Sat, March 17, 2018
Doors: 7:00 pm / Show: 8:00 pmTrees
This event is all ages
PRESENTED BY PARADE OF FLESHhttps://www.treesdallas.com/event/1596468/
Promise Everything is the band’s return full-length writing and recording since the break. Sonically, the record breaks progressive new ground for Basement despite the creative process sharing much in common with previous endeavors. Challenged by the spacing out of members not only across the country, but across the globe, Promise Everything was written by piecing together songs from different members, sent back and forth over a short period of time. Without the luxury of a shared space or even a convenient time zone, the songs were only ever played by the full band while in the studio. Perhaps this is why on listening, Promise Everything feels like a conversation between different people, revealing different moods and feelings throughout.
This conversation shifts and evolves, filtering subtle, tasteful alternative rock touchstones through the band’s unmatched melodic lens. More clearly aggressive songs like “Brother’s Keeper” and title track, “Promise Everything” situate Basement at the forefront of the rock world, pairing that aggression with an inherent sense of melody. Where on the band’s previous album Colourmeinkindness, songs like “Spoiled” focused more on aggression and lyrical content, Promise Everything takes a more melodic approach. On Promise Everything‘s standout track “Aquasun,” lyrical flow and melody overtake the listener while overt meaning gives way to musicality and its nuance. Tracks like “Submission” or the chorus in “Lose Your Grip” follow suit, challenging the listener to explore the songs aurally as a whole, rather than piece by piece. As a result, Promise Everything feels more complete than previous efforts and the songs feel like they are truly part of the same group. Despite years spent apart, it would seem Basement’s musical conversation has always lingered – and as their first true cohesive document, Promise Everything is only the beginning.
GN, the group’s second full-length album via Topshelf Records, offers a bevy of tales, laments and triumphs, which recount near-tragedies by the train tracks, crippling episodes of loneliness, remembrances of a deceased family pet with freezer burn, and on and on. The songs shift and breathe as worlds all their own, tied together by the group’s self-proclaimed ‘post-country’ sound, which combines moments of distortion and a DIY aesthetic with a devotion to simple songwriting and ties to the Americana sounds of years past.
Drawing influence from the down-to-earth sincerity of late-90s Sheryl Crow and the confessional confidence of Kim Deal and Jenny Lewis, the songs on GN (aka ‘goodnight’) “largely detail experiences of saying goodbye, finding your way home, and then figuring out what the hell to do once you’re back,” says Steiner. The songs chosen to close both sides of the record – the slow-burning ‘Crying About the Planets’ and quizzical ‘Peter the Wild Boy’ – unpack the respective journeys of two real people who were quite literally lost and found. ‘’Crying’ tells the survival story of Antarctic explorer Douglas Mawson from a first-person perspective, and ‘Peter’ reflects on the life of a feral child in Germany who was eventually adopted by the King of England,’ according to Steiner. ‘Writing as and about these people is the best way I can attempt to empathize with them and really just wrap my mind around these bits of history that otherwise might not get talked about. And it helps me understand my own experiences a little bit better,’ she says.
Certain personal stories – the tour adventures recapped in ‘GM,’ the struggle to learn to show affection as divulged in ‘Molly’ – find Ratboys just as eagerly exploring subject matter that comes from within, and then illustrating the highs and lows with soaring hooks and plaintive ones. Even in the moments that lie somewhere between bliss and misery, a tension persists between Steiner’s sweet vocal delivery and Sagan’s physical, almost-off-the-hinges guitar playing that lends each song a deeper sense of color and movement.
Steiner and Sagan felt the impulse to make music together from the get-go – they first met as university students, quickly put out an EP together, and started performing as an acoustic two-piece in dorm rooms and backyards. During the next few years, the friends traveled separately, eventually reunited, and recorded what would become the first Ratboys record, AOID, which the folks at GoldFlakePaint describe as ‘a gleaming, joyous, raucous display of melodic indie-rock.’
After a year and a half of touring the US and Europe as a plugged-in full band (featuring the additions of drums, bass, and trumpet), the members of Ratboys returned to Chicago and holed up at Atlas Studios for two weeks to record with engineer Mikey Crotty (who had previously worked with the group on the songs ‘Not Again’ and ‘Light Pollution’). ‘This time around, we were lucky enough to feature the talents of friends who play the pedal steel, accordion, cello and violin to give the songs an extra something,’ says Steiner. ‘Dave finally got to show off his ridiculous skills on the pocket piano, and the whole thing felt like one big loving experiment.’
Those good times and long days yielded the 10 songs that make up GN, which Evan Hall of Pinegrove calls ‘a delectable chapter in the Ratboys story.’
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