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No refunds - No exceptions. Lineups and times are subject to change. Any ticket suspected of being purchased for the sole purpose of reselling can be canceled at the discretion of EXIT/IN and/or Eventbrite. Valid government-issued photo ID required for entry. Tickets available at the door (if not sold out). No re-entry.
The music of Wovenhand and songwriter/multi-instrumentalist David Eugene Edwards has always had an unparalleled intensity. Edwards’ rich, billowing and emotive voice is always the driving force of his music, but it’s catapulted by his spellbinding ability to transform instruments that many people might consider mundane relics — be it banjo, accordion, lesser-known folk instruments from around the world, or even an electric guitar — into devices of dark fury and poignant beauty.
From the apocalyptic revivification of antique Americana of Sixteen Horsepower in the 90s to the threadbare balladry of Wovenhand’s early releases, Edwards’ music has maintained its celestial heaviness as it evolved. But now in its current incarnation, Wovenhand is a band that fully expands that power with exacting and inventive skill. It’s a sound so distinctive and compellingly crushing that even the heaviest of metal bands can’t match.
Wovenhand’s current lineup includes guitarist Chuck French, bassist Neil Keener (both of Planes Mistaken For Stars) and drummer Ordy Garrison, now joined by piano/synth player Matthew Smith (Crime & The City Solution). Star Treatment was recorded at Steve Albini’s legendary Electrical Audio in Chicago with engineer Sanford Parker, who also helmed Wovenhand’s 2014 album Refractory Obdurate.
While Wovenhand ought to be a familiar name to anyone interested in forward-thinking music, the album title Star Treatment isn’t a reference to our celebrity culture obsession. Rather, it’s a clever reference to concepts of astrolatry, or humanity’s enduring interest in the stars of the night sky.
“It’s ethereal in its concept,” Edwards explains. “There are many layers, as always. I’ve been paying attention to the stars in the sky and in literature, and it’s a theme throughout the album.”
Star Treatment kicks off full tilt with the anthemic charge of “Come Brave” — the song’s galloping four-on-the-floor drums driving churning swells of droning, chiming guitars and organ as Edwards’ soaring voice compels us to rise and join the fray. “The Hired Hand” takes a more Western bent with swaggering guitars awash in reverb and a throbbing bass line before the chorus erupts with massive open guitar chords as Edwards howls, “give up your dead.” Further, “Crystal Palace” sounds like Eastern European folk driven through a massive wall of amplifiers while a full gospel choir sings just beneath the gurgling surface of guitars. “Crook and Flail” sounds exotic in its twanging acoustic instruments and tabla/dumbec drum pattern. Elsewhere, “Golden Blossom” is a lush and beautifully unabashed love song, strummed out in a simple, catchy melody that builds to crescendo with the chorus refrain, “only you, my love and your light.” Throughout, Wovenhand deftly merge the outer reaches of rock and world folk sounds with increasing urgency and force.
Star Treatment will be available worldwide excluding Europe on LP, CD and download via Sargent House on September 23rd, 2016.
Beginning as a flurry of 7” singles housed in bare-bones dust jackets, Jaye Jayle has evolved into a captivating persona alterna for the Louisville-based singer-guitarist Evan Patterson. Imbuing negative space with hallucinatory mantras, Patterson has embraced his strengths as a storyteller while trekking into thickets of unmarked sonic terrain. With his cohorts Todd Cook on bass, Neal Argabright on drums, and Corey Smith on auxiliary instrumentation, Jaye Jayle unfurls a tapestry of neo-folk economy, krautrock-esque repetition, skid row’s darkest blues, Midwestern indie rock’s nihilism, and Tangerine Dream’s analog oscillations.
Produced by Dean Hurley, David Lynch’s music supervisor of the last twelve years, No Trail And Other Unholy Paths has transcended the album format, elevating itself to a choose-your-own-adventure experience. Patterson notes that the album bears no specific beginning or ending—Side A and Side B are meant to be interchangeable. The album could open with the fluttering instrumental “No Trail,” or the slow burning synths of “As Soon As The Night,” even the spectral push-pull of “Marry Us,” featuring Emma Ruth Rundle’s spellbinding vocals. Regardless of track sequencing, No Trail And Other Unholy Paths is an album that drives its aural dimensions to the absolute threshold—and then some.
2208 Elliston Pl
Nashville, TN, 37203