Stateside Presents


Rock N Roe 2013


Wed, March 6, 2013

Doors: 7:00 pm / Show: 8:00 pm

Crescent Ballroom

Phoenix, AZ


Tickets Available at the Door

This event is 16 and over

A Silent Film have established themselves as one of the most exciting live acts in the UK today. Following on from gigs with artists as diverse as Mystery Jets, Metronomy, Athlete and Glasvegas they are about to embark on their first headline tour of the UK in support of their debut album 'The City that Sleeps'. Their sound combines the elegance of well-structured songwriting and an attention to textural detail with a love of contemporary genres ranging from dance and electronica to rock and pop.
'this is a confident debut album full of epic structures and ethereal vocals from surefire stars of the future' - The Fly
"Gently weaving intricately constructed tales, this DIY piano-led quartet from Oxford produce larger than life cinematic soundscapes, rolling from trance-like distortion to superbly focused piano and electric guitar hooks." - Rock Sound
"Modern Indie psychedelia, cloud-reaching melodies and the subtle racing energy that glides straight into your subconscious effortlessly..." -
All young bands go through growing pains, and Gold Fields is no exception. It took three different tries before they made a version of their debut album, Black Sun, that met their expectations. Not that you'd ever guess that from listening to the finished product. Like their explosive live shows and the self-titled EP that preceded it last year, the Australian quintet's debut full-length displays invention, drive, and a commitment to artistic expression that belies the group's tender years.

Gold Fields' lively originals teem with variegated percussion and interwoven vocals, from opener "Meet My Friends," with its buzzing keyboards, wordless vocal hook, and an indelible chorus, to eerie closer "Anxiety," animated by its play of elongated phrases against staccato rhythms. Though the band's sound defies pigeonholing, and each song boasts a distinctive identity, a musical through-line unifies the album's eleven originals: by juxtaposing light and darkness, Gold Fields imbues even its most ebullient performances with melancholy—and vice-versa.

This is particularly evident on the first single, "Dark Again," a standout from its inception as a demo. "The lyrics were written about pulling yourself out of a rut," singer Mark Fuller told Rolling Stone in September 2012. "More specifically, pulling a relationship out of a rut. It's just about snapping out of a negative mindframe and realizing that you've got something pretty special." Carried along on waves of percolating synthesizer and rippling guitar, the song builds momentum as it surges towards a powerful, sing-along chorus.

Interplay of layers, textures, and contrasting moods figures prominently throughout Black Sun. On "Happy Boy," Fuller incants "I'm going to be happy" like the mantra of a man trapped at the bottom of a well, even as dirty disco bass and crisp hi-hat swirl around him. The syncopated rhythms and shifting dynamics of "The Woods" and "Treehouse" evoke the otherworldly ambience of venturing deep into the wilderness, slivers of light throwing shapes across the forest floor.

Gold Fields has already played major festivals throughout Australia, supported Crystal Castles, Metric, Pnau, and Datarock, and gone down a storm at intimate venues from Los Angeles to London. Featuring two full drum kits and plenty of handheld percussion, the Gold Fields concert experience explodes with kinetic energy. "We really like to have fun on stage and get into the show," confirms guitarist Vin Andanar. In lieu of painstaking recreations of the studio recordings, the quintet's mutable live arrangements build, wave upon wave, into propulsive, sinewy grooves that supercharge the energy in the room.

Some young bands have to prod unfamiliar audiences to dance, but not Gold Fields. They'd be hard pressed to convince crowds to actually stand still for 30 seconds, and the non-stop momentum of their sets ensures there's nary an opportunity to do so. As the nod to the Police's classic "Roxanne" in "Meet My Friends" underscores, Gold Fields are committed to writing songs that are accessible yet multi-layered, marrying rhythmic drive with lyrical gravitas. "All along, we've had it in our heads that we were writing pop music that we'd love to see at a festival or hear on the radio, but tinted with a bit of darkness and melancholy running throughout," concurs Fuller.

The band self-produced the album at home in Ballarat, after initial tracking sessions in LA with producer Mickey Petralia (Ladytron, Peaches) and Sydney with producer/engineer Scott Horscroft (The Presets, Sleepy Jackson, Silverchair).

The recordings that emerged from all these sessions were polished and professional… but something felt off. In a daring move for a young band with escalating buzz, Gold Fields decided to start over yet again. With new knowledge and experience under their collective belts, they returned to the D.I.Y. methods that'd yielded their initial successes.

Gold Fields had written and recorded all its early material—not only the demos that secured their record deal, but also the tracks that formed the basis of their debut single, "Treehouse," and subsequent self-titled EP—in Andanar's bedroom. Once again they retreated home to Ballarat, a Victorian era boomtown located about an hour's drive west of Melbourne. With help from friends and borrowed equipment, they fashioned an ad hoc studio in the Fuller family's garage and customized it with strings of Christmas lights, early album art, and even an illuminated Gold Fields light box built by Fuller's brother-in-law.

It was the dead of winter outside, so the boys staved off chills by keeping their bodies and imaginations in constant motion. As soon as basic parts had been laid down, the quintet devoted several days to the sort of playful experimentation that had characterized their earlier work, making beats by banging on chairs and discarded lumber.

Other bands might have buckled under the strain of devoting so much time and energy to making a single record, but Gold Fields is a tight-knit lot, the result of friendships that predate the group's formation in early 2010. Now all those countless hours together paid off. Assisted by engineer and longtime colleague Malcolm Besley, the band's performances flowed forth freely and fluidly, yielding the organic sounding results they'd sought. "This time we definitely knew what we wanted," concludes Andanar. "We knew what the songs should sound like, and now realizing the sound in our heads was the challenge."

Gold Fields traveled a long way, both geographically and musically, to get to this point; no wonder the boys were willing to go the extra mile to make sure their debut full-length sounded just as they'd imagined it should. With all its twists and turns, making Black Sun turned out to be a bit of an odyssey, but one that ultimately concludes with a very happy ending—and the promise of more adventures to come.
Royal Teeth's six members come from three cities across Southern Louisiana, a state known for its colossal musical output over the centuries. Now residing in New Orleans, their beat-centric sound is a technicolor addition to the legacy of Louisiana. The band could not be happier with their new home at Dangerbird, saying, "We are beyond excited to be a part of the Dangerbird family. It feels great to be part of a team that we know really cares and wants to see us succeed. We look forward to an amazing year!"

Of the signing, CEO and Founder of Dangerbird Records, Jeff Castelaz shares, "I love New Orleans. My wife, Jo Ann Thrailkill, is from there, and we spend a lot of time in the city. For years, I've wanted to sign a band from New Orleans -- to raise the Dangerbird flag there, to show our solidarity with the city." Castalez continues, "On Halloween night, we got invited to see this band Royal Teeth at a little venue just outside the French Quarter. As soon as they hit the stage I got that special feeling inside, and I knew they were the band that would allow us to put our stamp on the city's musical lineage."

Since that game-changing Halloween night, Royal Teeth has taken Louisiana by storm. Not only have they played packed shows in New Orleans and Lafayette, the latter of which saw the band sharing a bill with Mute Math, but they've also spread their reach to cities such NYC for last year's CMJ Festival, This winter the band won Nikon's "Creative Invite", awarding them a free trip to Austin for SXSW where they performed alongside Fun. Playing an additional two showcases, Royal Teeth also secured the attention of CNN at SXSW who stumbled upon the band courtesy of Twitter, the discovery resulting in a special session for

On "Act Naturally," the vocal duo of Gary Larsen and Nora Patterson provide heartfelt lyrics as the musicians travel through lavish, synth-infused soundscapes, boasting a brand all to itself that's not quite "dance pop" and not quite electronic. Leadoff track "Wild" finds Patterson's crystalline vocal hooks bounding in joyous romps over Larsen's grounded narrative. The tune starts the EP like a warning siren, and it doesn't let go from there. The catchy tune gained rapid traction in early 2012, launching Royal Teeth into the spotlight as the song found its way into a Canadian Buick commercial in addition to Fox featuring the song in its winter promotion.

Also on the EP is the band's bold rendition of The Knife's 2003 hit "Heartbeats" which sounds like a long-lost New Wave hit from the early '80s, bubbling over with dance floor pulses and thick kick drum echoes. Royal Teeth effortlessly makes this familiar song its own without having to radically reinvent the style of the track or jeopardize the character of the band.
Venue Information:
Crescent Ballroom
308 N. 2nd Ave.
Phoenix, AZ, 85003