Streets of Laredo, Hideout
Sun, December 11, 2016
Doors: 7:30 pm / Show: 8:30 pm (event ends at 11:30 pm)Trees
This event is all ageshttp://www.treesdallas.com/event/1340243/
In his earliest writing sessions, Valensi gravitated toward more aggressive, riff-driven songs like the menacing “Unnatural,” whose breakneck tempo approaches speed metal velocity. The heavy, hazy “Broken Bones” -- inspired by a motorcycle accident that left the guitarist hospitalized for two weeks -- counterbalances its massively sludgy bottom end with Valensi’s surprisingly effortless falsetto. But as he continued demoing songs, Valensi found himself exploring other sonic territories, indulging his long held love of 70s power-pop and 80s new wave on tracks like the bright, catchy “Ways To Fake It” and the dub-tinged “One Track Mind.”
As the songs progressed, Valensi invited a few trusted musician friends to join the nascent project, and to contribute as songwriters. In addition to Valensi on guitar and vocals, CRX includes bassist Jon Safley, keyboardist/vocalist Richie Follin, drummer Ralph Alexander, and guitarist Darian Zahedi. “Once we were all in a room together, it got collaborative pretty quickly,” Valensi says, noting that about half of New Skin’s ten tracks are cowrites with the band.
After demoing several songs, Valensi reached out to Queens of the Stone-Age’s Josh Homme, for feedback on the tracks and advice regarding producers who might be right for the band. It quickly became apparent that there was no better person for the job than Homme himself. “He was really enthusiastic about the demos,” says Valensi. “There were even specific things he loved from the demos so much that we ended up including them on the album, which was very much a Josh decision.”
New Skin, CRX’s debut album, was recorded at Homme’s Pink Duck Studios in Burbank, with work wrapping up in early 2016. And even as this year marks the fifteenth anniversary of The Strokes first LP, it represents the beginning of a promising new chapter for Valensi. “One of the coolest things for me is that I began making this record as a vehicle to get onstage,” he says, “but along the way, it started to feel like we were working on something more special than that. I’m excited to be singing and having a lot of fun with it, and I’m really enjoying the feeling of having to work hard to win people over. It’s like being a kid again -- like everything is new and kind of scary but irresistibly fun, too.”
Founded by close-knit family members Daniel, Dave and Sarahjane Gibson and inspired by the fervour and madness of the 70's folk-rock circuit, the band was born out of trying to escape the mundane everyday working life. Older brother Dave tells the story, "Both Dan and I had done the hard yards in bands in New Zealand but we were worn out and a little lost by it all. And broke. I was running this t-shirt company and Dan walks in one day to tell me that he's finished with music and he's gonna go get a real job. All of a sudden my 'big brother' instinct kicks in and rather than see this young songwriter throw it all away, I gave him a job doing t-shirt orders, and we started working on demos and writing songs together, pretty much day and night from then on in."
Refining their sound and songs one holiday weekend at a beach house on the New Zealand coast, the Gibsons started to fashion a sound that was equal parts folk storytelling and psychedelic madness. "Sonically we wanted to stay true to our long list of influences, but we wanted to screw it up as well – kinda twisty, like Paul Simon on bad acid." With just one home-town show under their belt, a handful of demos and a whole lot of hope, they took the plunge and decided to move halfway around the world. Fast forward to the summer of 2012 and Streets of Laredo in a rehearsal space in Brooklyn NY with a guitar, a drum-machine and no money, trying to figure out what comes next. And what came next was songs, lots of 'em.
Sarahjane describes the feeling, "I'd never lived overseas before, let alone in a city like New York, so the sense of isolation and homesickness – coupled with excitement and the unknown – was hugely overwhelming. But pretty soon all of these emotions were turning into lyrics and songs that were really about being a brand new immigrant in America. I mean, the only thing we really knew was that we'd finally made it to New York, we were making music, and we sure as hell weren't about to leave."
Quickly adding fellow countryman Thom Darlow and local Brooklynites Sean McMahon and Andrew McGovern to the mix, this now rambling, multi-instrumental, seven-piece started to craft a dance-inducing mix of vocal hooks, beats and wild sounds that saw the New York music scene embrace them as their own – building a firm reputation in the music halls of Brooklyn and the Lower East Side for playing danceable, crazy songs that kept fans coming back for more – not to mention seeing the band feted as a must-see act at both CMJ and SXSW. Dan sums it up nicely, "It all started with the song Girlfriend. We'd started writing that song before we left New Zealand so it had idealistic hints of what we thought this place would be like – but after living in Brooklyn for a while it took on a whole other layer, kinda like a mistress that can be unfaithful and hard to deal with but also a lot of fun – and that kind of informed the writing of what would become our debut record."
A quick trip back to New Zealand saw the band record the bones of 'Volume I & II' – ten songs inspired by their old life in NZ and their new life in NYC – in an old converted Auckland theatre where, courtesy of friendships and favours, they locked down that distinctive Streets of Laredo sound. "An influential blog called Girlfriend a 'twisty psychedelic take on the old folk narrative', which seemed fairly appropriate for our sonic tastes and style, and the rest was history."
Like Bob Dylan running late to a Ramones concert or Paul Simon getting blind drunk with Grizzly Bear, however you describe them the resulting songs and sound have had an instant effect on fans and critics alike. Streets of Laredo are proud to announce the much-anticipated release of Volume I & II, out October 7 on Dine Alone Records.
It's been two years since the release of Hideout's debut album "Rookie", 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 spectrums –– the album ranges both sonically & lyrically from whimsical space-pop to crushing acoustic vulnerability. There isn't a singular concept or message, but the deeper you delve into Hideout's world the more you feel nostalgia and a sense of loss.
Hideout began as a recording project. The majority of "Rookie" was recorded while on the road with Cults. Rodriguez took advantage of the downtime by tracking songs in hotel rooms or at friends' homes. Fast-forward to the forthcoming "So Many Hoops. . ." –– mixed by Loren Humphrey (Nice As Fuck, Guards, The Gloomies) at Stockholm Syndrome Sound Studio in Bushwick, NY –– the recording process was far more linear than "Rookie". 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 the many answerless questions.
Now a fully realized band, Hideout has been performing live with a rotating cast of New York musicians over the past year. It's just the beginning.
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