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Dan’s Silverleaf

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Name:
Dan’s Silverleaf
Address:
103 Industrial Street, Denton, TX, 76201, United States

Upcoming Events At This Venue

April 21, 2014

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MON APR 21 @ DAN’S SILVERLEAF

DOORS: 8:00PM / SHOW: 9:00 PM / ALL-AGES

ADVANCE: $13 / DAY OF: $16 / TICKETS

DAMIEN JURADO

Urban folk singer/songwriter Damien Jurado quietly built up one of the strongest catalogs on the indie scene, earning high critical praise yet somehow never quite getting his proper due.

Nick Drake had a definite impact on much of his work, but Jurado modeled his career on more idiosyncratic, unpredictable figures like Neil Young, Bob Dylan, Lou Reed, and Randy Newman — songwriters who followed their own muse wherever it took them, whether fans and critics enjoyed it or not. His independence was born at least in part from the influence of punk, and one of the results was a concern for emotional authenticity that led him to delve into other people’s lives instead of his own. Many of Jurado’s best songs spun concise, literate tales of quiet, everyday despair, which often earned him comparisons to short story writer Raymond Carver. But his storytelling bent — not to mention his ambivalence toward confessional material — arose from a stronger grounding in traditional folk than spiritual compatriots like Elliott Smith or Cat Power. And with detours into pop, roots rock, full-fledged electric indie rock, and even found-sound experiments, Jurado ensured that his body of work was impossible to accurately pin down.

A lifelong native of Seattle, Jurado started playing in a succession of local punk bands in 1989. One of them, the Christian-tinged Coolidge, also featured future Pedro the Lion mastermind David Bazan, and eventually had a track featured on the Tooth & Nail label’s Christian punk/emo compilation I’m Your Biggest Fan, Vol. 1. Meanwhile, Jurado began to explore the solo route during the mid-’90s, writing simple folk-based tunes and releasing them on his own cassette-only label, Casa Recordings. Leaded, Trailer Park Radio, and Gasoline all helped create a local cult following for Jurado, and he found an influential fan in fellow Christian and Sunny Day Real Estate singer Jeremy Enigk, who brought him to the attention of Sub Pop. After two 7″ releases on Sub Pop, “Motorbike” and “Trampoline,” Jurado issued his proper debut album, Waters Ave S., in 1997, and followed it with a spare, home-recorded EP for Made in Mexico, Gathered in Song, a year later.

Jurado’s sophomore effort was also his breakthrough; released in 1999, the excellent Rehearsals for Departure established him as a singer/songwriter of tremendous subtlety and skill, and won near-universal critical acclaim. Jurado’s rootsy, minimalist folk-pop and fragile vocals pulled listeners in close, and his knack for a memorable hook kept them there. For his next move, Jurado confounded fans and critics alike with 2000′s Postcards and Audio Letters, a compilation of conversation fragments found on the audio cassettes that Jurado collected obsessively (from sources like thrift-store boom boxes and answering machines) and often used for songwriting inspiration.

The proper follow-up to Rehearsals for Departure was Ghost of David, issued on Sub Pop later in 2000. While it hewed mostly to the style of Rehearsals, it also dabbled in some of the found-sound collage aspects of Postcards, and wound up somewhat darker and more alien. Jurado next turned to the Burnt Toast label to issue the one-off EP Four Songs in 2001, then formed a full band dubbed Gathered in Song for a change of pace from his typically mellow style. Featuring guitarist Eric Fisher, bassist Josh Golden, and drummer Andy Myers (all of whom played more than one instrument), Gathered in Song debuted on Jurado’s next album, 2002′s fully electrified I Break Chairs. Audiences expecting another moody, late-night, urban folk outing were thrown for a loop; some critics felt that Jurado was better off sticking to what he did best, while others found the transition not only convincing, but surprisingly varied and well-crafted.

Jurado subsequently parted ways with Sub Pop, looking to scale back his recording and touring activities in order to spend more time with his family and, to a lesser degree, his day job as a preschool teacher. He landed on the Indiana-based Secretly Canadian label, for whom he debuted in 2003 with Where Shall You Take Me?, a return to his trademark, low-key folk-ballad style. In typical fashion, he followed it with an EP for a smaller label (Acuarela), titled Holding His Breath. A year later, he returned to Secretly Canadian for another EP, Just in Time for Something; early in 2005 his next full-length, On My Way to Absence, arrived. Jurado continued to keep busy with And Now That I’m in Your Shadow, a spare, hushed collection of songs that arrived late in 2006; early the following year, Gathered in Song was reissued with bonus tracks. His eighth full-length, Caught in the Trees, arrived in 2008, followed by the Richard Swift-produced Saint Bartlett (2011) and Maraqopa (2012). In 2013, Jurado returned to the studio with Swift once again, to record his 11th studio album, 2014′s Brothers & Sisters of the Eternal Son. ~ Steve Huey

Date: April 21, 2014

April 26, 2014

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SAT APR 26 @ DAN’S SILVERLEAF

DOORS: 9:00PM / SHOW: 10:00PM / ALL-AGES

ADVANCE: $9 / DAY OF $12 / TICKETS

SOMEONE STILL LOVES YOU BORIS YELTSIN

Someone Still Loves You Boris Yeltsin has been playing music in Springfield, Missouri since 1999, when Will Knauer and Philip Dickey met at a Super Bowl party. Where pop perfectionism meets studio experimentation, SSLYBY’s endearing music composes quirky chord changes amid massive hooks and addictive melodies. SSLYBY have become experts in crafting indie pop through a string of 7″s, full-length albums and a rarities collection. SPIN once declared that the Missouri band “could succeed The Shins as the band that will change your life.”

Start: April 26, 2014 9:00 pm
End: April 27, 2014 2:00 am

April 27, 2014

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SUN APRIL 27 @ DAN’S SILVERLEAF

DOORS: 9:00PM / SHOW: 10:00PM / ALL-AGES

ADVANCE: $10 / DAY OF: $13 /TICKETS on sale FRI DEC 13

MONO

This instrumental band was formed in February of 2000 in Tokyo, Japan. Since then, MONO has quickly piqued interests in both audience and critics alike by staging overwhelming, emotionally splendid, atmospheric performances. In September of 2000, MONO released a 4-song EP called Hey, You. EP, released on Forty-4 Records, which received exceptional reviews in both Japan and the US. In March 2001, MONO performed at SXSW, broadening their fan base. In December 2001, the band’s long-awaited debut full-length album, Under the Pipal Tree, was released on John Zorn’s TZADIK imprint. The album was well received by a variety of influential underground media outlets.

In March 2002, MONO embarked on their fourth North American tour. They hit 10 cities, including Seattle, Portland, Philadelphia and Boston, and shared the stage with Jim O’Rourke at Tonic inNYC. They wrapped up their tour by performing at SXSW for the second year in a row. They followed with numerous festival appearances, including the industry-centric Popkomm Music Festival in Cologne, Germany and Fomoz Fest, the Largest music in festival in Taiwan. They also found time to record their second full-length album entitled One Step More and You Die which was released October 2, 2002 in Japan, and was supported by a 30-city tour throughout Japan and North America, sharing bills with Kinski and Black Dice, among many others. This led to the band signing a deal (excluding Japan) with the ARENA ROCK RECORDING COMPANY, followed by a worldwide release of One Step More and You Die in early 2003.

Following their most successful US tour to date in the fall of 2003, MONO signed a deal with one of their all-time favorite labels, TEMPORARY RESIDENCE LTD. Since 2003 MONO have released three full-length studio albums: Walking Cloud and Deep Red Sky, Flag Fluttered and the Sun Shined (2004), You Are There (2006), and Hymn To The Immortal Wind (2009). Additionally, they have released a singles and rarities collection called Gone (2007), and collaborated with acclaimed experimental electronic artist World’s End Girlfriend for the melancholy Palmless Prayer/Mass Murder Refrain (2006).

Within the rage of distortion and bombardment of feedback, you are just as likely to experience sadness and beauty, light and darkness, chaos and peace, happiness and melancholy. It isMONO’s ability to combine, intertwine and swing back and forth from two such opposite extremes to create an emotional phantasmagoria that makes this band worth experiencing.

Takaakira “Taka” Goto: guitar Tamaki: bass Yasunori Takada: drums Yoda: guitar

Start: April 27, 2014 9:00 pm
End: April 28, 2014 2:00 am

June 13, 2014

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FRI JUNE 13 @ DAN’S SILVERLEAF

DOORS: 8:00PM / SHOW: 9:00PM / ALL-AGES

ADVANCE: $10 / DAY OF: $13 / TICKETS

PETER BRADLEY ADAMS

“I guess in this culture of ever-shortening attention spans, it’s good if a song can lift us out of the madness, even if only for a few minutes.” – Peter Bradley Adams
It’s no wonder that directors like Cameron Crowe favor the music of singer-songwriter and guitarist/pianist Peter Bradley Adams with choice placement in their films and TV productions: Peter’s songs are timeless, spacious and evocative, and simultaneously simple but profound. Nasvhille Scene writes, there’s “a certain blurry, art-house atmosphere in his songs makes them a good fit for indie scaled romantic films like Elizabethtown.”

Peter was first known as co-founder of KCRW / AAA radio darlings and commercially successful duo eastmountainsouth, signed by Robbie Robertson to Dreamworks Records. Now with Sarathan Records, Peter has garnered critical acclaim as a solo artist: “Everything about this recording, from Adams’s hushed croon to the atmospheric weave of acoustic and electric instruments… sustain the intimate and sometimes haunting mood that allows this CD to quietly stand out” (Washington Post).

What is most impressive is the tremendous passion, loyalty, and even love that Peter’s fans express online for his music: the social networks are filled with reports of listening to one of his records three times in a row, or that it was the perfect soundtrack to a road trip or a key moment in life. Peter’s songs capture a feeling of place derived from his personal experience, but are written in a universal voice that each listener can forever own, as their own. There is also a sweet but restless yearning: as Peter says, “there has to be tension in music. Even the most placid music has to have some sense of longing, otherwise it’s just boring; a close friend once told me if there was bumper sticker for me it would read RELUCTANT GYPSY”.

During all his nomadic wanderings through Europe, India, and the US — including living in Birmingham, AL, Los Angeles, Nashville, and now Brooklyn, NY — Peter is always patiently waiting to capture the next song that feels like it has already existed forever. “Writing a good song… sometimes you just have to wait for it.”

But Peter didn’t wait long for Traces, which was written, recorded, mixed and mastered within six months after releasing leavetaking. The end result has the same timeless and powerful presence as the many landscapes he has wandered through for years.

Date: June 13, 2014

June 20, 2014

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FRIDAY JUNE 20 @ DAN’S SILVERLEAF

DOORS: 9:00PM / SHOW: 10:00PM / ALL AGES

ADVANCE: $20 / DAY OF: $23 / TICKETS ON SALE (4/4)

THE MOUNTAIN GOATS

The Mountain Goats will release Transcendental Youth on October 2.

John Darnielle has written almost 600 songs now, and some of them are very sad, dealing with hard drugs and tragic ends, hurting yourself and others, sicknesses of both body and brain, off-brand alcohols. They are told in beautiful, unnerving, specific detail because he is a very good writer, and also some of them are just true stories about his own life.

But many have noted that John Darnielle seems often very happy, and his demeanor on stage is almost exclusively unhaunted, ecstatic.

Anyone who reads his Twitter feed knows he takes great delight in his delights: vegan cooking, fat babies, hockey, the beautiful alchemy of Chemex coffee, Anonymous 4, and playing music for people.

These are the consolations; and if some of his songs suggest that there are real hells on earth, other songs remind that the heavens are equally close at hand. (Sometimes they are even the same songs.)

It is my impression that this is the ecstasy John Darnielle is feeling: that thrill of having survived, escaped for even a second to enjoy those small transcendent delights, and to sing of them.

Transcendental Youth is full of songs about people who madly, stupidly, blessedly won’t stop surviving, no matter who gives up on them.

I can report that it is a very good album and has many more instruments on it than his early cassette tapes, including Peter Hughes on bass, Jon Wurster on drums, and, for the first time, a full horn section. And all of this makes a very joyous noise.

—John Hodgman, 2012

Date: June 20, 2014