52 Church street
Cambridge
MA, 02138
617-547-5200

Titus Andronicus – Tickets – The Sinclair – Cambridge, MA – January 27th, 2013

Titus Andronicus

This show has been rescheduled from Nov 30. All tickets will be honored.

Titus Andronicus

Palma Violets

Sun, January 27, 2013

7:00 pm

$16 advance / $18 day of show

Sold Out

This event is all ages

Tickets available at TICKETMASTER.COM, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box office Tuesdays-Saturdays 12-7PM, or at the Royale box office Fridays from 12-6PM.

Titus Andronicus
Titus Andronicus
Since debuting in 2008, Titus Andronicus [hereafter +@] has been conditioning faithful listeners to always expect only the unexpected, consistently zigging where others would zag and maintaining a steadfast dedication to fearless ambition. With the March 2 release of the new studio album A Productive Cough on Merge Records, +@ has executed the most shocking departure yet—but only if, as ever mercurial singer-songwriter Patrick Stickles insists, “you haven’t been paying attention.”

In a move that may infuriate the black-denim-and-PBR set, A Productive Cough finds +@ setting aside the leadfooted punk anthems of yesteryear in favor of a subtler, more spacious approach that pushes Stickles’ soul-baring songwriting to the fore, creating a conversational intimacy between artist and audience with which previous +@ efforts had only flirted.

“[+@] records have always had their fair share of ballads,” Stickles explains, “but they were always buried amidst a lot of screaming. Now, they are the cornerstones. Punk rock is nice, but it is but one tool in the toolbox from which I pull to achieve my artistic purpose, and that purpose has always been communication and validation. This time, perhaps I can more effectively talk to the people if I am not so busy yelling at them.”

The mission of A Productive Cough is made apparent from the first bars of opening track “Number One (In New York).” As a twinkling tableau of piano and dulcet horns unfolds, Stickles unleashes a breathless and unceasing 64-bar verse with subject matter as sprawling as the kitchen-sink arrangement, which grows to include sparkling guitars, twinkling bells, and uplifting choral vocals as Stickles searches desperately for the strength to carry on through an increasingly violent and frightening world.

This new restraint sacrifices none of +@’s singular intensity, from the merciless lyrical onslaught of “Number One (In New York)” to the blistering guitar solos which accompany the swaggering (Crazy) Horseplay of rock band workouts “Real Talk” and “Home Alone” to the disarmingly passionate commuter hymn “Mass Transit Madness (Goin’ Loco’).” Even the surprisingly groovy “Above the Bodega (Local Business)” hides, beneath its loose and spontaneous facade of zesty brass and propulsive congas, a pained admission of secret shame, despairing the challenge of keeping the dark side concealed before the ever-judgmental eye of the big city.

Across the record’s seven tracks, +@ remains as audacious as ever, a fact demonstrated with particular defiance by “(I’m) Like a Rolling Stone,” which, through some considerate flipping of pronouns, reimagines Bob Dylan’s evergreen anthem as a self-eviscerating confessional, a chilling reminder that when you point the finger, three more fingers point back at you.

A Productive Cough was recorded by longtime +@ producer Kevin McMahon at Marcata Recording in New Paltz, NY, with an enviable cast of 21 elite musicians whose diverse backgrounds and skill sets allow +@ to incorporate far-reaching musical styles from country to rap to soul to jazz. Even amongst such luminaries as veteran pianist Rick Steph (Cat Power, Lucero, Hank Williams Jr.) and esteemed cellist Jane Scarpantoni (R.E.M., Bob Mould, Lou Reed), listeners may be most struck by what is sure to be a star-making turn on lead vocals from Brooklyn singer Megg Farrell for the aging-punk’s lament “Crass Tattoo,” as the perennially raspy Stickles humbly steps away from the microphone to enable what may be +@’s most unapologetically gorgeous track yet.

Throughout, Stickles and McMahon weave a dense, luscious tapestry of sound that will generously reward dedicated listeners, revealing new layers with each successive spin. For the first time, the orchestral flourishes and glistening details that have always colored +@ records are unobscured by walls of distortion, beckoning the listener further and further inward, until they are fully ensconced in a warm cocoon of sonic healing.

“The last record [2015’s rock opera The Most Lamentable Tragedy] was very much a culmination of all that had come before—closing, or really slamming, a lot of doors,” Stickles explains, “and to move forward, I had to look for a new door to walk through, only to find a window which had been cracked open all along. [A Productive Cough] is the gentle breeze which had been wafting through, which I can breathe in fully at last.”

Suddenly, Stickles grows serious: “We are a world at war,” he proclaims, clearing his long-suffering throat, “and if I know not the way to end or to win this way, perhaps I can comfort and nurture those who suffer through it. Perhaps I am not a good soldier, but I will strive to be a good nurse.”
Palma Violets
Palma Violets
For a long time if you wanted to hear the most exciting new band in Britain, you knocked on a tall black door off the Lambeth Road. An aging British Rail building - part art studio happening, part squat – Studio 180 was where south London's Palma Violets were gestating, away from sunlight and the world at large.

A thrilling rock'n'roll four piece channelling The Clash, the Mysterians, and the Bad Seeds, from September 2011 they were holed-up here writing songs "their friends could dance to" and occasionally putting on celebratory, ecstatic parties about which word quickly spread.

The opposite of the last significant development in English guitar music when the Arctic Monkeys became the first "MySpace band", harnessing the power of the internet and prompting BBC documentaries and convulsions in major record labels, the Palma Violets' rise has been notable by their total avoidance of the worldwide web.

In fact until a couple of months ago, they had no online presence, no music recorded, and no press team working for them, this wasn't the product of some fiendishly counter-intuitive marketing strategy, it was because all they cared about was playing shows.

"We didn't want to put ourselves on Facebook, Youtube or the internet because we hadn't recorded any songs," explains singer Sam Fryers. "We were making this noise together in a room for fun and that's where you had to experience it."

"The best way to see a rock'n'roll band is to go and see them play live," elaborates bassist Chilli Jesson. "That's all we wanted people to do."
"And of course, we hate being in recording studios," laughs Fryer.

It's not hard to see how word of mouth spread about the band. If you got through the door in that early period, what greeted you was an intoxicating sense of chaos. Beer being sold out of a dustbin in a makeshift kitchen, experimental artwork protruding from every wall, kids milling about, seemingly all friends, just waiting for the moment the band would start to play, normally around 11 at night, but sometimes a whole lot later.

In an airless basement that could hold 50 people, the band would finally appear in a hail of feedback and organ noise, before blazing their way through a short, incredible set: their sound a primitive, wild rock'n'roll music offering echoes of '60s garage and soul but with a defiant Englishness at its core, the band themselves radiating a ferocious energy, encapsulated in the tense and tactile interplay between Jesson and Fryer but driven forward by the incessant beat of Will Doyle's drumming.

After a period of parching drought in British guitar music, this was akin to stumbling across the oasis in the desert just before you and everyone else died of dehydration.

Unsurprisingly, it didn't take long for record labels to catch on and in the first few months of 2012, Palmas Violets were courted intensely. From the outset, though, they only ever wanted to sign to one, and that was Rough Trade.

As Jesson recalls:"When Rough Trade came down, it was so special. It was like they restored our faith in music. I mean they actually talked about music for a start. Geoff Travis was the only person who picked up on the fact that we were doing a cover of The Riveiras' 'California Sun'. The other guys talked about supermarkets and shelving and how we were going to penetrate the market."

The feeling was mutual.
Venue Information:
The Sinclair
52 Church St
Cambridge, MA, 02138

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