I play bass and Josh Madell drums. Our mate, Tara Key, has received a lot of adulation over the years for her fierce guitar playing, praise that invariably contains the word 'female.”' Now Tara likes praise as much as anyone, and she is not complaining, but I think she has always wanted to be viewed with the strummers she really tunes into – Mick Ronson, Neil Young, Ira Kaplan. But a couple of decades in, I would like to offer a new perspective on Tara from a very close vantage point: she plays like a girl! Let me explain: Sometimes when Antietam has taken the stage in some far-flung place, some dude, yeah a dude, will come up after the set and sputter, 'I don’t like alternative rock, but you guys…' What the gentleman is hearing are what I have to call Tara’s tasty licks (yes, I wish I had a better phrase than one that conjures large men abusing small guitars, but oh well) buried in the text. When Eric Clapton comes forward with a tasty lick, there is a large billboard and marketing campaign announcing, 'Tasty lick here.' Tara asks that you dig a little deeper to discover something for yourself in a way that I can only describe as 'female.' Oh she is fierce all right, but at the same time she doesn’t play gently into the night like an old-school woman player and she gives the lie to that school of rock criticism (sometimes from women themselves) that says women simply can’t play rock guitar. When I suggested this new approach to Tara, she sort of cocked her head and said, 'Mmmmmm.'”
Antietam is currently recording their ninth studio album, due for release in 2016.
75 Dollar Bill - (Set time: 6:30 PM)
75 Dollar Bill
Che Chen: electric guitar, quartertone electric guitar, alto saxophone
Rick Brown: percussion, alto saxophone

75 Dollar Bill formed in New York City in 2012; the singular music of this instrumental duo draws various sources from around the world and across disciplines, everything from Mauritanian guitar to raw minimalism and blown-out urban blues, yet sounds unlike anything we’ve heard before. Wooden Bag is their debut vinyl release (after various cassette and digital EPs) and first for Other Music Recording Co., packaged in a limited-edition hand-stamped sleeve, download included. The band will be touring the US throughout the winter and spring.

Che Chen has recorded and toured playing violin, guitars and other instruments, with a diverse set of artists including True Primes, Jozef van Wissem, Maher Shalal Hash Baz, Che-Shizu and Robbie Lee. His guitar work explores a variety of influences, including Mauritanian guitar, Indian music, North Mississippi guitar boogie, Sun Ra, Led Zeppelin, the Velvets, Henry Flynt, and DNA.

Rick Brown has been playing drums and percussion on the downtown New York scene since the early ‘80s, and has recorded and toured with numerous bands, including V-Effect, Run On, Timber, Fish & Roses, and Chris Stamey, and has collaborated live or in the studio with Tortoise, Matmos, Yo La Tengo, Charles Hayward, Fred Frith, Malcolm Mooney, Elliott Sharp, Jean Smith, Mark Cunningham and many others.

In The New York Times, Ben Ratliff wrote of the duo’s live show: “Che Chen’s guitar: a cut-rate Japanese model sketching looped figures inside old Arabic modes, pushing jagged sound through a small amplifier. But as Mr. Chen stood playing hypnotic guitar repetitions, moving with the stresses of the riffs, the drummer Rick Brown sat on a square wooden box, open in the back, and attacked it from above. Sometimes he used his heel to bounce on a kick-drum pedal, pointing backward toward the box; mostly he was striking the sides of the box with his hands and a homemade mallet, hard, finding different pitches in different places. He cued transitions in the music, building odd or compound rhythms, turning them around and blurring distinctions between downbeats and upbeats. On the surface, the rhythms were only secondary to the guitar lines; deeper down, they were enfolded. One couldn’t do without the other.”
Venue Information:
Mercury Lounge
217 E Houston St.
New York, NY, 10002