Ed Schrader's Music Beat, Treasure Mammal
$16 Advance | $18 Day of Show
With the success of Dan Deacon's 2007 album Spiderman of the Rings, came an opportunity for the electronic-music iconoclast to increase the breadth and depth of his entire musical project. Deacon moved from self-contained computer music to orchestral epics. His interactive live show, honed in DIY spaces, was taken to museums and concert halls. He frequently expanded his performances to include a horde of side musicians. Gliss Riffer, an entirely self-produced record of almost all electronic sounds, is a return to Deacon's Spiderman of the Rings-era process. He calls it "easily the most fun [he's] ever had making a record." After a string of large ensemble projects (including 2009's Bromst and 2012's America) Deacon longed for the "simplicity" of the days when he did nearly everything himself. So he made plans to sequester himself in his studio and conjure an album from the sketches and songs he had begun in the back of the van on the European leg of the America tour. Those plans were upended when he received a last-minute invitation to tour with Arcade Fire in August. Rather than lose momentum by pushing back his recording schedule, Deacon continued to make the record on the road. "I was mixing and arranging in the green room before sound check and each night back at the hotel." Deacon said, "On days off I'd find a studio to track vocals or mix. When a studio couldn't be found I dismantled a hotel bathroom, sealing the vents with towels and using all the bedding to turn it into a control room." This is his first record to showcase his newfound appreciation for his vocal cords, an appreciation he gained after going through an extended bout of laryngitis. "I started thinking about how the voice is an instrument that expires," he said, "and that made me want to make an album with the voice more exposed." And that he did. While Gliss Riffer contains all the instrumental layering we've come to expect, the vocals are mixed with a prominence ("Feel the Lightning," "Learning to Relax") and, at times, a clarity ("When I Was Done Dying") that have never been heard on a Dan Deacon record before. All the vocals are performed by Deacon himself, even the female voice on "Feel the Lightning" is the product of vari-speed recording techniques. This album also marks the first time Deacon replaced his digitally realized parts with analog synthesizers, giving Deacon the opportunity to experiment with synthesizers in the same way he experimented with strings and wind instruments on America. Deacon travelled to Asheville, N.C., to record with Moog's at-the-time-unreleased Sub 37 analog synth. Gliss Riffer is the first record in the world to feature the instrument. Despite being predominately electronic, Gliss Riffer's sonic palette is informed by his post-Spiderman material. The Disklavier, a MIDI-fed player piano first heard on Bromst, is present here. (This time around, Deacon ran it so hard it broke.) Cross-rhythms suggestive of America's orchestral opus "USA" and Deacon's art music work (including a Carnegie Hall performance and film score for Francis Ford Coppola) are also in evidence. What Gliss Riffer shares with Spiderman of the Rings as a musical experience is an aesthetic directness and ecstatic energy. Gliss Riffer trades in exuberant, uncontained fun. Lyrical images of lightning, oceans, lakes, and roads crop up frequently as stand-ins for freedom and self-realization. The tracks were started on the ever-changing landscapes that greet a touring musician. The lyrics, on the other hand, were mostly written in Deacon's studio, a room with no windows and no air conditioning in Baltimore's sweltering summer where it was easy to imagine being somewhere else. So while Gliss Riffer is all about fun, it's figured dramatically. It's a euphoria tempered by yearning and set in defiance of life's nagging anxiety. "Happiness takes time," we are reminded by tremolo vocals in the middle of the supremely danceable "Mind on Fire." The bliss on this record is well-earned.
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ED SCHRADER’S MUSIC BEAT
Ed Schrader’s Music Beat is a Baltimore-based post-punk band consisting of Ed Schrader and Devlin Rice. Ed and Devlin first met nearly a decade ago while performing in separate acts on the legendary 2008 Baltimore Round Robin tour (curated by Dan Deacon and also including Beach House and Future Islands); Ed fondly recalls dropping Devlin’s jaw with his maniacal Jack Nicholson impression.
Since forming in 2010, the duo has mounted 19 tours of the U.S., frequently opening for Future Islands, and sharing stages with such acts as No Age, Lightning Bolt, Matmos, and Ceremony. The Music Beat originally worked in a maximalist drums, bass, and vocals mode, releasing the noise-rock full-lengths Jazz Mind (Load Records, 2012), and Party Jail (Infinity Cat Recordings, 2014). Their song “Sermon” is used in the Adult Swim short Unedited Footage of a Bear, and “Rats” appears in Theo Anthony’s feature documentary Rat Film.
For their game-changing new record Riddles, Ed Schrader’s Music Beat has teamed with producer and co-writer Dan Deacon to broaden their sonic palette and explore the possibilities of the art-rock and alt-rock genres.
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Abelardo Gil is a mild mannered, teacher/motivator of the entity called Treasure Mammal from Phoenix , Arizona. Abe was born in Valencia, Venezuela, raised in Los Angeles, and has lived in Phoenix for the last two decades.
Abe started performing by playing in noise bands in Phoenix in 2001. Musical projects started and ended for two years. One day in 2002, while Abe was helping move drum gear after practice with his slow emo band called Clementine, he decided that he had enough of writing sad songs and being miserable. Because Abe realized that the world itself was miserable already and he didn’t want to add to it. So, this thought was the catalyst to start Treasure Mammal. Abe wanted to play music that was fun, allow people to dance & feel welcome, to have the best time possible playing the music live, and to not be easily categorized by any particular genre. In 2003, Abe started Treasure Mammal along with a drummer named Nicholas Kroll.
Abe utilized the guitar, and a sampler, while Nick played the drum machine and real drums. They played about 20 shows until Nick moved to Ithaca , NY to pursue a degree in philosophy at Cornell University . After Nick left in the summer of 2004, Abe decided to transform Treasure Mammal into his genre bending solo project.
A Treasure Mammal show now consists of Abe with a sampler, a rotating cast of drummers (Jef Wright, Jef Wrong, & Jef Left) but they usually play with two, two dancers, an inflatable archway, a Roomba, and a microphone. Performances are funny, abrasive, interactive, inspiring, motivating and leaves the audience feeling as if they have traveled a great distance, coming out better people on the other side.
Treasure Mammal’s music is hard to categorize because he uses circuit bent instruments, children’s toys, Casio keyboards, guitars, drum machines, and loops made on a variety of computer programs. Some people have described Treasure Mammal’s music as a mix of dance pop, early 90’s hip-hop, power noise, chill wave, hardcore, and motivational rock.
Treasure Mammal is meditation; It is an entity that brings people together through love and chaos. This entity that gets created at shows empowers the people by making them realize that each individual has something great to offer their community. Although Treasure Mammal can be personified by one, Abelardo Gil, Treasure Mammal is actually a mixture of every person in the world simultaneously laughing and eating Smarties.
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308 N 2nd Ave
Phoenix, AZ, 85003