Japandroids, Cloud Nothings

Sat Nov 4 2017

7:30 PM Doors

Majestic Theatre

4120 Woodward Ave. Detroit, MI 48201

$25 Adv./ $30 Day of

All Ages

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AEG Presents
Japandroids, Cloud Nothings

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  • Japandroids



    HARD FACTS on Near To The Wild Heart Of Life by Brian King (October 24, 2016)

    2012-2013: DEATH BY TOURING
    Our second album, Celebration Rock, was released on June 5, 2012. In support of that album, we
    embarked on what seemed like an endless world tour. The so-called "Celebration Rock Tour"
    began on March 8, 2012 in Sao Paulo, Brazil, and would continue, through heaven and hell, for
    nearly two full years. On November 10, 2013, after performing over 200 shows in over 40
    countries, we played our final show in support of Celebration Rock in Buenos Aires, Argentina.
    We would not perform live again for three years.

    Having finally freed ourselves from the tentacles of touring, we decided to take the first half of
    2014 off in order to rest and recover from the road. During this time, I moved from Vancouver to
    Toronto (and later, Mexico City), redefining our notion of 'home' and totally transforming the way
    we write/work. In the fall of 2014, we reconvened in New Orleans, renting a house where we
    could both stay and play while immersing ourselves in the sights and sounds of one of our
    favourite cities. As a slow and steady schedule of writing/rehearsing in Vancouver was no longer
    possible, we would spend the next year writing/rehearsing in similarly short and sporadic sessions
    together, always alternating between the handful of cities we now call (collectively) home.

    Our third album, Near To The Wild Heart Of Life, was written clandestinely throughout 2014 and
    2015 in Vancouver, Toronto, New Orleans, and Mexico City.
    It was (mostly) recorded by Jesse Gander (who had previously recorded both Post-Nothing and
    Celebration Rock) at Rain City Recorders in Vancouver, BC (September-November, 2015). One
    song, True Love And A Free Life Of Free Will, was recorded by Damian Taylor during an
    exploratory recording session at Golden Ratio in Montreal, QC (February, 2015). The album was
    mixed by Peter Katis at Tarquin Studios in Bridgeport, CT (May, 2016) and mastered by Greg
    Calbi at Sterling Sound in New York, NY (July, 2016).
    Like Post-Nothing and Celebration Rock, the album is 8 songs. This is because 8 songs is the
    standard template for a great rock n roll album: Raw Power by The Stooges, Born To Run by
    Bruce Springsteen, Marquee Moon by Television, IV by Led Zeppelin, Horses by Patti Smith,
    Paranoid by Black Sabbath, Remain In Light by Talking Heads, Master Of Puppets by Metallica,
    Like Post-Nothing and Celebration Rock, the album was sequenced specifically for the LP. On
    Near To The Wild Heart Of Life, side A (songs 1-4) and side B (songs 5-7) each follow their own
    loose narrative. Taken together as one, they form an even looser narrative, with the final song on
    side B (song 8) acting as an epilogue. Keen observers may also notice sequencing similarities to
    Let It Bleed by The Rolling Stones.

    SOFT FACTS on Near To The Wild Heart Of Life by Brian King (October 24, 2016)

    The title, Near To The Wild Heart Of Life, comes from a passage in the novel A Portrait Of The
    Artist As A Young Man by James Joyce:
    "He was alone. He was unheeded, happy, and near to the wild heart of life."
    While reading Near To The Wild Heart by Clarice Lispector, I was inspired to try and write a song
    that mimicked both the style and structure of the novel, somehow hoping to retain what I could of
    the tone and themes, while at the same time incorporating my own ideas and experiences.
    Sometime later, in an obsessive bid to learn as much as I could about Clarice Lispector, I
    discovered that she had borrowed the title of her novel from Joyce's novel, and upon reading his
    novel, I was only inspired further and rewrote the song in an attempt to incorporate aspects of both
    novels. And although I would eventually abandon this idea in favour of my own account of
    awakening, the indirect influence of both novels (and in particular that passage) remained both
    intact and undeniable. Accordingly, we named the song Near To The Wild Heart Of Life.
    Sometime later, and in spite of the fact that naming an album after it's first song (and/or first single)
    had long fallen out of fashion, we named the album Near To The Wild Heart Of Life.
    In 2006, we recorded our first EP, All Lies, using a simple strategy: to try, as best as we could, to
    recreate the raw energy and reckless abandon of our live show in the studio. In the years that
    followed, we would record another EP, an album, and several singles - always refining (but never
    wavering from) that same simple strategy.
    In 2011, we recorded our second album, and in spite of its imperfections, felt like we had finally
    captured whatever it was that we'd long been chasing. Since then, we've been in search of a new
    strategy. If Celebration Rock was the culmination of something, then Near To The Wild Heart Of
    Life can be considered the beginning of something else.
    Lyrically, this album was heavily influenced by both Tom Waits and Townes Van Zandt, as they
    were the two artists that I listened to the most during the past few years, and whose sense of
    storytelling I tried to emulate in my own songwriting.
    Musically, this album was heavily influenced by The National, so much so that we asked Peter
    Katis to mix it. Luckily, he said yes.

  • Cloud Nothings

    Cloud Nothings


    Cloud Nothings was founded in a Cleveland basement, the one-man recording project of Dylan Baldi, an unassuming, then 18-year-old student of song with a breathtaking ear for melody. Prolific from the start, Baldi’s early work was rough but immediate: crudely recorded, spring-loaded spasms of Buzzcocks-informed pop that quickly found an online following among the lo-fi-inclined. When an opportunity presented itself to open a small show in Brooklyn, Baldi abandoned a still-in-progress final project to be there. The gamble paid off — he’s been touring ever since, using every available break to write and record more.

    In 2010, Carpark unveiled Turning On, a retrospective introduction that combined early 7? singles and the full-length debut (a limited release on cassette and vinyl) from which it took its name. The following year, Cloud Nothings made its proper Carpark debut with a thrilling self-titled LP that found Baldi in a studio for the first time, shedding the many layers of hiss and distortion that had once obscured (or enhanced) his every sugary hook. What followed was an unexpected breakthrough, 2012?s Attack on Memory, an album that very loudly (with the help of producer Steve Albini) announced the arrival of Cloud Nothings as the sound of more than just Baldi: Caustic and gargantuan, it marked the first time our young hero wrote with and for his longtime touring band, drummer Jayson Gerycz, bassist TJ Duke and since departed guitarist Joe Boyer. Touring intensified, rock critics slobbered, and the ceiling was raised considerably.

    Enter yet another first: the highly-anticipated follow-up. Here and Nowhere Else is the sound of Baldi further realizing his potential not just as a collaborative bandleader but a singer as well. The sometimes frightening interplay that galvanized its predecessor is refined here, Baldi’s cyclonic guitar parts and Gerycz’s seismic drumwork more tightly clenched and nuanced than they’ve ever been before. It’s an album every bit as ferocious as what we’ve recently come to expect — only smarter.

AEG Presents

Japandroids, Cloud Nothings

Sat Nov 4 2017 7:30 PM Doors

Majestic Theatre Detroit MI
Japandroids, Cloud Nothings
  • Sorry, you missed this event.
  • Check out other similar events on TicketWeb.

$25 Adv./ $30 Day of All Ages