BOOT & SADDLE

1131 S. Broad Street,
Philadelphia, PA 19147

July Talk & Little Hurricane

Dr. Martens Stand For Something Tour

July Talk & Little Hurricane

Ortolan

Tue, October 27, 2015

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

The Boot & Saddle

Philadelphia, PA

$15.00

This event is 21 and over

July Talk
July Talk
In October of 2012, July Talk celebrated the release of their self-titled, independently released debut album before a couple hundred bodies crammed into the claustrophobic, low-ceilinged confines of Toronto’s legendary Horseshoe Tavern. Three years later and roughly 20 tours later, they were playing a homecoming date at Ontario’s WayHome Festival for tens of thousands of ecstatic souls shouting the words of their songs back at them. Sure, a lot had changed in the interim: Their debut record had become a staple on modern-rock radio, earning the band a gold record in Canada and a Juno Award for Alternative Album of the Year, while worldwide deals with Island, Polydor and Universal had spread the good word overseas. But one fundamental quality of July Talk’ s performances had remained unchanged: the jugular-seizing power of their confrontational, sensuousrock+ roll. Whether you’ re experiencing it in the dingiest basement dive or the biggest festival field, a July Talk show makes you feel like you’ re part of some secret-society congregation. It’ s a gathering of kindred spirits united by a desire to escape the institutional pressures and LED distractions of our daily lives to reconnect with something real—a primal, fiercely physical remedy for mind-numbing, glassy-eyed smartphone addiction.

When it came time to draft the action plan for album number two, July Talk turned to the only focus group that mattered: those sweat-soaked fans slithering up against one another to lose their minds and morals at the band’ s electrifying concerts. That’ s the space where the blinding contrasts in July Talk’ s music—Leah Fay’ s crystalline communiqués vs. Peter Dreimanis’ three-cartons-a-day bark; greasy southern blues vs. urbane new-wave cool; sexual tension vs. cathartic release—collide with thundercloud force, and their new record, Touch, represents its perfect, lightning-in-a-bottle distillation.

“It was easy to create a vibe and sound direction for the new record,” says Dreimanis, “because we literally just looked at our live show and what was fun about it, what kind of people came, and what sense of community you felt in the room. We’ve never been about drawing the stage line—that was our mandate from the beginning, and with our live show, we’re really about breaking that down so that we’re in the room as much as our audience. We wanted songs where we can grab people by throat and show them something unique—the kind of songs that feel incredible in a sweaty room.

“Thematically, Touch has been inspired by our human experience over the past few years, just as much as our time spent as a band on the road.” Fay adds. “Touring constantly provides a strange view of the world because you’re in transit more often than you’re still. We became sensitive to the varying reactions we’d get from any given audience depending on the cultural norms and politics of a place. Because humans love to categorize in an effort to understand, Peter and I were often perceived as these opposing forces, representing “light vs. darkness” , “female vs. male” , “sweet vs. scary” blah blah blah, with each of us just dying to get a word in edgewise. These types of assumptions had a massive influence on the way we wrote the lyrics for this album because we knew we didn’t want to feed into that sort of boring archetype. We became drawn to the idea of what it actually means to be a living breathing human. It’s messy and visceral and unpredictable.”

“It seems to get easier every day to disconnect from the people around you,” Dreimanis observes. “Leah and I started to see human touch as this pure thing—this antidote to a world that had become obsessed with mirrors and screens. We became fascinated with that moment where two bodies can actually touch and experience each other honestly. There are so many substitutes for that now, there are so many ways you can get a lesser version of that feeling elsewhere. And that’s terrifying. You’re always able to keep that slight amount of distance from actually having a face-to-face, eye-to-eye conversation with somebody.”

“When you’re touring, you have very fleeting and sometimes vacuous relationships with people outside of the band,” adds bassist Josh Warburton. “It puts you in a perfect mindset to start looking at the various technological interactions we have and see them in a different, potentially dehumanizing way.”

On Touch, human connection becomes a full-contact sport: Dreimanis and fellow guitarist Ian Docherty power songs like “ Ask You” and “ Johnny + Mary” (not a cover of the namesake Robert Palmer classic) with punked-up aggression, while the glam-rock stomp of “ Beck + Call” (featuring guest growls from throat-singing phenom Tanya Tagaq)showcases the wrecking-ball swing of Warburton and drummer Danny Miles. And throughout it all, Fay holds court in the fray with a switchblade-wielding swagger she only hinted at on the first album. If that record channeled the blues, this one’ s all about the bruise. And that in-your-face immediacy was further encouraged by the album’s producer, Ian Davenport, tapped for his work with kindred spirits Band of Skulls.

“There was a real warmth to the records he had made,” Warburton explains. “You could identify the personality of the performers in the songs. Sometimes, you can get fairly automated when recording on computers. Ian encouraged us to not use any click tracks, and we did very limited overdubbing. Generally, we would just track a song until he was up in the control room dancing. He had this little captain’s hat on, and if he was up actually physically moving and dancing, you knew you were onto something.”

For July Talk, that collaborative spirit goes beyond recording—it’ s crucial to the very way the band presents itself to the world. Warburton and Dreimanis come from a filmmaking background, while Fay boasts a contemporary-dance and performance-art pedigree; together, those multi-disciplinary skills have yielded a visual aesthetic every bit as striking as the band’s music. “ Because our experience extends outside of music, we’ re always working as a collective,” Dreimanis says. “We want everything created under the July Talk moniker to come from the same place.”

That philosophy extends from the stark, black-and-white videos, to the mugshot-style photos, to the brutalizing ballet of Fay and Dreimanis’ onstage interactions, all of which serve to reinforce the fuck-or-fight showdown at the core of July Talk’s signature songs. Touch continues to play up that dynamic, as the lascivious“ Lola + Joseph,” the dirty-disco grind “ Push + Pull,” and the bittersweet, smoke-ringed serenade “ Strange Habit” revisit the sort of dialogue-driven, pop-noir narratives that drove first-album favourites like “ Guns + Ammunition” and “ Summer Dress.” But true to the album’s communal intent, Fay and Dreimanis’ relationship here isn’t so much “ he said” /“ she said” as “ we said,” whether the two singers are taking the piss out of macho misogyny over the “ Passenger” -styled shuffle of “ Like a Man” , or skewering coked-up, self-absorbed hipsters on the searing “ Johnny + Mary.”

“The easiest thing to write about is heartbreak and exes and failed love,” Fay explains, “and I feel like we covered that on the first album. Time passes and your worldview expands, and suddenly injustices are pissing you off more than the thought of your ex-lover. You notice one messed up thing about the way society functions and suddenly realize how deep-seated close-mindedness and a lack of communication are at fault for almost everything wrong with the world. It’s like, we can only do so much and get so far by staring at each other, engaging in a two-way yelling match and letting our egos duke it out on stage every night. We can shed more light, and connect with more people while facing outwards standing side by side, listening just as much as we speak... or sing, in this case.”

“It all comes back to that community we feel in the room when we play,” Dreimanis adds.“I’m constantly drawing on the moments I’ve seen in rock ‘n’roll that changed my life forever. Like, I remember walking into the Starlite Room in Edmonton when I was underage, and the door guy let me in to see the Constantines play, and it was the same way people talk about going to church for the first time. It was the most powerful thing I had ever seen. I felt the same way the first time I saw Iggy Pop. When I step out on stage, I want to make people feel alive and like they’ re in a very special place and provide them with a little hope and faith in rock + roll and its power as a borderline religion.”

And you’ll find no more persuasive sermon than Touch’s closing title track. As the song steadily builds from desolate dissonance into a raging, piano-pounded anthem, Dreimanis and Fayreassert the album’s key mantra in no uncertain terms. “ We get so tired and lonely,” they declare with gospelized gusto. “ We all need a human touch.” It’s a reminder that no Snapchat selfie is a substitute for an intimate conversation, that no emoji provides the warmth of an embrace, that no YouTube concert video can instill that exhilarating feeling of leaping off the stage to crowd surf. Touch is music of the flesh—the product of hoarse-throat howls, bloodied fingers slashed on the fretboard, and sticky bodies pressed against the barricades.
Little Hurricane
Little Hurricane
We may not all share the same beliefs, but people are still more alike than different. No matter if you’re in San Diego or South Africa, living 10,000 years ago or today, we all look up to see the same sun and same moon. We are all connected in one way or another. This message of unity beats at the heart of Little Hurricane’s latest release, Same Sun Same Moon.

From day one, the narrative of Little Hurricane has echoed the tale of a momentous journey, whether it be on a mountaintop or a happenstance meeting on the internet.

Their story began in San Diego, where ​Little Hurricane formed. Having recently resumed playing drums after an eight-year hiatus, CC placed a musicians-wanted ad on Craigslist. Among the myriad of respondents was Tone, a studio engineer who’d worked with artists ranging from John Paul Jones to Gwen Stefani. The two musicians were neighbors who had never met, and bonded over mutual interests including the blues, unusual and vintage gear, and their individual experiences playing in
high school jazz bands. A year later, Little Hurricane won three San Diego Music Awards, including Album of the Year for 2011 debut Homewrecker. Little Hurricane’s explosive live show soon landedthem slots at major festivals including Austin City Limits and Lollapalooza, and garnered media attention from outlets including Rolling Stone, which profiled them in an extensive behind-the-scenes piece at SXSW 2012.

Little Hurricane has toured throughout North America, Europe, and Australia, both as a headliner and main support for artists including The Specials, Manchester Orchestra, and John Butler Trio. Television music supervisors also took a shine to Little Hurricane, featuring the duo’s songs on shows including
Gossip Girl, Revenge, Mistresses, and ESPNs First Take. In addition, a quartet of Taco Bell TV commercials has showcased three Little Hurricane originals, as well as the pairs spirited cover of Starland Vocal Band’s 1976 U.S. chart-topper “Afternoon Delight.”

During the writing process of Little Hurricane’s third album, Same Sun Same Moon, Tone was overcome by a powerful force that guided him on a 28 mile barefoot journey that nearly took his life.

The duo had been writing and recording in their studio, built on ancient Native American lands in the mountains East of San Diego. One ominous mountain, at an elevation of over 3,400 feet of rocky terrain, called to Tone during the writing process.

"I kept hearing frequencies or vibrations that made it impossible for me to work on the album. For days, I had been unable to eat or sleep. Everything I saw seemed symbolic, and I found profound meaning in everything happening.” Tone goes on to explain: “Something called to me to go to the top of the mountain. I had no other response but to listen."

He left without telling a soul and foregoing any food or water. In a trance like state, he felt the need to take off his shoes just as he set off on the rough and jagged trail. With plans for writing that day, CC was at the studio waiting for Tone to arrive, but he left no clues to where he was. "I figured he went for a short walk, but as the sun was beginning to set I started to panic. Then I noticed Tone's camelback on the table. He always brings it along for water on hikes."

By the time emergency services arrived, the sun had completely set. With temperatures dipping to the freezing point and limited visibility, the icy cold and rough terrain deterred police from being able to continue their search by foot. An Emergency Services helicopter was called in, but to no avail. The
rocky trail and the cloak of darkness made it impossible to find Tone that night. CC had begun to organize a search party to set off at dawn. Unexpectedly, just before sunrise, Tone returned; 17 hours after he left.

"I just knew I had to get back to where I started, if I could make it home everything would be okay."

The trek left him hospitalized with kidney failure, frostbite, and injuries so severe he was unable to walk for over a month. Several shows were canceled, and the album was put on hold.

Despite the suffering and distress, when they reflect on the experience, Little Hurricane gained far more than they lost that night.

"I learned a lot from that night. I would have never expected this to happen to me. This experience is very personal and it took me a while to be ready to share some of the details. However, I think it has such a central theme in the new album that it’s important to be open and honest about what really happened." Tone recalls.

CC's view is equally optimistic: "Tone’s vision quest made me more aware of the energy around us and more connected to him and the universe as a whole. It also made us realize how deeply in love we are and that we are so much more than just bandmates. We are soulmates.”

With so much history behind the band, their new record is a nod to it’s predecessors Homewrecker (2011) and Gold Fever (2014) while taking a resolute turn with its intention. These twelve new songs retain the honesty and immediacy of Little Hurricane’s earlier work; check out the gritty “Bad Business” (featured in PlayStation’s MLB The Show 16) and the driving instrumental ”March of the Living.” Yet they also incorporate new timbres and a broader emotional scope, changes that underscore the band’s desire to transcend its dirty blues roots and connect with a wider range of music lovers.

This evolution is especially evident on “OTL,” a love song woven from understated keyboards and intertwined vocals. Married in summer 2016, the creative partners elected to openly share their
happiness with listeners for the first time.

To hear more about their journey, tune in to their latest album out April 14th via Mascot Label Group.
Ortolan
Ortolan
Ortolan are a female indie pop quartet comprised of three sisters and one sister-in-law. The group began taking shape in 2007, when songwriter Stephanie Cottingham played a church coffeehouse with the help of a friend. The audience's response was encouraging, and Cottingham began making additional appearances at the coffeehouse, often with her two older sisters -- drummer Lara and bass player Brianna -- playing along. Ken Fabianovicz caught one of the girls' performances and introduced them to Daniel Smith, a local producer and founder of the New Jersey-based label Sounds Familyre. After recording some demo material in Smith's studio, the group added a fourth member, keyboardist/vocalist Jill Cottingham, and properly joined Sounds Familyre's roster.
Venue Information:
The Boot & Saddle
1131 S. Broad Street
Philadelphia, PA, 19147
http://www.bootandsaddlephilly.com