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Deas Vail w/ Dear Future, Hollywood Ten
Monday November 23, 2009 at 7:00 PM
- 18+ Show -
Granted, it's an unmistakable voice that sounds as if it bides its time floating amid the stars, and so, is a major part of the band's sound. But there's so much more beyond that soaring voice.
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Find Deas Vail w/ Dear Future, Hollywood Ten on...
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Schedule
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Hollywood Ten
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8:45PM
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Dear Future
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9:30PM
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Deas Vail
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10:15PM
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Hollywood Ten | 8:45 PM
 With influences ranging from the timeless sounds of The Beatles, to today’s experimental rock bands such as Radiohead or The Mars Volta, The Hollywood Ten strives to integrate vintage, driving music with ambient, catchy melodies and meaningful lyricism. The blues-influenced guitar work of Ben Ford and the grooving, extraordinary bass lines of Michael Ford provide a perfect complement to each other. Anderson and Smith then add tasteful electric organ and chest-thumping drum rhythms to inspire an atmospheric, musical narcotic that the band more than successfully captures in live performances.
"Fresh Nashville rock 'n' roll outfit, The Hollywood Ten brandishes itself with pristene harmonies courtesy of the brothers Ford--Michael and Ben--ripping guitars, tight rhythms and a modern rock edge-meets-indie rock heart. Watch out for 'em."
- Douglas Waterman, Editor-in-Chief, American Songwriter Magazine
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Dear Future | 9:30 PM
 Expansive. Uplifting. Woven. Cacophonous. Soaring.
Dear Future's second EP, Can't Wait Any Longer, is all of the above, and more. It's six songs, interconnected, sequential, all lined up to follow one another perfectly.
Dear Future is five lads from Pickneyville, a small town in Southern Illinois: Brandon Ross, lead vocals, guitar, keys; Wes Chandler, lead guitar; Ethan Place, drums; Paul Genzink, guitar, keys; and Cory Nelson, bass, programming. "We are pretty much living in a black hole of the music industry," says Brandon, "which means we have to work harder and travel further to stay connected. On the flip side, it works to our advantage because we are not influenced by short-lived trends."
More than a sum of its parts, Dear Future is a band united. "The majority of our music is written collectively," explains Brandon. "Because of this, we are able to explore everyone's ideas within each song."
Thematically, the songs express dissatisfaction with the state of our society and the way we react to its problems, both as a society and as individuals. "Lyrically, it's a challenge to make sure each song is relevant and says something real, instead of having stereotypical lines for the sake of lyrics."
Together since 2006, Dear Future has already garnered fans nationwide, thanks to an aggressive touring schedule and festival appearances: ten tours in two-and-a-half years, each of them averaging two weeks at a time. The band has shared the stage with such acts as Dear and the Headlights, Motion City Soundtrack, House of Heroes and Relient K.
Yet despite the barrage of bad news from television and newspapers, Dear Future's music offers a message of hope. "We are all believers," says Brandon. "We believe in the power of grace, forgiveness and love.".
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Deas Vail | 10:15 PM
 It would be easy to describe Deas Vail simply by pointing at vocalist Wes Blaylock's upper register range and falsetto and then to slap on the indie label. Granted, it's an unmistakable voice that sounds as if it bides its time floating amid the stars, and so, is a major part of the band's sound. But there's so much more beyond that soaring voice. To start, the band's debut "All the Houses Look the Same," features the unfailingly sharp and frenetic guitar work of Andy Moore (think Chris Walla or Jonny Greenwood), whose riffs are as memorable as any of the ridiculously high notes that Blaylock hits. Moore's work on the record sets a tone in line with America's finest indie rock (Death Cab for Cutie, Clap Your Hands Say Yeah) and Europe's best-kept secrets (Mew, Kashmir). But in no way does the album, produced by Mark Lee Townsend (Relient K), rely on any particular mix of instrumentation.
By the time the manic guitar of "Rewind" fades away, it is replaced by the piano-led "Shoreline," courtesy of keyboardist Laura Blaylock, Wes' wife. The song also features a haunting string arrangement by the Blaylocks and the driving and clever rhythm section of drummer Kelsey Harelson and bassist Justin Froning backs all of it. Formed while its members were students at Arkansas Tech in the Midwestern hamlet of Russellville, the band has gone through several different members before settling in with its current lineup for the past two-and-a-half years. While at school, Blaylock began writing songs he initially envisioned as solo works, but when coupled with an affinity for the indie-rock scene, Deas Vail was born. Blaylock discovered and embraced the indie rock scene his senior year of high school, eschewing the bluegrass and folk enriched home he grew up in (his sister Hannah fronts bluegrass/country outfit Eden's Edge). "When we started, it was something we wanted to do because we enjoy music," Blaylock said. "We write songs because we love songs. They make us happy or explain an experience. That's why I grab hold of these songs and love them. It's something we really care about."
Upon the record's release last spring, the band took on a healthy touring schedule that saw them crisscrossing the country for much of the year. Supporting acts like Lost Ocean, John Reuben and Edison Glass helped build the band's fanbase, a trend they would like to continue this year as the band feels their live show is essential to the experience and that more new fans can be made with this album. "To us, playing live is just as important as making records, maybe more," Blaylock said. "Even if we get tired of playing these songs, there's meaning in the lyrics and we still feel like it's good music."
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