• Steve Gunn

    Steve Gunn

    Endless Boogie, 75 Dollar Bill, DJ Michael Slaboch

    Fri, December 9, 2016

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

    The Bell House

    Brooklyn, New York

    $15.00

    This event is 18 and over

    Steve Gunn
    Steve Gunn
    People have written about roads for as long as they’ve been around. And before there were roads, they still wrote about travel and about landscape. Landscape is the stage upon which our greatest experiences and desires play out. Steve Gunn’s music has always embraced expanse and movement. It springs from the simple and profound relationship between humans and their environment. Eyes On The Lines is his most explicit ode to the blissful uncertainty of adventure yet.

    Gunn’s roots in the underground run deep, from his days in GHQ to his collaborations with Black Twig Pickers and Mike Cooper. He’s toured and recorded with Michael Chapman, and released two remarkable duo albums with drummer John Truscinski. His solo ventures, emerging over the past decade and culminating most recently the highly-acclaimed Way Out Weather, have been pastoral, evocative affairs. Here he embraces his urban surroundings through a series of songs that fully showcase his extraordinary ability to match hooks to deftly constructed melodies. Gunn is a consummate guitarist, that rare fingerpicker who can harness the enigma of the American Primitive vernacular without lazily regurgitating it. His playing is inventive and full of personality. His instrumental virtuosity calls upon a vast library of technical skills at will, but he’s never showy — his riffs and runs are always in the service of the song at hand.

    And what a pleasure to have this music presented to the wider public.

    This song cycle melds thoughtful inquisitiveness with poetic reflection, fully embracing rhythmic uplift, allowing personal stories and impressions to live their own lives on their own terms. Gunn is more narrator than diarist; he pours real-life moments and real-life people into vibrant and evocative tales. Dreams and encounters spiral out – they form their own dramas and illuminate their own truths. Indeed, Eyes On The Lines works like a book of the finest short stories, its songs interlocking with an urgent necessity, forming an ever-questioning whole. In Gunn’s own words: “The music isn’t about me. It’s about characters, either real or fictional. It’s about images.”

    And what are lines if not one of the foundational aspects of images? Lines on the road draw one’s attention to the lines comprising the landscape. Gunn’s music runs ahead and twists – like time, like the road itself. Guitar lines are highway lines are lines carved by the view out the window are the lines one waits in to get a quick meal on the way from one destination to another are lines one draws in the van to stay amused. It’s good to be out on the road and it’s good to be home, and each feeds into the other. This record sees lines run together and leap across one another.

    He’s honest about the necessity of being comfortable in being lost. His music values the unknown, so it is always born of the present. We lose ourselves to find ourselves. With all of this comes humility. And gratitude. Listen to “Nature Driver,” a statement of thankfulness for the generosity of the plethora of kind souls who welcome travelers into their homes.

    “Ancient Jules,” which opens the record, is a travel fantasy of a different sort. Built around a head-nodding motif, the song bobs and weaves its way through a tale which foregrounds the surprising joy that can come with a break – a deep sigh in the midst of an onrush, punctuated by the finest example of Gunn’s electric soloing to emerge yet. A song like “Conditions Wild” also rambles through strange clouds of roving. Interlocking strings, percussion, and vocals join in an irrepressible rush. This record is like that – the songs get lodged in one’s head because they’re catchy, but their atmosphere sends the mind reeling into memory and mystery.

    These are songs you can take in quickly, but spend all the time in the world devouring. The very large and the very small are present in equal measure. The inability to categorize them within the avalanche of impotent diatribes that pass for categorization is a testament to their power.

    Stories give us ways to discover meaning. They provide us with signposts – when we recognize our own lives within them, we clarify our existence. “Far from the world is the mystic fool,” Gunn sings on the opening track. The fool may be far from the world, but that doesn’t matter. The so-called fool is jacked in to the cosmos.

    Matt Krefting Holyoke, MA 2016
    Endless Boogie
    Endless Boogie
    ""Maybe it's not a good thing, but we're pretty jaded," says Jesper Eklow of his band Endless Boogie. It's a strange comment. When I think of Endless Boogie, I think of frontman Paul Major standing at the front of the small stage at New York's Mercury Lounge as a 15 minute jam winds down. His guitar hangs free from his neck, his hair is cut across his eyes like Cat Power in the front and it hangs below his waist in back. He's at a slight angle to the audience, one foot forward, just looking out over the cheering club crowd, nodding his head and smiling, almost egging everyone into more applause with that slow, confident nodding. No band has ever seemed so joyful; no band has ever seemed less jaded.

    Of course what's fantastic about Endless Boogie is that no band has ever needed to play rock & roll so little and so much simultaneously. "The only older band collectively in New York is Sonic Youth," Major says. All four members of Endless Boogie have music industry-related day jobs, including bass player Mark Ohe and drummer Chris Gray. Eklow works at Matador Records. Major is one of the preeminent record collectors in the universe, and has supported himself as such for two decades now. The band's first rule is that they never play a show unless they're asked to. They started the band in 1997. Their first gig was in 2001.

    Whatever rock & roll fantasies Eklow had as a 16 year-old record store clerk in Sweden—or whatever flights of fancy Major had when he was a kid buying acid rock records in the bins at a K-Mart in Kentucky—are now smeared with too much experience. They've all nine-to-fived and buy-sell-traded too many records worth too much money to believe in the romantic ideal of The Dream. If 18 year-olds starting a band are like excited kids trying to get to sleep on Christmas Eve, the guys in Endless Boogie are like weary parents who have to set their alarms and get up to stuff the stockings. "It was just supposed to be an old man hobby," Eklow says. "Get together on Tuesday nights and have fun." It still kind of is, but they just put out two limited, hand-numbered 12-inches. They've been asked to play more shows. And there they were onstage that night at the Mercury, jamming a single murky riff for minutes and minutes on end, grimacing, nodding, buggalooing like Beefheart and soaking up every last bit of the applause."

    Will Welch, The Fader (2007)
    75 Dollar Bill
    75 Dollar Bill
    Rick Brown was born in San Francisco, CA and is a clerical worker at a law school in NYC. Che Chen was born in New Haven, CT and works for a cancer diagnostics company in Stonybrook, NY. They met via myspace and started playing together as 75 Dollar Bill approximately eight years later. Brown plays percussion and homemade horns and Chen plays electric guitar.
    DJ Michael Slaboch
    DJ Michael Slaboch
    Michael Slaboch will be playing 45s from around the world.

    Michael Slaboch is a multimedia artist living in Chicago. His primary creative endeavors involve post-production sound and his work has been heard on NPR, Animal Planet, Discovery Channel, History Channel, in feature films, and various albums.

    Currently he is the talent buyer for The Hideout.

    He is also a part of the reissue label The Numero Group. It is here that he has had the tremendous opportunity to share rediscovered music, films, and photographs with new audiences around the world.

    He's also a historical judge for the Grammy's & is an adjunct faculty member at Columbia College Chicago & Tribeca Flashpoint Academy in their respective recording arts programs.
    Venue Information:
    The Bell House
    149 7th Street
    Brooklyn, New York, 11215
    http://www.thebellhouseny.com/