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2709 Elm Street, Dallas, TX, 75226, United States

Upcoming Events At This Venue

April 25, 2015


Dan Deacon‘s going on tour to share his brand new album, “Gliss Riffer” set to be released on February 24!

Do214 Anniversary Party featuring Dan Deacon | Prince Rama | Ben O’Brien | Party Static

Saturday, April 25 at Trees

Do214 is turning one and Dan Deacon wants to help celebrate! This epic birthday bash is happening at Trees Dallas on Saturday, April 25.

An RSVP gives you FREE ENTRY but capacity is limited so Do214 is also giving their users the exclusive opportunity to guarantee their spot for just $5 using a special promo code.

Tickets go on sale to the public this Friday (2/13) so don’t wait!

Free with RSVP - Entry is first come, first served up to capacity.

$5 Guaranteed Entrance - Available exclusively to Do214 users until Friday (2/13).  RSVP to obtain promo code to purchase.

(Note: RSVP confirmation does not guarantee you entry. Entry is first come first served up to capacity. RSVP is also only good for each individual guest. No +1s will be included)


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.

Date: April 25, 2015 7:00 pm

July 2, 2015


Heartless Bastards – Restless Ones Tour w/ Craig Finn

When: Thursday, July 2
Where: Trees Dallas
Times: Doors: 7:00 pm | Show: 9:00 pm
Tickets: $15 | All-Ages


Heartless Bastards have spent the past decade in motion, boldly pushing their unique brand of rock ‘n’ roll into new shapes over four acclaimed albums and nearly non-stop roadwork. Now, with RESTLESS ONES, the band sets out once again, blazing a path to a place of shifting moods, seasoned songcraft, and unbridledspontaneity. Heartless Bastards’ fifth studio recording and follow-up  to  2012’s  breakthrough  ARROW, the album finds singer/songwriter  Erika Wennerstrom  exploring  as-yet-unvisited  avenues  of  sound  and  sensation,  her  bravery  and ambition readily apparent in the emotional timbre and the sheer physicality of her songs. “Wind Up Bird”  and  “Into  The  Light”  are  straightforward  yet  stunningly sophisticated,  shot  through with layered guitars, atmospheric harmonies, hints of synth, and a powerhouse rhythm section adept at both subtle swing and heavy horsepower.  Wennerstrom’s spellbinding vocals are of course front and center, her one-of-a-kind voice as primal, cathartic, and indefinable as ever. “We  took  a lot  of  chances,” Wennerstrom  says,  “taking  the  sounds  in  different  directions in order to grow. I don’t ever want to make the same album twice.”

Now based in Austin, the band’s current incarnation – that is, guitarist Mark Nathan, bassist Jesse Ebaugh, and drummer Dave Colvin – united in 2009, touring Heartless Bastards’ acclaimed third album, THE MOUNTAIN, before hitting the studio to record ARROW. ARROW proved popular success, earning Heartless Bastards’ top album and track sales to date, fueled by multi-format rock  radio  airplay  across  the  land,  high-profile placements  on  a wide range  of  highly  rated  network programming,  rave  reviews  in  the likes  of Rolling Stone,  NPR, Entertainment  Weekly, and  show-stopping  performances  on  such  TV  shows  as NBC’s Friday Night Lights, CBS’ Late Show with David Letterman, TBS’ Conan, and ABC’s Jimmy Kimmel Live!

The band celebrated with furious roadwork, including sold out headline tours and memorable appearances at such famed festivals as Bonnaroo Music & Arts Festival, Lollapalooza, Pickathon, Hangout Music Festival, Summerfest, Wakarusa  Music Festival,  Firefly  Music Festival,  and Austin’s own ACL Music Festival and Fun Fun Fun Fest.

Having spent the better  part  of  two  years  on  tour,  summer  2014  saw  Heartless  Bastards humming  on  all  cylinders  and  ready  to  commence  work on  their next  record. Wennerstrom began honing in on the myriad  ideas  she  had  accumulated,  developing melodies  and arrangements  though  not  yet committing  lyrics  to  paper.  She experimented with vowel  and consonant noises, toying with untested sounds and instrumentation.

Date: July 2, 2015 7:00 pm