Union Transfer

1026 SPRING GARDEN STREET, PHILADELPHIA, PA 19123 Ι 215-232-2100

Cursive

Cursive

Cymbals Eat Guitars, Conduits

Thu, April 5, 2012

Doors: 8:00 pm / Show: 8:30 pm

Union Transfer

Philadelphia, PA

$15.00

This event is all ages

Cursive
Cursive
I Am Gemini is the surreal and powerful musical story about Cassius and Pollock, twin brothers separated at birth. One good, one evil: are they two halves of one whole? An unexpected reunion at a house that is not a home ignites a classic struggle for the soul, played out with a cast of supporting characters that includes a chorus of angels and devils, and twin sisters conjoined at the head.

Cursive’s seventh full-length album, I Am Gemini, was recorded at Omaha’s ARC Studios with producer Matt Bayles (Mastodon, Minus The Bear, Isis) and mixed at Red Room in Seattle, WA. The album follows in the footsteps of four acclaimed, inventive predecessors – Cursive’s Domestica, (2000), The Ugly Organ, (2003), Happy Hollow, (2006), and Mama, I’m Swollen, (2009), which was praised by Alternative Press, Billboard, Playboy, Rolling Stone, and Time Out New York, among others. The band made their network television debut on The Late Show with David Letterman in March 2009, performing “From The Hips” off Mama.

Cursive is the longtime trio of Tim Kasher (vocals, guitar), Matt Maginn (bass), and Ted Stevens (guitar, vocals), with Patrick Newbery (keys) and Cully Symington (drums).
Cymbals Eat Guitars
Cymbals Eat Guitars
The sweat's the first thing everyone notices. It's hard not to, as salty trails drip from the pores of Joseph D'Agostino, the yelping, riff-raking frontman of Cymbals Eat Guitars.
Here's why he can't seem to stay dry: Pitchfork's 'Best New Music' tagplastered across a rave review of Cymbals' self-released debut, Why There Are Mountains, six months before its official releasewas just the beginning of the band's rise to notoriety. A calling card to toss around from time to time, sure, but not something they were about to rest their entire record on.
'We had no fucking clue what we were doing in those first few months,' admits D'Agostino, quite matter-of-factly.
'There was just this giant rush to keep up with hype that's beyond us,' adds drummer Matthew Miller, who co-founded the group in 2007, the year they found their sound through elaborate demos with the Wrens' Charles Bissel. Demoes that were developed even further during proper studio sessions with Kyle 'Slick' Johnson (Modest Mouse, The Hives). Like many other early adopters, Johnson discovered CEG on New York's Lower East Side circuit, playing the kind of caustic set that's earned the attention of ABC News, The New York Times, The Village Voice, and the Pitchforkpeople, who continue to support the group's every move. That includes a CMJ roundup with the following pull quote: 'D'Agostino was sweating profusely by the end of the first song, and spent the rest of the set contorting violently and playing his guitar like it was trying to eat him...Cymbals weren't just loud, they sounded monumental.'
Hype-raking live reviews aside, there's this important detail to consider: Why There Are Mountains is an actual album in an era of diminishing downloads an attention spans, a 'grower' that dishes out simple pleasures with every spin. Meaning everything from shades of shoegaze (the patient, feedback-bathed passages of 'Share') to subtle Motown nods (the buoyant bass lines of 'Cold Spring,' the breezy horns of 'Indiana'). Not to mention pure, unadulterated chaos, as embraced in the gate-crashing 'And the Hazy Sea,' the tension-building 'Like Blood Does,' and the throat-singeing denouement of 'Wind Phoenix.'
As for what's next, well, they're figuring that out one track at a time, as D'Agostino's carefully-cultivated cuts are complemented by Miller's Wire-y rhythms, the wobbly low-end of bassist Matthew Whipple, and the Technicolor textures of keyboardist Brian Hamilton.
'I've played in a lot of punky bands where no one cared about the final productabout the actual craft of songwritingand that was always very frustrating to me,' explains Whipple. 'I was always the guy glaring at someone else for not getting a part right.'
Not here. As D'Agostino adds, 'A song needs to raise the hairs on my neck at least three or four times before I'm happy with it. What's the point otherwise That's the whole thrill of playing and why we're doing this in the first place.'
'It's pretty simple,' says Miller. 'If something doesn't sound right, we're not gonna play it.'
Conduits
Conduits
Conduits, an Omaha band consisting of members of The Good Life, Eagle Seagull, Son Ambulance, Neva Dinova, Cursive, and The Golden Age, was formed in late 2009. Built from an equal love of drone, shoegaze, post rock, early synth, and the 1970's, their sound exists in a world bigger than the sum of its parts: chiming guitars, steady drum beats, analog synths, proggy basslines, and beautiful female vocals that are strong enough to not get lost in the swirling soundscapes.

Though they hail from a town famous for producing singer-songwriters, Conduits' music wouldn't feel right played on an acoustic guitar. These guys know that a perfectly placed drum hit, a thunderous synth bass crescendo, or a squalling guitar can sometimes be just as crushing as any lyric or chord progression. They draw as much from Slowdive and My Bloody Valentine as they do from Fleetwood Mac and Led Zeppelin, and probably land somewhere in the middle. Their live shows have been described as mesmerizing, an often continuous flow of music that transfixes the audience until the last drum beat, feedback loop, or final vocal collapse.
Venue Information:
Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123