Dead Heavens Record Release

Dead Heavens Record Release

Hideout, Simon Doom

Fri, June 16, 2017

8:00 pm

Union Pool

Brooklyn, NY


This event is 21 and over

Dead Heavens
Dead Heavens
The first thing usually noted about Dead Heavens is the hardcore, punk and post-hardcore provenance of its members, from its revered frontman and guitarist Walter Schreifels (Gorilla Biscuits, Youth of Today, Rival Schools, Vanishing Life, Quicksand) to guitarist Paul Kostabi (Youth Gone Mad, White Zombie, Psychotica), bassist Nathan Aguilar (of Cults), and drummer Drew Thomas (Youth of Today, Bold, Into Another). The next thing noticed is how fully and freely Dead Heavens stands apart from those earlier projects. Whatever Witch You Are, their first full-length, plays effortlessly as a new-classic blues rock album— a new-millennium Fresh Cream or Let it Bleed— only with sharp-angular sounds, noticeably psyche inflections, and melodies that seem wrought out of rebar: strong, pared down, and purposeful at every point. If anything, their musical origins have permitted Dead Heavens to approach blues and psyche rock unnostalgically, arriving at an audibly honest sound, stripped of any of the tassels or affectation. The drums hit heavy. The guitars hit heavy. Yet hovering above them both is always Schreifels’ sandier vocals, urging us on through life’s endless freakishness and frustrations. “Many of these songs are love songs,” Schreifels explains, “Basic Cable is about love but a modern love that’s lost its way— when couples are stuck at home, binge-watching or glued to their phones, absently doing the dishes, unsatisfied until they finally realize that what they really need is to just go outside. This song is for when they finally get out there.” The pent-energy of this opening single explodes and never lets up, fueling quasi-Krautrock stretches in Goldtooth or Bad Luck Child, coasters like Silver Sea or Experience, or the pounding rock of Adderall Highway and Away from the Speed. Following a burst of earlier singles like History in my Hands and Feel Low, this album is made for One Big Listen, and its lone rest stop, The Moon Will Listen (But Not the Sun), begins reflectively but shifts into full rollick by its second half. Dead Heavens first coalesced during a solo tour for Schreifels, in 2013, with Thomas and Aguilar as backing band. Swapping and trading music for road listening— Cream, My Bloody Valentine, White Fence— together the three distilled the musical mood that would soon characterize Dead Heavens. Upon returning to New York, Aguilar reacquainted Thomas and Schreifels with musician, painter, and sound engineer Paul Kostabi, who felicitously still owned the reel-to-reel on which Schreifels had recorded Gorilla Biscuits’ Start Today in 1989, and— in another claim to fame— had coined the title of Guns N’ Roses Use Your Illusion. Their sympathies obvious, then, they leapt into recording at Kostabi’s Thunderdome Studios, and welcomed on Kostabi as a second lead guitar. A shotgun home studio set in the marshes of Piermont, New York, Thunderdome also guarded a trove of 70’s recording reels from Black Sabbath, The James Gang, and Jimi Hendrix— reels that played between takes and liberally infused the cauldron with an inspiringly darker magic. But as the title tells you, Whatever Witch You Are enjoins us to radically accept this darker magic, “in the sense of accepting a strong, strange, powerful woman who freaks out people precisely for all her powers,” Schreifels says, “and not just in love, but acceptance in a modern world that can often isolate us, and make us feel like freaks. For the full 36 minutes of this record, we want people to be able to embrace this freakishness.” Even when our world’s havoc-tossed, and our heavens dead, the lifers out there will always shrug it off and ready themselves for the strange new era.
HIDEOUT is Manhattan-based songwriter and longtime me
mber of indie-pop band Cults, Gabriel Rodriguez.
sophomore album

So Many Hoops/So Little Time

is due out February 3
2017 via Small Plates Records.

s been two years since the release of Hideout

s debut album
, and in that time many things have changed for
Rodriguez; most tragically the passing of his brother.
So Many Hoops/So Little Time
deals with grief in different
the album ranges both sonically & lyrically from whim
sical space-pop to crushing acoustic vulnerability.
There isn

t a singular concept or message, but the deeper you delv
e into Hideout

s world the more you feel nostalgia
and a sense of loss.
Hideout began as a recording project. The majority of
was recorded while on the road with Cults. Rodriguez
took advantage of the downtime by tracking songs in ho
tel rooms or at friends

homes. Fast-forward to the
So Many Hoops. . .
mixed by Loren Humphrey (
ce As Fuck, Guards
) at Stockholm Syndrome
Sound Studio in Bushwick, NY & features guest vocalist S
carlett Connolly
the recording process was far more
linear than
. The album evolved predominantly at Rodriguez

s apartment while the surrounding turmoil of loss
sunk in. Emotionally charged, he turned to the art of
songwriting & storytelling to help navigate through t
he many
answerless questions. Now a fully realized band, Hideout
has been performing live with a rotating cast of Ne
w York
musicians (including friends from Delta Spirit, Mrs.
Magician, WRITER, The Gloomies) over the past year.
Simon Doom
Simon Doom
Simon O’Connor spends his days as the lead guitarist of Kuroma, but that wasn’t always the case. When he first met William Flynn and Jim Carroll at guitar camp at the age of 15, he was going by the name “Simon Doom” (a nom-de-plume courtesy of his then-band, Thulsa Doom). Many years and many bands later, O’Connor would be calling on Flynn (formerly of St. Vincent) and Carroll (Hope Conspiracy) to not only help him become Simon Doom again, but to invite them to play guitar and bass in his new band of the same name. Rounded out by longtime friend and musical collaborator Will Berman (MGMT, Kuroma) on guitar and drummer Brandon Collins(Apse), the band played their first show in the winter of 2014 at Brooklyn’s now-defunct Glasslands Gallery.

Shortly thereafter, The Replacements‘ Tommy Stinson and MGMT‘s BenGoldwasser separately brought the band into the studio to record tracks that would end up on their debut self titled EP, which was released in the summer of 2015.

The band’s latest offering, the 3-song Negotiate With the Monkey EP, literally found its way to Axis Mundi Records through the wall that its founders’ studio shares with Simon’s. The label’s founders, so enamored with the music that they decided to put it out immediately, were pleased to discover much more music recorded and ready to be shared. Be on the lookout for new EPs and a full-length later this year.

Negotiate With The Monkey loosely takes its title from a poem by Jim Carroll (the poet, no relation to Simon Doom’s Jim Carroll) about dealing with addiction. The EP showcases the group’s nuanced blend of classic power-pop, halcyon-days punk rock and even a touch of melodic hardcore, resulting in what O’Connor terms “‘pop-punk’… if ‘pop-punk’ didn’t mean ‘pop-punk.’” The band recorded the EP themselves, but sought out Ayad Al Adhamy (Passion Pit, Team Spirit) to do the mixing. The lead-off track, “Roseate” (a song about O’Connor’s childhood trips to New York’s Museum of Natural History) is prominently featured in the Michael Shannon-starring film Frank & Lola (Universal Pictures), which premiered at the Sundance Film Festival to much acclaim.
Venue Information:
Union Pool
484 Union Ave
Brooklyn, NY, 11211