Past Events

Calendar

Saturday, Sep 19
Doors 7:30pm / Show 8pm
FREE UCSD students / $15.00 general

Circa Waves Bio

Circa Waves are Kieran Shuddall (guitar / vocals), Joe Falconer (guitar), Sam Rourke (bass) & Sian Plummer (drums). They formed in Liverpool, England in mid-2013 and released their debut single, Get Away in December of that year on renowned independent label, Transgressive Records.

Signing to Virgin Records in early 2014, they released their second single, Stuck In My Teeth in March 2014 to coincide with an appearance on the prestigious NME Awards tour alongside Interpol, Royal Blood and Temples. The tour culminated in a rapturous sold-out show at London’s Brixton Academy.

Recording their debut album with Dan Grech at the famous RAK studios in London, the first single from the sessions, Young Chasers was released in July, following a run of their own sold-out UK headline shows. The summer of 2014 also saw the band appear at most of the UK’s leading festivals, playing to packed tents at Reading / Leeds and Latitude and a prestigious appearance on the 2nd stage at Glastonbury being highlights.

Oberhofer Bio

Memories can be inspiring or stifling, alluring or ugly, wistful, joyous or flat. But what if they all come rushing back in a moment of quiet? You're in headphones, zoned out, and your entire life flashes before your eyes, floods your ears, sounds like a screaming orchestra, feels like a bounding sack of lead, and looks like an unholy filmic mashup of David Cronenberg and Ken Burns. This is "chronovision," a high-concentration dose of pure memory. And on the album of the same newly minted name, Brad Oberfhofer distills his own total recall into beautiful, bittersweet song.

Chronovision bears the mark of that dedication, even if the perspective is often far more cloistered. "I spent my life inside a hole/I don't have any place to go," he coos through a forced grin on "Nevena," while on "Someone Take Me Home," he imagines a future in which his muse has left him for dead — set to cheery fuzz-pop, naturally. And sweet though they may be, "Sea of Dreams" and "White Horse, Black River" are respective dedications to Oberhofer's two grandmothers, who passed recently. Still, the LP's coda finds him looking outward, with optimism: "Listen to everyone/They too have songs in their eyes." The line implies that "chronovision" — the heady sum of one's memory — can be shared, and why not? That's what Oberhofer's just done.

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Monday, Sep 21
Doors 7:30pm / Show 8pm
FREE

Dat Phan, the original winner of Last Comic Standing, accompanied with Al Gavi and Maria Heman, will make you LOL into the night! Join us @ The Loft.

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Friday, Sep 25
Doors 8pm / Show 8:30pm
FREE

Seoul members Nigel Ward, Julian Flavin, and Dexter Garcia remained resolute in fine tuning the dozen songs that would become their official debut: I Become A Shade. I Become A Shade is the sort of record whose every detail, whether panoramic or microscopic, is on glorious, deliberate display. A work separated into three distinct suites, the record is equal parts gauzy dream-pop, reverberant R&B, and speculative ambient — a world where sentences are often left unfinished and meaning rears its head in the intervals.

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Saturday, Sep 26
Doors 8pm / Show 8:30pm
$5.00 UCSD students / $10.00 general

Tickets on-sale now!

Luluc have mesmerized a new generation of folk listeners with Passerby, their critically-acclaimed debut album on Sub Pop Records. Co-produced by Aaron Dessner of The National, the timeless album is built around Zoe Randell’s stunningly understated vocals, which Lucinda Williams has described as “the kind of voice that can make you cry.” NPR’s Bob Boilen called Passerby his favorite album of the year on All Songs Considered. Luluc has toured with The National, Father John Misty and J Mascis and will continue to perform throughout 2015, including a stop at the Newport Folk Festival.

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Tuesday, Sep 29
Doors 8pm / Show 9pm
FREE UCSD students / $10.00 general

Los Angeles foursome Talk In Tongues didn’t come out of nowhere, although it sounded that way when their debut single “Still Don’t Seem To Care” suddenly appeared online. And it felt that way for them at the beginning, too, when each member was a refugee from another band that just wasn’t working right. Back then, they were barely acquaintances—guitarist and singer McCoy Kirgo remembers seeing his future bandmates at shows in their other bands, and then at parties after the shows. And if you looked into the music they’d already made, it didn’t quite make sense for them to put a band together. (Future bassist Waylon Rector wrote constantly, but all his songs were laptop-made synth-pop.)

But they almost immediately found that they all shared limitless drive and direction and an unexpected common ground in several generations of psychedelic music, from the 60s Pink Floyd and 13th Floor Elevators through the unstoppable Creation Records roster in the 90s. Then things happened fast. By the end of their first practice together, they’d already discovered what they wanted to sound like. Says guitarist and singer Garrett Zeile: “I had songs I’d compiled over the last year, and they fit the direction we wanted—they were the building blocks. Then we all started contributing.”

They booked a show weeks after their first practice together in early 2014, mostly just to prove to the world that they really existed. (If you were there, you’re part of a very lucky and exclusive group!) The very next day, they went into their home studio and recorded their first single “Still Don’t Seem To Care,” a dreamy, ethereal neo-psychedelic song mixed by Claudius Mittendorfer (Arctic Monkeys, Interpol). It was just the kind of sound he’d been looking for, says Kirgo: “I wanted to play big music, like something you’d hear at a fest like Glastonbury. That’s what made me want to dive into psychedelic rock.”

And almost instantly, it lit up the Internet and led to an immediate signing with Fairfax Recordings, whose legendary in-house studio sealed the deal for Talk In Tongues: “It just so happened that the first label that hit us up was Fairfax, and it was exactly what we were looking for,” says Rector. “Every step of the way, there’s been a new opportunity, and we go for it. It’s all been very serendipitous.”

Slowly and a little bit unofficially, Fairfax Recording sessions that were supposed to just produce a B-side or two stretched into day after day of working on what would become their debut album. Everyone in Talk In Tongues writes and plays multiple instruments—they all play each other’s instruments, says Zeile—and everyone had a catalog of ideas they’d been saving. For the first time in his career, noticed drummer Bryan DeLeon, he was in a band where there was no such thing as writer’s block. And as the summer of 2014 ended, they decided they’d finished their full-length—two months after they’d walked in to record a single. (And the eventual B-side of that “Still Don’t Seem To Care” single? A remix by Scandinavian visionary Dungen, due out this November.)

With production from Kevin Augunas (Cold War Kids, Edward Sharpe), their debut album, out in early 2015, links modern-day psychedelia with the foundation of early 60’s experimentation—it’s melody and atmosphere and noise-as-beauty captured (barely) in songs that should be blasting out of the Coachella main stage somewhere around midnight. Says drummer DeLeon: “We’re excited this is 100% ours, and we put in the world—every part of this album is an expression of ourselves.”

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Wednesday, Sep 30
Doors 7:30pm / Show 8pm
FREE UCSD students / $11.00 general

Presented in partnership with The Romanian Cultural Institute in New York (RCINY), join us for this special evening, featuring two outstanding duos -- Lucian Ban and Mat Maneri, along with Anthony Davis and Mark Dresser.

When Romanian-born pianist, Lucian Ban, and Grammy-nominated violinist, Mat Maneri, joined up for a concert in an opera house in the middle of Romanias Transylvania region, the music was, as JazzTimes puts it, as close as it gets to Goth jazz. Released as a live album by ECM, the Transylvanian Concert has won critical acclaim on both sides of the Atlantic and has spawned several tours. The duet is now touring the west coast, presenting material from their album & more - a program of self-penned ballads, blues, hymns and abstract improvisations, informed by the traditions of both jazz and European chamber music. In all, a uniquely compelling set.

New York Times -
A lovely and restive new album on ECM recorded in Mr. Bans native land that reveals their shared interest in enfolding mystery

All About Jazz -
"Moments of unanticipated beauty"

The Guardian -
"Ban suggests Keith Jarrett, Monk and early Abdullah Ibrahim with 20th-century classical infusions . . . Maneri's melancholy sound and imaginative phrasing have been guided by the philosophies of his microtonalist sax-playing father Joe, Ornette Coleman's free-jazz, 12-tone and baroque music . . . . . the set it has its own kind of melancholy beauty, and plenty of wayward exuberance, too"

Jazz Weekly -
"A modern collection of sonatas that erase the lines between jazz and classical, a melding of sounds similar to a modern liturgy"

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Saturday, Oct 3
Doors 8pm / Show 8:30pm
FREE UCSD students / $10.00 general

Parade of Lights Bio

https://www.facebook.com/paradeoflights/timeline
www.paradeoflightsmusic.com
https://soundcloud.com/paradeoflights

For L.A.-based quartet Parade of Lights, making music is a matter of turning their shared obsessions with distortion-drenched shoegaze, heady synth-pop, and epic stadium rock into a hook-heavy yet deeply inventive alt-electro hybrid. Delivering anthem after anthem, the band’s debut album Feeling Electric finds lead vocalist/guitarist Ryan Daly, drummer Anthony Improgo, bassist Randy Schulte, and keyboardist Michelle Ashley channeling both frenetic energy and immaculate precision into songs with a spirit that’s bombastic but penetrating, unflinchingly hopeful but rooted in raw feeling.

LEX Bio

https://www.facebook.com/experienceLEX/timeline
http://www.experiencelex.com/
https://soundcloud.com/experiencelex

The empresses had to combine their powers to overcome the void as one, their journey began - for the illumination of the universe the combination of their powers, artistry, innovation, and electronic execution is LEX.

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Monday, Oct 5
Doors 6pm / Show 7pm
FREE

Have a song or story to share? Blabbermouth is a monthly event held at The Loft, giving writers of prose, poetry, and fiction, as well as musicians and performers a place to share their art.

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Friday, Oct 9
Doors 7pm / Show 8pm
$29.00 UCSD students / $34.00 general

Pre-screening ArtTalk with Moises Esperanza, San Diego Latino Film Festival

Regular: $34 Food + Movie; $10 Movie Only
UCSD Students: $29 Food + Movie; Free Movie Only

Los Hamsters is a delightfully dark social satire about a riotously dysfunctional Tijuana family. The parents and two teenagers are going to such lengths to hide secrets from each other that they are completely oblivious to the drama in the others lives. Emerging Mexican filmmaker Gil Gonzalez has crafted a comedy that packs a lot of punch through subtly drawn family dynamics reflecting contemporary middle class society worldwide. [Gil Gonzalez, 2014, Mexico, 71 min]

SHORT FILM
Los Contreras Family
A comedy about a family engaging in illicit activity they are hiding from each other. [Alejandro Becerril El.as, 2014, Mexico, 12 min]

MENU
Mini Beef Empanadas with Spicy Aioli, Carnitas Tacos with Black Beans and Spanish Rice, Churros. Vegetarian options available upon request, visit artpower.ucsd.edu for menu. Drinks sold separately.

COMMUNITY PARTNER
San Diego Latino Film Festival

UC SAN DIEGO PARTNER
Raza Resource Centro

FOOVIES SERIES
The 2015–16 Foovies series explores cultural and gender identity in the context of three “national awareness” months, thoughtfully paired with deliciously prepared menus by Zanzibar at The Loft. The series is integrated into UC San Diego’s Visual Arts curriculum and offers students free tickets to each event!

MORE INFO: http://artpower.ucsd.edu/events/2015/10/09/los-hamsters#.Vakq7xNVhBc
TICKETS: https://ucsdboxoffice.com/Online/seatSelect.asp?BOset::WSadmissions::admission::performance_id=F56D4712-F4D7-4E75-A24E-D0A56D1AABB3

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Monday, Oct 19
Doors 8pm / Show 9pm
$6.00 UCSD students

An Aussie indie-rock band at The Loft....YES please!

As far as debut album mantras go, “Be Impressive” is a fantastically simple statement of intent.

For Sydney party-starters The Griswolds it proved the driving ideal that would shake off the daiquiri-flavoured tropical tones of their Heart of a Lion EP and unite the four-piece’s more refined musical goals. Be Impressive? These 11 shimmering, anthemic tracks are that and more. Be Impressive isn’t just an indie-rock record you can dance to; it’s a record that’ll break and mend your heart, have you dancing with joy. It’s the hedonistic island paradise that’s an escape from all of your worries… before it becomes obvious it’s better to confront them than to run away.

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Wednesday, Oct 21
Doors 8pm / Show 8:30pm
$5.00 UCSD students / $10.00 general

COLONY HOUSE BIO

In a relatively brief span of time, Colony House has emerged as a vibrant creative force, as well as a beloved fan favorite with a passionate, fiercely loyal fan base. That audience is likely to expand substantially with the release of When I Was Younger, the Nashville, TN trio's first full-length album, whose 14 compelling original tunes fulfill the abundant promise of the band's three widely-acclaimed, self-released EPs.

It's not surprising that Colony House has struck a resonant chord with listeners. The threesome maintains a balance of craft and immediacy that reflects its affinity for the sound of such alt-rock outfits as Interpol and The Killers, while echoing the influence of such alternative icons as U2 and New Order. They've assimilated their multiple influences in a manner that's wholly distinctive, adding tight harmonies, strong instrumental chops and a keen melodic sensibility that's all their own.

Lead singer, guitarist and principal songwriter Caleb Chapman writes effortlessly infectious tunes that resonate with personal experience and emotional authority. The songs' messages of faith, hope and perseverance are matched by the organic musical rapport of Caleb and his bandmates, brother Will Chapman on drums and Scott Mills on lead guitar and harmony vocals.

COIN BIO

COIN proudly call themselves a “product of the ’90s”. A borrowed nostalgia for the decade that isn’t uncommon among Nashvillians. COIN hasn’t adopted the detached smugness and angst often associated with ’90s alt acts and contemporary ’90s alt revival acts. They are entirely devoid of ironic, tongue-¬‐in-¬‐ cheek rock n’ roll posturing or odes to the joys of slackerdom. Instead, lead singer, keyboardist, and lyricist Chase Lawrence opts for earnest songs about actual human emotions: falling in (and out of) love, worrying about the future, and missing the past. It’s the same brand of wide-¬‐eyed sincerity found on Pet Sounds—just replace the theremin with a microKORG and the harpsichord with guitarist Joe Memmel’s crisp Telecaster lines.

Their songs are hopeful, but behind the spring reverb and airy synths, there’s subtle regret and even morbidity. They’ve recently released their debut album, recorded in Nashville with producer Jay Joyce (Cage the Elephant, Sleeper Agent, Eric Church, Emmylou Harris, Little Big Town). The album is guitar driven and sonically mature, but still true to their synth-¬‐pop sensibilities.

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Thursday, Oct 22
10pm
$12.00 UCSD students / $30.00 general

UCSD Student: $12 / General: $30

Join us after the performance and celebrate with ArtPower artists at The Loft. Beverages will be available to purchase from Zanzibar. Open to La Santa Cecilia ticket holders only.

UC SAN DIEGO PARTNER
Women’s Center

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Friday, Oct 23
8pm
$12.00 UCSD students / $18.00 general / $28.00 reserved

At the forefront of a new generation of Cuban pianists, 26-year-old Alfredo Rodriguez possesses a sublime and soulful virtuosity. Born in Havana to a popular singer and television personality of the same name, the young Alfredo began classical piano studies at age 10. As a teen, he appeared on his father’s show with many of Cuba’s greatest musicians and simultaneously played in street bands while studying at the prestigious Instituto Superior de Arte. A fateful invitation to perform at the Montreaux Jazz Festival in 2006 brought the pianist to the attention of Quincy Jones, who produced Rodriguez’s debut album, Sounds of Space. Rodriguez made his American debut at the Playboy Jazz Festival opening for Wayne Shorter, and his career has been on a rocket ride ever since. Rodriguez will bring his new working trio, who will blow the roof off The Loft in support of their Quincy Jones–produced Mack Avenue album, The Invasion Parade, a thrilling exploration of contemporary and Latin jazz.

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Monday, Nov 2
Doors 6pm / Show 7pm
FREE

Have a song or story to share? Blabbermouth is a monthly event held at The Loft, giving writers of prose, poetry, and fiction, as well as musicians and performers a place to share their art.

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Thursday, Nov 5
Doors 8pm / Show 9pm
$10.00 UCSD students / $15.00 general

TICKETS ON SALE!!

DOORS:8PM
SHOW:9PM

STUDENTS (w/ ID): $11
GA ADVANCED: $17
GA DOOR: $23

––––––––––––
BIO:
L.A.-based R&B band of Odd Future affiliates with a loose, live, and understated sound, led by multitasking musicians Syd tha Kyd and Matt Martians.

The group's nucleus is singer, songwriter, and engineer Sydney Bennett (aka Syd tha Kyd and simply Syd) and producer Matthew Martin (aka Matt Martians). Prior to the group's 2011 arrival, Bennett -- a native of Los Angeles' Crenshaw district -- produced tracks by Hodgy Beats, Domo Genesis, and Mike G. She also mixed Tyler, the Creator's Top Five hit album Goblin, provided vocals on a handful of its cuts, and recorded some low-key solo material. Martin, originally from East Point, Georgia, also had credits on OFWGKTA releases and operated as/with the Jet Age of Tomorrow and the Super 3.

Ego Death, issued in June 2015, boasted refined and yet characteristically frank songwriting from Bennett, as well as increased input from the group's additional members: bassist Patrick Paige II, guitarist Steve Lacy, drummer Christopher Allan Smith, and keyboardist Jameel Bruner. Guest appearances came from Janelle Monáe, Vic Mensa, and Kaytranada, the last of whom co-produced the lovelorn gem "Girl" with Bruner. While the group's two previous albums had registered on Billboard's Heatseekers chart, this one debuted within the Top Ten of Billboard's R&B/Hip-Hop Albums chart and hit the top half of the all-genre Billboard 200. It affirmed the group's high standing in Los Angeles' vibrant community of young R&B, rap, jazz, and electronic acts.

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Saturday, Nov 7
Doors 8pm / Show 9pm
$5.00 UCSD students / $10.00 general

Doors: 8:00pm
Show: 9:00pm

General Admission: $10.00
FREE for UCSD Students

Beat Connection is Reed Juenger, Tom Eddy, Jarred Katz and Mark Hunter. Formed in 2010, Beat Connection has undergone numerous changes, finally stabilizing in its current form. The band has already shared the stage with Jungle, Toro y Moi, STRFKR, Washed Out, Holy Ghost! & ODESZA; and has garnered positive looks from Pitchfork, The Fader and The Guardian. With performances scheduled this year at ACL & CHBP, Beat Connection now looks to the future to focus on constantly bringing something new to their audience by bridging the gap between the mundane and the transcendent, the pop and the avant-garde. Expect something new at every turn.

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Friday, Nov 13
7pm
$12.00 UCSD students / $36.00 general / $54.00 reserved

Before Cuarteto Quiroga takes the stage, join us for a pre-performance ArtTalk. Open to Cuarteto Quiroga ticket holders only.

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Monday, Nov 30
Doors 8pm / Show 9pm
$10.00 UCSD students / $15.00 general

TICKETS ON SALE - FRIDAY, 9/4, 12 NOON!!

It’s an L.A. album, we recorded in Berlin, about the Vineyard,” jokes lead singer/guiltarist Joe Keefe

Like many bands around the world, the origin of Family of the Year began in a garage. But, their music is anything but garage rock. At times, the band often features acoustic strums, interwoven vocal harmonies, and textured melodies, a sound that made their 2012 song “Hero” into a critical and popular hit. Now with the new self-titled album, the troupe explores new territory with songs that are expansive power-packed anthems, tailor-made for summer music festivals and cross-country road trips.

Formed in 2009 by brothers Sebastian and Joe Keefe in a rented out auto body shop in the sleepy Los Angeles enclave of Rosemead, they created their first songs with friends, keyboardist Christina Schroeter and guitarist James Buckey. The brothers grew up on Martha’s Vineyard, and first performed in bands around Boston, but they say Los Angeles is where their music took root. “Half the people who were in this band hadn’t been in a band before,” Joe says. “We were playing games at 3 in the morning, drinking cheap wine. It was like a clubhouse. And musically, we wanted to have no rules. We let go of all the people-pleasing music, and were making records for ourselves.”

In 2011, the band self-released their debut album, Songbook. Then in 2012, their breakthrough album, Loma Vista was released on Nettwerk with renowned producer Wally Gagel at the helm. “He took us from a low-fi band to a hi-fi studio band,” Sebastian says. Their mix of indie pop flavors with Joe’s earnest lyrics landed the band a huge hit with the pensive, acoustic-guitar driven single, “Hero.” Their rapid critical and popular acclaim earned them performances on The Tonight Show with Jay Leno, Jimmy Kimmel Live, and Conan. Extensive national and international tours followed, where the group’s sound resonated in Europe, landing top 10 in Austria, Belgium, Germany, Netherlands and Switzerland. Their songs even appeared in films like Richard Linklater’s Oscar-nominated, Golden Globe winning film Boyhood.

While the effect of “Hero” exposed the band to a wider audience, the trajectory wasn’t a full representation of their broader sound. “So many people came up to us after our show and said, ‘okay, we didn’t know we were going to see a rock band,” Sebastian says.

“With the success of “Hero,” we knew that more people were going to hear the new album. We didn't try to make a reactionary record or try to recreate anything we'd done in the past, we just wrote the same way we always have. We went into the studio and recorded songs that were dear to us and pushed ourselves to make something that we love, “ adds Joe.

Their new self-titled album is a journey from the sounds forged back in that Los Angeles garage to a band that has found success here and abroad. Between tours, the band lived like nomads, Air B’N’B-ing houses in Los Angeles neighborhoods of Mount Washington, Echo Park, Silver Lake and Highland Park. They recorded demos along the way, amassing songs Joe says were a departure from the tone of Loma Vista. “I like to write weird stuff, things you wouldn’t expect from us, with lyrically strange ideas and non traditional instruments mixed together,” he says. “This one’s a darker, personal record about troubles and troubled people in my life. I wanted to be honest that there’s beauty in sadness.” They then relocated to the hip neighborhood of Kreuzberg in Berlin, where they recorded with producer Gagel at Tritonus studios, a facility packed vintage analog gear that Joe says was essential to creating the fuller tones of their new album. But while Europe was their base for nearly a year, Joe’s heart was still back home, caught up in memories of growing up on Martha’s Vineyard and the tightly knit community he cultivated in Los Angeles. “It’s an L.A. album, we recorded in Berlin, about the Vineyard,” he jokes.

With big beats and driving piano chords, the anthem “Make You Mine” is an ecstatic ode to summertime flings that Joe pulled from his East Coast experiences. “It’s about darkness and light…the winter and the summer. It was written during a blizzard while visiting my mom on Martha's Vineyard. As a teenager, I remember how much we looked forward to summer and how we were just trying to get through the cold winter months. Growing up on an island that was bleak and vacant most of the year and then beautiful and full of people for three months is really interesting.”

On “Carry Me,” Joe’s acoustic folksy fingerpicking pairs with his gentle voice, then the song amps up with distorted rock guitar, backing the sing-along lyrics, “You got the smile I want to see, you’ve got the heart to carry me.” The upbeat song represents the fusing of the band’s past and present sounds, juxtaposing lithe folk with anthemic rock. While the music is uplifting, Joe says the lyrics come from seeing friends pull through on difficult situations. “There’s been some tough times and people in our lives who have gone through dark times,” he says, “but they have people to help them persevere.”

From the soaring guitars and Sebastian’s propulsive drumming on “Facepaint” to Schroeter’s slightly funky keyboards on “We Need Love,” the album burgeons with new effervescent energy of a band that has undergone a rebirth and a refocus. And underneath their indie power-pop, there is a message, Sebastian says. “Music is how we reconcile our world around us. Our music hopefully helps people to understand that no matter what, you can always defy expectations. It feels like a dream, to be part of the fabric of someone’s summer. That's why we do this.”

www.familyoftheyear.net www.facebook.com/familyoftheyear www.twitter.com/familyoftheyear

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Tuesday, Dec 1
Doors 7:30am / Show 8am
FREE UCSD students / $10.00 general

Daniel Bachman is a 6 string and lap steel guitar player from Virginia currently living in North Carolina. Bachman grew up steeped in the traditional music of the Commonwealth, drawing from and expanding on it in his own fingerstyle guitar albums including Seven Pines(Tompkins Square, 2013), Orange County Serenade (Bathetic, 2014), and the new LP River (Three Lobed, 2015). On record and in person you’re introduced to a veritable landscape of winding guitar with Bachman treating his guitar lines and licks in a way that resembles the earth itself, at its most pristine, delicate, yet also primal and overpowering. Pieces move, ascending and descending in the same way that the clouds roll through blue skies, the same way brooks babble down rocky fronts carving their paths in the land. Solo guitarists come and go and it takes Daniel Bachman, like John Fahey or Jack Rose before him, to completely show you the power in one man and his instrument. You don’t need an ensemble of players and dense layers of dissonance to create a fully realized, and actualized, chunk of music. With every new album Bachman continues to push the boundaries of solo acoustic guitar and shows no sign of stopping anytime soon.

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Thursday, Dec 3
Doors 12am / Show 8pm
$10.00 UCSD students / $15.00 general

Charlie Hunter introduces a new trio with "Let the Bells Ring On," a Program of evocatively greasy originals reuniting the 7-String guitar wizard with longtime collaborators -- trombone master, Curtis Fowlkes, and drum maestro, Bobby Previte.

Charlie Hunter, Curtis Fowlkes and Bobby Previte share a whole lot of history, but they’ve never recorded an album like, "Let the Bells Ring On." Gritty, greasy, and downright celebratory, the album features 10 original tunes by Hunter designed for the trio’s singular, deep-pocket sound. Hunter released the album on CD on April 14, 2015 and vinyl on July 21, 2015 on his label Charlie Hunter Music.

Previte and Fowlkes, a charter member of the Lounge Lizards and the Jazz Passengers, were both essential participants on Downtown scene in the 1970s and have worked together in countless settings over the years. Hunter and Previte have toured and recorded together in various all-star cooperative ensembles, such as The Coalition of the Willing (with fellow renegades Steven Bernstein, Skerik, and Marco Benevento) and more recently Omaha Diner, the deconstructivist quartet with Bernstein and Skerik.

But their most extensive undertaking is the free improv project Groundtruther, a protean project that assumes a new form with each special guest (a list that encompasses more than three dozen players, including Greg Osby, John Medeski, DJ Olive, Peter Apfelbaum, Uri Caine, and Jane Ira Bloom). For Let the Bells Ring On, Hunter was looking to showcase a different side of Previte.

“He’s probably known as a composer more than anything else,” Hunter says. “But he’s always been one of my favorite drummers. He came up in the 1960s, and he has the beat. You have to have lived it to have that feel. Because of his composer’s mind, we can play the simplest groove and it becomes something really exciting and compositional.”

This trio can go anywhere. Exploring a variety of sonic spaces, the tunes range from the foreboding tension and release of “Anthem: USA” and the tautly cinematic “Fellini Farm Team” to the antic hoedown “Hillbilly Heroine Chic” and churchy waltz “Spence.”

After several years of focusing on his stripped-down duo with drummer Scott Amendola, Hunter wanted to expand his textural and orchestrational possibilities. He had called on Fowlkes for his 2003 quintet album Right Now Move (Ropeadope) and couldn’t resist his huge, soul-drenched sound and vivid palette for his new trio.

“Conceptually I’ve been doing a duo thing with Scott that I love, but I wanted to have that third voice,” Hunter says. “I wanted somebody with a vibe who understands free improv and Al Green and Frank Sinatra and Sam Cooke. I wanted someone who can sing on their horn. I needed Curtis.”

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Friday, Dec 4
Doors 8pm / Show 12am
$12.00 UCSD students / $18.00 general / $28.00 reserved

Kendrick Scott is highly regarded as one of the premier drummers of his generation, as shown by the New York Times naming him one of “Five Drummers Whose Time Is Now.” He has recorded and played with a host of music luminaries including Terence Blanchard, Kenny Garrett, Herbie Hancock, Pat Metheny, Gretchen Parlato, and Angelique Kidjo. His band, Kendrick Scott Oracle (KSO), showcases Scott’s incredible subtlety and intensity and highlights his strengths as a drummer, composer, and a leader. The work of KSO focuses on what it takes to live, act, and love with conviction—all through the language of jazz.

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Friday, Jan 8
8pm
$12.00 UCSD students / $18.00 general / $28.00 reserved

An electro-acoustic project founded by the multi-laureate Mexican composer Felipe Perez Santiago, Mal’Akh Ensemble creates an eclectic sound that combines elements of traditional, avant-garde, folk, contemporary, rock, free jazz, and improvisational music. Considered one of the most innovative projects in the Mexican musical scene, Mal’Akh defines itself as a meeting point between different cultures, musical genres, and artistic disciplines. Animalik features a series of short animated films with live music performed by the ensemble. The films include animations from several countries and periods; from the stop-motion of the early 1900s to the most technologically advanced animation, including films created specifically for this show by contemporary Mexican visual artists.

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