Fortuna POP! presents
Crystal Stilts + Comet Gain + Shrag + Evans The Death
Guest DJ: Ian Watson (How Does It Feel To Be Loved?)
Wednesday 2nd November 2011
Scala, 275 Pentonville Road, King’s Cross, London N1 9NL
(Nearest tube/train : King’s Cross / St. Pancras)
Tickets £11.50 Advance
Scala box office - Tel: 08444 771 000
between 10am and 6pm Mon-Fri
Crystal Stilts burst out of Brooklyn's storied post-punk indie scene in 2008 with a string of releases that culminated in their fantastic debut album Alight Of Night. Deftly combining the spooked 60s Texas psych of 13th Floor Elevators and Red Crayola, the gothic blues/punk howl of Gun Club, the dark, experimental DIYism of early Flying Nun/Xpressway groups and a dash of classic 60s pop by way of early Mary Chain, Alight Of Night won universal accolades and established the band as first-class purveyors of haunting, atmospheric post-punk pop. Now the release of second album In Love With Oblivion on Fortuna POP! sets the bar even higher as they reach dizzying, fuzzy heights as first class purveyors of haunting, atmospheric post-punk pop.
"Weirdly life-affirming and very fun, Crystal Stilts are moody-sounding fuckers who make fabulous stripped-down, C86-like garage-pop." (Pitchfork)
Led by songwriter David Feck, Comet Gain have released a string of critically acclaimed records on Kill Rock Stars, Track & Field, What’s Your Rupture? and, of course, Fortuna POP!, through whom their latest long player “Howl Of The Lonely Crowd”, recorded with, variously, Edwyn Collins, Ryan Jarman of The Cribs, Brian O'Shaugnnessy and Alasdair Maclean of The Clientele behind the mixing desk, was released. Unapologetically literate and emotional, Comet Gain seek out inspiration as much in the music of girl-group era pop, heartfelt Americana, British post-punk, and 60s psychedelia, as in the words and images of the beat poets and in the cinema of both the British and French new-wave of the late 50 and early 60s. Comet Gain insist on locating and articulating the romance and the heartbreak that permeate and terrorize the everyday, whilst refusing to slip into sentiment or mawkishness. From artists like The Make-Up and Jens Lekman to a younger generation of DIY musicians like The Cribs, Love Is All, Veronica Falls, Comet Gain’s influence remains a traceable and tangible thing.
“Three in the morning in someone's London apartment, unattached men and women not giving up on the night: At first you hear blithering, then the smartest blithering you've ever heard. Then shots in the dark: "There's no security in purity." Then anguish and hope, forgiveness and curses, and a heartbreaker from its title to the last note: "Why I Try to Look So Bad." By this point you're hearing people you'd like to meet.” (Greil Marcus)
An exhilarating blend of dirty, distorted post-punk guitars, shouty riot grrl-style vox and fantastic pop songs, alongside nods to everyone from Le Tigre to Penetration. Their debut album garnered comparisons to Love is All, Gang of Four and B-52s, and led to a UK tour supporting The Cribs, appearances at both London Popfest and Indietracks festivals, and a session for Marc Riley on BBC 6music. Their second album Life! Death! Prizes! was released on WIAWYIA Records in October 2010 and was named Album of the Month in Artrocker Magazine. The band are currently working on their third album.
"A spectacularly bitter indie girls-set-on-stun dual vocal attack, in what is one of the better bands to juxtapose schmindie twee and angered literary abstraction since 1990s unsung legends Prolapse." (The Guardian)
EVANS THE DEATH
Evans the Death make frenetic and infectious punk pop which exudes the kind of unbridled charisma, intelligence, and runaway energy that promises a singularly exciting future for the band. Having evidently spent a good proportion of their young lives attuned as much to the lyrical dexterity of Morrissey, Lawrence Felt, Edwyn Collins, and Jarvis Cocker, as to the scuzzed up melodic exuberance of early My Bloody Valentine, Pavement, The Pixies, and the I Am Kurious Oranj era of The Fall, the band effortlessly blend precocious musical literacy with the kind of unerring self-awareness which makes for a perfectly pitched pop sensibility.
“The debut Evans the Death single is a joy. This reminds me of the first time I heard Pixies or Tunabunny or Horowitz or any of those bands that seems to make such sweet sounds by physically abusing their instruments” (A Layer of Chips)