VIVA PHX: A DOWNTOWN PHOENIX MUSIC FESTIVAL
GIRL TALK, THE MAINE, AMERICAN FOOTBALL, THE DRUMS, WARREN G, CLASSIXX, THE MENZINGERS, THE MOWGLI'S, MYSTIKAL, HEALTH, JOYCE MANOR, TEMPLES, MURS, YACHT, P.O.S., and many more!!
Sat, March 11, 2017
GA $25 (for now!) / Fast Pass $45
This event is all ages
100 Bands / 20 Venues / 1 Night in Downtown PHX
Rain or Shine
You must exchange your ticket for a wristband!
**Exchange at Comerica Theatre Box Office - 400 W Washington St, Phoenix, AZ 85003**
Monday 3/6 - Friday 3/10 from 10:00am-4:00pm and starting at 12pm Saturday 3/11.
Once exchanged, your wristband is your ticket, lost wristbands will not be replaced.
Everyone needs a ticket. This event is not recommended for children under 10.
*Lineup subject to change without notice. Some venues are 21+*http://www.statesidepresents.com/event/1413486/
After the success of Night Ripper in 2006, Girl Talk steadily toured over the following six years, bringing his renowned confetti-covered and sweat-soaked performances to venues ranging from house party basements to major festivals. In 2013, he decided to take his first significant hiatus from the road since his initial national exposure. The break from live material preparation allowed Gillis time to explore some ideas slightly removed from his trademark hyper-mashup style. In turn, he began working on beats with a wider range of samples, some more obscure than what he would normally use in his Top 40-focused work. He also experimented with different techniques of sample manipulation and incorporated more original instrumentation. “It was liberating and exciting working on a different style of material. I couldn’t stop. A bunch of the ideas were things I’ve been wanting to do for years,” says Gillis.
Gillis amassed a collection of over 70 beats and decided to approach one of his favorite rappers to see if he would be interested in doing a project together. “I’ve been a fan of Freeway since I first heard him on ‘1-900-Hustler,’ and I just thought he was the perfect fit for what I had in mind,” he said. “I wanted the album to be diverse, and I wanted someone who could maneuver around quick changes mid-song. Freeway is the rare rapper who sounds natural on all types of beats, ranging from cut-up soul to menacing synth-jams. His energy is unreal, and he’s able to keep up with any production.”
Following two months of recording together, the resulting Girl Talk & Freeway “Broken Ankles” collaborative EP reflects the meticulous nature of Girl Talk’s prior work while setting a fitting pace for Freeway’s dynamic, high-powered flow. “I wanted to work closer to traditional song structure compared to my last few albums, but still include some detailed sample splicing and change-ups when it felt appropriate. The overall structure is what I thought worked best with Freeway’s style,” says Gillis. Keeping in line with the Girl Talk aesthetic, the varied range of songs are all tied seamlessly together. He stated, “It’s always important to me to have an album that works as a whole; something that has a calculated flow to it, which is intended to be listened to front to back.”
The band played a few shows around the Midwest and then recorded a self-titled album, which Polyvinyl released in September 1999. Following the release, American Football played a few more shows in the Midwest and one show at New York University. About a year after the album had been released, American Football became primarily a studio project before its members mutually decided to quit recording together.
A testament to the act's lasting influence, despite the small amount of recorded work and hardly any touring (prior to a reunion in 2014), American Football remains one of Polyvinyl Records most beloved bands to this day.
"We originally set out to start a band that sounded like The Wake," say The Drums, referring to the quintessential doleful mid-80s Factory band. And then, nailing their aesthetic, they add: "[But] there's an instant gratification in straightforward music. That's why we love the 1950s. It was the beginning of basic pop music. They did it from scratch and pulled these amazing, timeless melodies out of thin air." It's a combination that may not seem logical, but when you hear it you'll know you need it, you've gotta have it and it's what you've always been looking for.
Now one of the world's most universally respected DJ duos, Classixx have headlined everywhere from the famed Paris Social Club to New York's Webster Hall, touring constantly since releasing their exuberant 2009 single "I'll Get You," which featured Lady Gaga songwriter Jeppe. Following their breakout single with acclaimed remixes for Phoenix, Holy Ghost, Mayer Hawthorne, Groove Armada, Yacht, Major Lazer, Gossip and others, for the last two years Classixx have been intent on their debut Hanging Gardens, whittling the LP down from hundreds of sessions to a svelte 12 songs.
Produced by Will Yip (Title Fight, Balance & Composure, Pianos Become the Teeth), After the Party taps into the Menzingers’ everyman romanticism to reflect on getting older but not quite growing up. Throughout the album, singer/guitarists Greg Barnett and Tom May, bassist Eric Keen, and drummer Joe Godino offset that deeply nuanced songwriting with anthemic harmonies, furious power chords, and larger-than-life melodies.
“We spent our 20s living in a rowdy kind of way, and now we’re at a point where it seems like everyone in our lives is moving in different directions,” says May of the inspiration behind After the Party. Adds Barnett: “We’re turning 30 now, and there’s this idea that that’s when real life comes on. In a way this album is us saying, ‘We don’t have to grow up or get boring—we can keep on having a good time doing what we love.’” “Bad Catholics” follows the release of After the Party’s lead single “Lookers,” which premiered on Noisey in August.
The Menzingers formed as teenagers in their hometown of Scranton in 2006, then later relocated to Philadelphia. The band made their Epitaph debut with 2012’s On The Impossible Past, which was voted Album of the Year by Absolute Punk and Punk News. Released in 2014, Rented World was praised as “packed with clever songwriting” by The New York Times and “a colossal fist-pumper” by Stereogum.
When The Mowgli's first landed on the scene, their message of positivity and love resonated with audiences everywhere. The group's 2013 major label debut, "Waiting for the Dawn" [Photo Finish], debuted at #4 on the Billboard Heatseekers Chart and yielded the hit "San Francisco." Following its release, the seven-piece -- Colin Louis Dieden [vocals, guitar], Katie Jayne Earl [vocals, percussion], Dave Appelbaum [keyboards], Josh Hogan [guitar, vocals], Matthew Di Panni [bass], Spencer Trent [guitar, vocals], and Andy Warren [drums] -- performed on Jimmy Kimmel LIVE!, The Tonight Show with Jay Leno, CONAN, Watch What Happens Live, and more. Between headline tours and runs supporting everybody from Walk The Moon to Manchester Orchestra, they even cut a song for the Relativity Media hit film "Earth To Echo." Along the way, their interpretation of love became even clearer, and it defines their sophomore outing, "Kids In Love."
"Our first album essentially said, 'What's up everyone? We're The Mowgli's, and we believe love can change the world," explains Katie. "Over the past couple of years, we really came to terms with who we are as a band. With "Kids In Love" we're exploring the intricacies of love. It's such a broad concept. This time around, we get into intimate love, personal love, as well as universal love. We've found art is the best vehicle to ponder what this really means."
"Before, the concept was painted in very broad strokes," Colin goes on. "Our intention was to start a movement and a culture around what we do. We put all of that under a microscope on this album and talked about personal experiences and stories, the lack of love, and finding it again."
"We've learned so much about the business, ourselves, and this message," adds Josh. "We've become more direct. It's a little wiser."
In order to properly convey that sentiment, the group teamed up with producer Tony Hoffer [The Kooks, Silversun Pickups, Fitz & The Tantrums] in his Los Angeles studio during the summer of 2014. With Hoffer at the helm, they fine-tuned their sound into an elegant amalgam of influences. Additionally, they recorded with prior collaborators Captain Cuts [Smallpools, Tove Lo] -- a production team that includes Ryan Rabin of Grouplove, and worked with Matt Radosevich [Walk The Moon, One Direction] on two additional tracks. "We wanted to create songs that we knew we would enjoy playing live, songs we hoped that speak to people's personal experiences with love and life and loss and everything that comes with being a kid -- or really anyone -- in love," Katie explains.
"We've been on tour incessantly, and this album was really written all over the country," Colin recalls. "It was composed in green rooms, hotels, parking lots, and everywhere in between. I went to Nashville for a week on a whim and tried to learn how to write country music. I was so lucky to work with some of the best in the business. I wanted to bring some of those storytelling elements into the music too. We really grew up, and the songs reflect that journey."
The first released track "Through The Dark" builds from a shimmering acoustic guitar into an unshakable harmony between Josh and Colin. It shines its own kind of musical light.
"Everybody goes through dark times," Josh asserts. "We're trying to put a positive spin on that though, and show you can get through that darkness no matter what."
Colin continues, "In a weird way, it feels like the answer to 'Waiting for the Dawn.' It's a hopeful and encouraging song."
Then, there's the first single "I'm Good." It begins with a sun-soaked clean guitar and resounding percussion before snapping into a delightful refrain that's undeniably unforgettable. You'll feel good after one listen...
Elsewhere on the album, "Whatever Forever" is augmented by driving handclaps and a group chorus that proves infectious. Lyrically, it stemmed from some shared ink within the band. "Colin and I both got a tattoo of that phrase a few years ago in a hotel bar during Hurricane Sandy," smiles Josh. "We'd seen it on the wall of a bar, and it felt like the perfect new life motto. We're not worried about anything; we're just going for it."
"That's a personal favorite," concurs Colin. "After one show, I had a girl walk up to me and say, 'I've been dealing with so much and hurting so badly. I adopted 'Whatever Forever' as my mantra. I needed that.' Sometimes, you need to distance yourself from what hurts."
Ultimately, The Mowgli's open up their hearts once more, and the results are nothing short of inspiring. "We just want people to feel good," Katie concludes. "It's a domino effect. If someone leaves a show feeling great, maybe they pay it forward. If we can contribute a little bit of joy, companionship, and happiness, we're doing our part to make the world a little brighter."
"I want them to feel inspired to do something positive," Josh agrees. "It's all about sharing that."
Colin leaves off, "I want this to be a positive transformative experience. It's almost like falling in love. When you're in a good mood, you tend to react positively. I hope it adds more positivity and love to the world."
While the band’s Epitaph debut Never Hungover Again was recorded in a mere ten days, Cody is the result of two months in the studio with renowned producer Rob Schnapf, credited on classics by Elliot Smith, Guided By Voices, Saves The Day and Rancid among others. As the band’s guitarist and singer Barry Johnson explains, “It was the first time we really used the studio to our advantage. I felt like I could get a better grasp on what we could do. We always recorded like a punk band—go in and lay ‘em down! Just get good takes! And this time we tried a lot more.” The result is a record that dares to be humble, intimate and unapologetically human. Cody is the album where the band moves past simple pop and punk. It’s a moment for clarity and creative renewal. Without losing any of the emotional power fans love, the band is defiantly looking towards the future.
As described by frontman James Bagshaw who produced the single, “when writing the melody for ‘Certainty,’ I wanted to create something with almost an eerie, early Disney vibe, something playful and harmonious, but with a dark twist. Producing the song was as much about layering as it was about sparseness — the verses needed to reveal the thumping motion of the bass and the reflective lyrics, and the melody had to be paired with the right ambience. The chorus was approached in an opposite way, layer after layer, thickening the sound. There’s a blend between moog bass, and actual bass, and the song switches between synthetic and analogue sounds throughout. The guitar mirrors the synth, and visa versa.”
Between both 3MG and the Living Legends, Murs rapped on several influential indie rap albums, appearing on more than 20 records, EPs, and singles within a seven-year period. When El-P started to pull together his Def Jux label, Murs contacted the producer and told him he would release his solo record for the company once he had the opportunity. His commitments to both the Legends and 3MG often kept him from working on the album, but after a few years of slowly putting together tracks, Murs finally delivered The End of the Beginning in the spring of 2003.
Featuring flashier production than his group projects, the album was more in tune with a mainstream hip-hop record, though projects with Anticon rapper Slug under the name Felt -- A Tribute to Christina Ricci and A Tribute to Lisa Bonet -- unveiled a more experimental side to his artistry. The rapper returned to solo work with Murs 3:16: The 9th Edition, a collaboration with producer 9th Wonder, in 2004. One of the tracks from that album, "Walk Like a Man," inspired a movie starring Murs himself, along with Damien Wigfall. The soundtrack, Walk Like a Man, also appeared in mid-2005. Murs teamed up again with 9th Wonder to release Murray's Revenge in 2006. Two years later, he jumped to the majors for a contract with Warner Bros., which yielded Murs for President, with appropriately major-label features for will.i.am and Snoop Dogg. Another two years later, Murs reunited with 9th Wonder to make Fornever. ~ Bradley Torreano, Rovi
YACHT's figureheads, Jona Bechtolt and Claire L. Evans, are opposing forces. It'd be generous to call Jona a high school dropout: he never attended a single day, choosing instead to literally "bang on the drum all day" as an outpatient in the teenage art ward. Claire was born in England, raised in France, and moved to Oregon to be watched after by the Intel corporation in the mid-1990s, during the height of the microprocessor boom. But the unlikely pairing is the source of their power.
YACHT's new album, I Thought The Future Would Be Cooler, is a sweeping and visionary critique of the 21st century. It reveals the band at its most self-assured: critical, funny, tough, and musically diverse, crafting an infectious and hyperactive conceptual pop that seems to seep through the walls of an alternate universe. YACHT's knowing references to technology, feminism, and media are layered in complex arrangements in songs about holograms and phones, police violence and identity, sex and the future.
This is the first YACHT album that Bechtolt and Evans didn't create in a vacuum. Starting from the ground up, the pair wrote the album with their longtime collaborator and bandmate Rob Kieswetter, who also produced the album with Bechtolt (a first: Bechtolt has been YACHT's sole producer since 2002). The result is a surprising and heterogeneous collection of songs that only YACHT could make. Grammy-winning Irish producer Jacknife Lee (REM, Bloc Party, Robbie Williams, Taylor Swift) stepped in as a hypercolor shaman of sorts, creating his own album-wide credit of "objective overseer and structural mechanic." The album's title track was co-produced with Justin Meldal-Johnsen (Beck, M83, Tegan and Sara) and its string arrangement was put together by pop polymath Jherek Bischoff (David Byrne, Caetano Veloso, Parenthetical Girls). The album was recorded over two years in Los Angeles at a handful of studios (Jacknife's technicolor compound in Topanga Canyon, Meldal-Johnsen's studio in Atwater Village, Red Bull's studio in Santa Monica, and YACHT's home studio) as well as in a former cavalry bunker in Marfa, Texas, at the Marfa Recording Company.
I Thought The Future Would Be Cooler draws from a weird well of ADD influences: 80s Japanese electronic reggae (Sandii & The Sunsetz, Haruomi Hosono), 70s and 80s post-punk and no wave (Family Fodder, The Waitresses, Suburban Lawns, Killing Joke, A Certain Ratio, Devo), Norwegian disco (Todd Terje, Lindstrøm, Prins Thomas), Grand Royal Records-era alternative music (Cibbo Matto, Luscious Jackson, Money Mark).
YACHT was first created in 2002, as a design studio operating under the acronym "Young Americans Challenging High Technology." As technology became more evenly distributed, YACHT transformed into a word representing everything Jona and Claire touch, each medium informing the next. More traditional artists tend to compartmentalize their efforts, but like an adolescent trying on identities, from 2002-2015 YACHT have shapeshifted: from solo laptop performer to wacked-out performance artists, from harsh electronic comedians to composers, from a two-piece avant-garde karaoke group to a four-piece a no-wave broken disco band, all while working as commissioned artists, writers, editors, and speakers for organizations like TEDx, WIRED, MoMA, Rhizome, VICE, and more. The common thread: Claire and Jona's distinct amalgamation of cynicism, optimism, and attention to the special details that keep their work interesting and idiosyncratic.
If you're confused by YACHT, either look closer or zoom out. There's a decade-plus of work to sift through: joke websites, videos somehow seen by millions, subversive design projects, texts, one-time-only events, and more live shows around the world than should be counted at this point.
Just the facts:
-YACHT lives in and champions the city of Los Angeles, California
-YACHT's new album is called I Thought The Future Would Be Cooler
-I Thought The Future Would Be Cooler was produced by Jona Bechtolt & Rob Kieswetter
-YACHT signed to Downtown Records in late 2014
-YACHT's last two critically-acclaimed LPs were released by seminal New York City label, DFA Records
-YACHT's first three albums were released on micro-labels (Marriage and States Rights Records) based in the Pacific Northwest. These same labels also cultivated artists like Dirty Projectors, Jib Kidder, Lucky Dragons, White Rainbow, and more YACHT's core members are Jona Bechtolt (pronounced John-uh Beck-tolt) and Claire L. Evans. Rob Kieswetter has been a close collaborator since YACHT's inception, and Jeffrey Brodsky joined in 2010
-YACHT have created and sold unplayable compact discs, published a philosophical handbook, designed a sunglasses collection, created a fragrance, campaigned against NSA surveillance, and given presentations about their work in art museums, tech conferences, and rock clubs
-Claire is a writer. She works for VICE, editing science fiction stories and publishing editorials about science, technology, and feminism. Claire and Jona are the co-founders of an app called 5 Every Day that is also a segment on the largest NPR station in California, KPCC. Claire gives presentations at places like the Walker Art Center, Moogfest, TEDx, and UCLA
Central and Washington
Phoenix, AZ, 85003