Wild Cub

96.5 The Buzz Presents

Wild Cub

Grizfolk

Mon, July 14, 2014

7:30 pm

Czar Bar

Kansas City, MO

$9.65

Sold Out

Wild Cub
Wild Cub
"Teenage life -- possibly adult life too... is all about what you want and can't have. And then about what you receive and misuse." -- Jonathan Lethem (The Paris Review)

A little over a year and a half ago, songwriter/composer Keegan DeWitt and multi-instrumentalist Jeremy Bullock stripped down a small Nashville row house to build a custom studio. In this space, and together with friend and drummer/producer Dabney Morris, they would record and eventually form a five-piece band around their debut album "Youth." Initially shared digitally a little over a year ago, the album will now see a wide release through Mom+Pop on December 10th, 2013 as infectious debut single "Thunder Clatter" sits in rotation on SiriusXM's AltNation.

Their vision was simple: to share songs akin to fleeting, auditory memories. A collection of 13 captured moments, much like a found box of letters and photographs, "Youth" serves as a loose examination of how life refines us as we move through it, how the choices made along the way shape us in potentially unexpected ways. Mixing programmed sounds and live performances -- and recorded in less than two months -- each song was run through a TASCAM 4-track cassette tape recorder to maintain an intimate, diary-like feel. The lyrics scatter and focus, abstract and refine, encapsulating the elusive feelings of small moments cast aside, such as late night drives, the limitlessness of falling in love, and the freedom of finding a true friend or co-conspirator in an immense and sometimes empty world. The album transitions seamlessly between infectious electro-pop, tropical rhythms, and quiet washes of cinematic new wave reflection. It's this evocative, cinematic quality that characterizes Wild Cub's songs, influenced heavily by DeWitt's extensive work in composing film scores (including 2013's Academy Award-winning short documentary "Inocente"; 2013's Sundance Audience Award for Best of NEXT winner "This Is Martin Bonner"; and 2010's "Cold Weather").

Since its initial small release, press and touring around "Youth" has mounted steadily and surely. Paste, Consequence Of Sound, MTV Hive, and The Wall Street Journal's Speakeasy blog ('12 Acts to Watch at the 2012 CMJ Music Marathon') all shortly took notice. Things began to take on a break-neck pace of their own in early 2013, with Wild Cub performing at designer Rebecca Minkoff's Fall '13 NY Fashion Week show, snagging NylonMag.com's 'Band Crush' stamp and major support from influential station KEXP ("...[Wild Cub's] brand of darkly-tinged new wave recalls elements of the youthful abandon of John Hughes soundtracks, the baleful allure of Greg Dulli, and the clockwork electronics of New Order's middle period"), while "Thunder Clatter" was highlighted in Entertainment Weekly's 'Singles Swap' feature. "Youth" gained notable UK press attention at this time from Clash Music, The Guardian, The Line Of Best Fit, and Top Shop, as Wild Cub's tracks, remixes, and visually arresting videos continued to premiere in the States on sites including InterviewMagazine.com, RollingStone.com, Noisey, and SPIN.com, among others. The band completed its first two US tours and hit festivals like SXSW (playing eight shows), Hangout Fest, and Lollapalooza (including a sold-out afterparty with UK stand-outs Palma Violets), while Alt Nation began championing Wild Cub as DJ Jeff Regan independently added "Thunder Clatter" to heavy rotation. Roughly 18 months since recording the first rough sketches of "Youth" in that row house in Nashville, Wild Cub headlined a brimming crowd at New York's Bowery Ballroom after selling out both the Mercury Lounge and Glasslands a few months prior.

In addition to fall festival dates that include a stop at Austin City Limits, Wild Cub will travel to the UK for two debut London shows in November, where "Thunder Clatter" has made waves on the Spotify Viral and iTunes Top Singles charts after soundtracking a Bose ad. Youth's wide release through Mom+Pop will also include two bonus tracks, "Blacktide" and "Lies."

Wild Cub is: Keegan DeWitt (vocals/guitar), Jeremy Bullock (guitar/synths), Dabney Morris (drums), Harry West (bass), and Eric Wilson (keys/synths).
Grizfolk
Grizfolk
The story behind the band Grizfolk unfolds like a richly episodic Beat novel: it's a collection of character-driven vignettes that give way to one another with ease, with songs like chapters in a traveler's cherished diary, suspended in time and space above an aural landscape of blue-collar romanticism and electro-inflected folk-rock.

It's the story of a small-town songwriter from the South who leaves the Bayou on a wanderlust whim and heads West across the desert toward California, bending his course to the bohemian back-roads of old Americana with a jazz-like, improvisational fluidity.

It's the story of two bigger-city producers from Sweden who decide to trade the snowdrifts of Stockholm for the palm trees of SoCal, bringing with them a haunted, dreamlike moodiness to the artificial, electronic paradise of pop music.

Above all it's story of three musicians who journey to Los Angeles as strangers, finding inspiration and comfort in the emotionally barren yet mysteriously enticing sands of Venice Beach's "ghetto by the sea," eventually making it their home. Alongside the vagabonds and bottled blondes of Venice legend, Grizfolk's music is a casually-indefinable, artistic paradise of its own, built upon a bedrock of lush electronic tones and analog textures, stomp-and-clap guitars and heart-swelling vocals.

The band's sound layers glittering synth harmonies atop barn-burner rock hooks, mixing America's country music heritage with that of an electro-pop persuasion. The result is an undeniably catchy collection of pop songs that sound both futurist and revivalist at the same time, drawing upon the digital of today as much as they do the organic, decaying reminders of times past.

Evoking a sense of both sentimentality and conquest, Grizfolk's music paints the picture of a vivid folktronic world in which listeners can fully immerse themselves, drifting in and out of different eras and places, much like escaping down a literary rabbit hole and getting caught-up simultaneously within the tangled futuristic narratives of Philip K. Dick and the timeless Bunker Hill dreams of John Fante.

Grizfolk's music is where folklore meets four-on-the-floor; where tumbleweeds meet turntables. Imagine a Head First Alison Goldfrapp making out with Tom Petty in a dimly lit, Prohibition-era speakeasy while The Knife's Deep Cuts spins somewhere in the background on a loop.

"In Los Angeles you don't have to seek out pop music. As long as you're listening, it'll find you," says Grizfolk's frontman Adam Roth. Both casually and confidently, he explains how despite growing up on different continents and possessing vastly different musical backgrounds, each band member at his core is really just a pop-purist at heart.

Although they'd technically met once before on the sidewalks of Abbot Kinney two years prior, it wasn't until late 2012 that Adam Roth, Fredrik Eriksson and Sebastian Fritze truly connected as a band. The trio was ultimately brought together by an intense, shared appreciation of pop music and the intoxicating thrill of discovery that only a never-before-heard, truly great hook can provide.

"Pop can be country, grunge, dance, blues, indie-rock, funk, hip-hop—anything and everything, you name it," Roth says. "But for us pop isn't a genre; it's a way of thinking. It starts with ditching the connotation of pop being a dirty word, and starting to treat the songs with respect as they try and define new things. One reason to love pop music is that it's totally fearless in the way it accepts or even embraces an artist's urge to experiment and push boundaries. Whether we're talkin' The Beatles or Queen, Michael Jackson or Lady Gaga, or even Amy Winehouse for that matter, pop celebrates and rewards those who take exceptional artistic risks. Period. For me and the guys, pop comes down to less about whatever the mainstream is doing, and more about allowing ourselves develop in new directions as artists."

Like Roth, for the other two members of Grizfolk, Eriksson and Fritze, the choice to become professional musicians wasn't actually a choice at all; it was a destiny. The art is simply in their blood. The desire to make music and learn their music came at an early age for all three, but whereas Grizfolk's New Orleans-born singer-songwriter grew up in the Southern sticks on a steady Cajon diet of folk, blues and rustic Americana, the multi-instrumentalist Swedes that make up Grizfolk's production backbone were both reared from the sparklingly clean and pretty city streets of Stockholm, where their musical upbringing was inescapably influenced by Europe's prevailing fascination with super DJs and the culture of electronic dance music. Although seemingly disparate on paper, in the studio it's their musical differences that actually ignite the spark that cracks Grizfolk's collective creativity wide open, resulting in a truly synergistic band much greater than the sum of its parts and without a doubt one of this year's most intriguing new acts to follow.
Venue Information:
Czar Bar
1531 Grand Blvd.
Kansas City, MO, 64108
http://www.czarkc.com/