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True Primitives

Black Nite Crash, New Age Healers, The Purrs

$7

True Primitives‘s debut album, Revolutions, has been hailed as sexy groovy gaze with heavy, pulsating bass lines, shimmering guitar, skyscraper riffs, dramatic breaks, psychedelic guitar solos and textured electronic sounds.

Clint Sargent, founding member and lead guitarist of The High Violets, wrote songs for the album over a 2-year period with the idea of forming a new group. The new band’s name was inspired by Stendal’s “The Charter House of Parma” protagonist Fabrice del Dongo, who was recognized as a “true primitive.”

Sargent delivers guitars, keys, percussion, pedals and vocals on the album with Collin Hegna (Federale, The Brian Jonestown Massacre) providing bass, keys, and percussion. Luke Strahota (The High Violets, Satin Chaps) weighs in on drums and band member John Mason IV (Verner Pantons) is on guitar. Kaitlyn ni Donovan, performs backup vocals on Real Love; violin and viola on Up in the Sky.

Revolutions was recorded and produced at Revolver Studios in Portland, Oregon, by Sargent and Hegna.

True Primitives are Clint Sargent, John Mason IV, Paul Montone, Anthony Pieretti

Black Nite Crash
Great music is often made in unconventional ways, and Black Nite Crash have never had a conventional approach to their recording career. Featuring a revolving cast of characters to rival the Brian Jonestown Massacre or the Damned and a string of catchy records made on a shoestring budget, while navigating the natural rhythms of a hardworking band with many members, some of which are parents and/or professionals when they aren’t rocking, the band has created in their new release “Conflict of Disinterest” an album that, even by the aforementioned unusual standards, a release that sets itself apart.

Recorded alongside their previous release (2017’s Nevergreen), Conflict of Disinterest finds the band once again going through changes with an epic, expanding cast including two engineers, three mixers, and four different studios spanning more than seven years scattered across the greater Seattle area. The combination of these many hands on deck has somehow formed what might be the most powerfully cohesive record by the band to date, with Adam Straney (Sub Pop/Hardly Art/HoloDeck) providing brilliant mastering to pull it all together.

Frontman Jim Biggs set a definition for Black Nite Crash from the very start back in 2002: “It’s my big, dumb rock band,” declaring in no uncertain terms a break with the precious art-rock zeitgeist of the times, choosing instead to find inspiration from past legends like Spacemen 3, The Jesus and Mary Chain, and The Stooges… all personal favorites, all built on simple and often primal ideas mixed with variations on a bad attitude, never sparing a good tune. And always providing volume, lots of volume.

Today these primal, back-to-basics rock foundations propel the band while melodic moods and fuzzy pop hooks guide from above the sonic morass. Conflict of Disinterest gives space to both, creating a perfect mixture – the hooks and melody in place while delivering their heaviest album to date, the album closest to their original ethos. Conflict of Disinterest stands as the band’s message, a defiant shout out into the world.

The opening triptych establishes in no uncertain terms what type of album lies ahead. “We Live Too Late” is noise punk wallowing in love lost to a lifestyle that embraces the night and its temptations while lead single “Heart of Stone” channels moodier guitar into a more aggressive dynamic without ignoring a hook that draws the listener into another tale of failed romance and “Here It Comes” lies as a mystery, containing the same attitude of its predecessors, but culminating in a chant born of years of frustration as a struggling indie rock band, turning into a sneering rock anthem ready to be embraced: “No one likes us / We don’t care.”

“All the Times I Never Slept” brings more of the fuzzy riffs which fans of the band will surely find familiar, while “Somebody Kill Me” highlights the band’s Jesus and Mary Chain obsession in a nihilistic pop song recorded in 2011, but very in tune with the present era. “Bridges Back” brings some surprising electronic elements in to its story of resilience, without sacrificing the noise or attitude.

“Come Easy” evokes early Verve (before they adopted the ”The”), luxuriating in a rolling bass line punctuated periodically by walls of guitar. “This Is Mine” is another paean to the frustrations of rock un-stardom, but one that stands shouting in defiance. Album closer “Bring It Down” is a nearly 11-minute droning epic decrying the status quo and calling for action.

The result is a rousing album, remarkably consistent and thematically concise despite its patchwork creation. As the band evolves ever further with new material, Conflict Of Disinterest stands as the band’s cry, neigh, anguished scream into a fractured world.

The rest of 2019 holds another new EP in it’s future as the band continues to play live and tour and develop album number 5 (already in progress!!!)

New Age Healers

The Purrs
There is a certain psychedelic thread running throughout The Purrs sound, surrounded by layers of post-punk, ’90s Britpop, humid surf-rock, and other strands of outsider elements bleeding in from the fringes. After over a decade of consistently strong work, the band now find themselves perched on a perilous edge with little left to prove.

The Purrs don’t want you to know exactly how long they’ve been around. Let’s just say that the core members, Jima (bass & lead vocals) and Jason (guitar) have been creating music together in Seattle under this moniker long enough to legally order a whiskey straight up from any bar in Canada. Liz (guitar) signed on nearly a decade ago, and Dusty (drums) has been in the ranks about 3 years. The band has recorded five full length albums, a couple eps, and released several singles under numerous independent labels. Their latest full length, Destroy the Sun (Produced by Johnny Sangster) may just be their strongest work yet.

The opening title track succinctly captures what the Purrs do best: mixing slash-and-burn guitars with hooky melodies and an awestruck sense of wonder. “In An Unknown Field” is a surprising stew of early U2 and Suede, while “Here For So Long” plays like a long-lost Rolling Stones ballad. “A Lifetime Of Wrong Turns” chugs along with an undercurrent of upbeat self-deprecation, and “What Ever Happened To Billy Boy” closes the album with a wistful ode to a lost friendship. With Destroy the Sun, the Purrs offer a compelling reminder that they really ought to be on any discerning music fan’s radar.

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