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The Meat Puppets and Dead Confederate w/ Kindergarten Circus & Gift Horse
Thursday October 22, 2009 at 8:00 PM
- 18+ Show -
Perfection in art is for subjective fools. The goal of any real artist is purity, and purity is a state of mind. Hamlet knew and told us. To thine own self, be true.
And that is why this event is going to be one that no one should miss. Meat Puppets and the Dead Confederates are together on stage together at last. This show to rock.
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Find The Meat Puppets and Dead Confederate w/ Kindergarten Circus & Gift Horse on...
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Schedule
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The Kindergarten Circus
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8:30PM
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Gift Horse
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9:15PM
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Dead Confederate
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10:00PM
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The Meat Puppets
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11:00PM
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Ticket Prices
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| General Admission |
$15.00
in advance
$15.00
day of show
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The Kindergarten Circus | 8:30 PM
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Gift Horse | 9:15 PM
 "Gift Horse sounds like something in the (Radio/Portis)head hybridization territory. Basically, it has the sprawling abstract noise rock thing nailed down pretty solidly, though it never really lets the songs get too far out to remain compelling. Gift Horse put on a heck of a show...These fellas delivered one of my grander sonic adventures for the past couple of months, and I definitely recommend them to the curious. They could open for just about anyone in the public musical eye at present and hold their own, if not steal the show."
-Flagpole
"Sure to take listeners back to the day of rock lore and re-establish the sound we all frantically, whether consciously or unconsciously, seek."
-BLUR Magazine
"Filled with heavy, exploding drum beats and a magical, ethereal blending of guitar, bass, and keys, Gift Horse has the ability to draw you in, capture your mind, and compel your imagination. Their songs carry menacing undertones and floating vocals that at once pick you up and mellow you out. Each melody offers a climax, backed by raging cymbals, which give way to atmospheric organ tones preparing you for the next climax and back around again."
-The Silver Tongue
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Dead Confederate | 10:00 PM
 With a name like Dead Confederate, a band might be expected to embrace Southern rock's history, not carry around the weighty expectations of those looking to them as one of the genre's brightest future stars.
Despite their name's appeal to the South's past, the Atlanta-based Confederates are a stark departure from Lynyrd Skynyrd or the Allman Brothers, boldly blending moody, emotionally charged lyrics and a twinge of garage grunge with an explosive guitar presence.
For all the praise the band has received for its contributions to the new direction of Southern rock, however, lead singer Hardy Morris said the laurels were unexpected and won't be rested upon.
"We just want to be ourselves but do something different, not let ourselves get pigeonholed or stay in one place," he said. "(We need to) keep moving because what's kept us going already is to keep changing things up. The minute we slow down is the minute we're gonna slip up."
Morris, along with Brantley Senn (bass, vocals), Walker Howle (lead guitar), Jason Scarboro (drums) and John Watkins (keys, vocals), got his start in Augusta, Ga., on the club scene while in college. During their days there, the quintet played under the name of The Redbelly Band with a looser, jam-band brand of rock. They later graduated to more-structured music in 2005 with a move to Atlanta, where they adopted the Dead Confederate name.
Now, with work well under way on their first full-length, untitled album following the 2006 release of a self-titled EP -- both bearing a tighter, darker sound that hit Atlanta's airwaves like a runaway fire truck through a fruit stand -- their eyes are firmly fixed on the future.
"Redbelly was just a college band," Morris said, citing the band's experimental approach to playing as a way of defining themselves as musicians. "Now, we're totally tapped into what we're good at, and we've come into our own."
Dead Confederate's brand of rock wouldn't have had as rapid or far-reaching an introduction to the public had the band not taken on 100-plus contenders during last year's Open Mic Madness, a battle of the bands in Atlanta. As a result of their win there (their first public performance since adopting the new name and sound), two days of free recording time at Atlanta's Nickel and Dime Studios yielded the four-track demo that has since found play time on stations as far away as Birmingham, Ala.
Currently, Dead Confederate is putting the finishing touches on a contract long in the making with an as-yet-unannounced label in Atlanta. As with the EP, the new album will feature the band's new, darkly mature sound and songs by Morris and Brantley bearing lyrics drawn from intense emotion and personal experiences.
The South has given birth to a wide range of musicians, from James Brown to R.E.M., and Dead Confederate's sound simply adds to that variety. In the process, it challenges some people's rigid definitions of what Southern rock can be, Morris said.
"We're kind of in a place right now where we're like, 'Should we just try and lose the label of Southern rock because it does have such a shallow connotation?' or, should it be, 'No, this is the new version of Southern rock?' " he said. "Really, I don't know -- rock 'n' roll is rock 'n' roll, and we'll just stick with that." |
The Meat Puppets | 11:00 PM
 In 2007, with the wayward absence of bassist Cris Kirkwood a hiccup since passed, the Meat Puppets simultaneously reformed and pledged a singular fervent purpose. Complete resurrection. That's no small order.
This is, after all, a band that stands out as one of the most illuminous sparks highlighting the first, and most overtly accomplished, coming of American indie rock, those golden and precious years lying roughly between 1979 and 1985. An era so filled with purity, it reigns supreme to this day with an embarrassment of musical riches. Many of them straight from the fingers of Kirkwood/Kirkwood/ Bostrom.
Always recognized as an extremely dexterous and deft live act, the Puppets used 2008 to continue to stretch out the new line up (with Ted Marcus now a full time replacement for founding drummer Derrick Bostrom).
The band joined Built to Spill, and later, Stone Temple Pilots, for well received jaunts across the U.S. The Puppets also toured Europe, and took part in each of the three 2008 All Tomorrow's Parties festivals, performing Meat Puppets II as part of ATP's Dont Look Back series.
Signed in early 2008 to ultra-artist friendly Megaforce Records, the Puppets found themselves once again at work exploring the vast creative landscape that has defined the band since it burst forth with its majestic debut for SST, Meat Puppets. In between last year's tour outings, the Puppets wrote and recorded a new album, Sewn Together, the trio's second full length in little less than two years.
Sewn Together began with the band laboring under all sorts of questions as to what artistic and sonic direction it would strike. The band has delivered a living catalogue of historical records, using close to primitive tools. In the case of the new album, Curt and Cris chose a home town studio that offered analogue process. "It adds purity," reasoned Curt (who served as producer).
Standing on his vows not to beat down a session, in less than two weeks' time Curt had effectively corralled his necessary and sufficient musical elements: the songs, the band, his son Elmo, the compatible recording team at the Salt Mine Studio in Mesa, and Phoenix-based pianist William Joseph. A bounty of beautiful passages emerged that bespeak a mature flushing out of Curt's deeply embedded genetic sense of melody. Witness "Sapphire," "Clone," and "Smoke." True to their nature, this is a record that is brilliantly framed by the band's sometimes folksy, always fluid wanderings.
It is what makes the Puppets musings so daunting to classify. They ambitiously dart the melodic spectrum between buoyant pop structure like album-opener Sewn Together and the grand sweep of "Clone", two of the precision-perfect gems that will come to represent this record as a keeper.
With the album set for release May 12, on Mega Force Records, the band now is looking ahead to extensive road work celebrating the new record, but as with every Puppets' tour, the show will be certain to range over the course of performance afforded it by the Puppets' endearingly adventurous career.
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