Union Transfer


of Montreal

of Montreal

Yonatan Gat

Sun, March 8, 2015

Doors: 7:30 pm / Show: 8:00 pm

Union Transfer

Philadelphia, PA


This event is all ages

of Montreal
of Montreal
Two important events occurred during the making of White Is Relic/Irrealis Mood . I became "Simulated Reality" paranoid and I fell in LOVE.

Well a lot more happened during the process of writing and recording, but those are the two big ones. I also reached a healthy point of self-forgiveness for my failed marriage and became deeply educated in the lies of America the Great.

I feel like a switch was recently turned on in my brain and now I'm beginning to see through the lies that have been fed to me my whole life by the masters of media and by those who control and manipulate the narrative of our cultural identity and social order.

My paranoia began during the presidential election cycle and reached a dangerous peak shortly after the inauguration. In the meantime I watched and read countless works of art in a mad effort to be reminded of how many truly brilliant people there are living/struggling among us and to try to maintain a positive outlook. The works of Angela Davis, Noam Chomsky, Chris Kraus, Ta-Nehisi Coates, and the Autobiographies of Malcolm X and Mark E Smith were all great inspirations, to name a few.

Musically, I was very inspired by the extended dance mixes that people used to make for pop singles back in the ‘80s. It's so cool how a lot of the 80's hits had these really intricate and interesting longer versions that wouldn't get played on the radio and could only be heard in the clubs. I used that template with these tracks, I wanted them all to feel like the extended "club edit" of album tracks.
I also decided to abandon the "live band in a room" approach that I had been using on the recent albums and work more on my own or remotely with collaborators. I used the same drum sample packs throughout because I wanted the album to have a rhythmic continuity to it. I wanted the drums to have a strong and consistent identity, similar to how Prince's Linn Electronics LM-1 drum machine played such an important role on his classic albums. Zac Colwell also played a huge role on this album, adding saxophones and synths to most of the songs. I also got a lot of help from long time collaborators, and "of Montreal" touring members, Clayton Rychlik and JoJo Glidewell.

The two title concept came to me when I was thinking about how difficult it is to frame the message of a song with just one title, because so often the songs are about so many different subjects. ‘White Is Relic’ was inspired by James Baldwin’s writings regarding the creation and propagation of a toxic American White identity. I've come to learn how it's just a tool wielded by the 1% to give poor white people a false sense of superiority in an effort to keep the masses placated and numb to how deeply we're all getting fucked by our capitalist rulers. An ‘Irrealis Mood’ is a linguistic indicator that something isn't yet reality but does have the potential to become so.

I'm always searching for new identities so this concept of the death of "Whiteness" appeals to me greatly. Might be the only way to save the world.

-Kevin Barnes, January 2018
Yonatan Gat
A masterful guitarist, Gat recently won Village Voice's "Best Guitarist of 2013" with a sound he describes as "homeless between the Middle East and New York." Gat's first single, "Escorpião" is one that easily transports the listener to an exotic land. It effortlessly encompasses the free-spirited intricateness of his worldly influences, while carrying the raw intensity he sported in Monotonix

"Best Guitarist in New York, 2013" - Village Voice

"Monotonix guitar virtuoso Yonatan Gat has reinvented himself" - Time Out New York

"Yonatan Gat makes music that has no home. I say that because the guitarist and his band create a sound that is from seemingly everywhere and specifically nowhere at once, channeling everything from Afrobeat grooves to Middle Eastern folk melodies to straight up rock n' roll noise, sometimes all within the span of one song – weaving the global smattering of styles seamlessly together like the great jazz musicians of the '60s" - The Bay Bridged

"A stew of Brazilian psych, pan-African rock, explosive punk, and outre lo-fi indie. Gat leads you through his music's many changes with guitar playing so wildly inventive and freewheeling that it sounds like he's making it up as he goes."- Chicago Reader

"While Monotonix exploits every cubic inch of a venue with vigor, Gat seems to want to scour every corner of the world, with equal intensity" - Chattanooga Pulse

"More explosive and cathartic than anything you could ever see on a bigger stage" - NY Press

"A surprise musical miracle. Watching Yonatan Gat and his band perform will blow your mind. The former Monotonix member's live show leans heavily on improvisation and borders on performance art, incorporating signature lighting and expelling an incredible barrage of sound. However, one of the most enjoyable parts of a Yonatan Gat show, especially if you've seen the band before, is watching the new listeners, the unsuspecting folks who happen to be at the bar on a mid-week night, as the show unfolds. One guy in the front row stands with his hand on his jaw, staring, transfixed. Another rolls his head around his shoulders in synchronicity to the jolts of the song, occasionally rocking forward suddenly to accompany sudden musical shifts; with a shocked expression, his eyes look like they might burst from their sockets. Yonatan Gat is currently performing one of the most incredible sets in small to medium venues. - Pop Press International

Yonatan Gat and his band are doing something you will not see anywhere else. The power trio sets up on the floor of every venue from giant clubs to basements—DIY style among sweaty dancing bodies—playing intricate improvisation sets that channel "everything from Afrobeat grooves to Middle Eastern folk melodies to straight up rock n' roll noise, sometimes all within the span of one song – weaving the global smattering of styles seamlessly together like the great jazz musicians of the '60s," (The Bay Bridged)
Gat's reverb-drenched guitar offensive takes simultaneous lead and rhythm duties, backed by Gal Lazer's hard-hitting African-inspired grooves, and Sergio Sayeg's (of Brazilian garage rockers Garotas Suecas) pumping bass.
Venue Information:
Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123