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Trees
Address:
2709 Elm Street, Dallas, TX, 75226, United States

Upcoming Events At This Venue

July 31, 2014

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When: Thursday, July 31
WhereTrees 
Times: Doors: 7:00 pm | Show: 9:00 pm
Tickets: Advanced: $13 | Day of: $16 | All-Ages

For Fans of: Sharon Jones & The Dap-Kings | Charles Bradley | Allah-Las

NICK WATERHOUSE
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Nick Waterhouse’s art springs from a simple idea: everybody wants to be somebody else. One of his heroes, Van Morrison, got his start covering Bobby Bland, whose own musical idol was Nat “King” Cole. In Waterhouse’s view, emulation is a journey; you never truly succeed, but as the singer, guitarist and songwriter puts it, “You become something on the way there.”

Nick was born in 1986 and grew up in Huntington Beach, a place known predominantly for its tanning salons, commercial surf culture, and UFC fighters. In his early teens, he established his musical sensibilities in the midst of the burgeoning Southern California DIY scene (Burger Records, Ty Segall, McHugh’s Distillery studio), through which he refined his own idiosyncratic perspective on the spirit of American Rhythm & Blues and Rock & Roll.

Waterhouse started performing as a teenager. “It was really motivated by fear,” he recalls. “I’m kind of an introvert, so it was an uncomfortable situation. It was a way to force a crisis.” The young artist experienced an exhilaration he’d never felt before, and hasn’t found anywhere else since. “It’s a feeling of heightened awareness that goes beyond pleasure,” Waterhouse explains. “It has something to do with seeing ahead in time and behind in time all at once. You don’t just get the immediate reward; you get the potential that rewards you the same way.”

Waterhouse explored the idea of potential on his breakthrough single, “Some Place,” a beautifully lean, propulsive track recorded at all-analog studio the Distillery and self-released in 2010 on his own Pres label. “Well, there’s someplace that I’d rather be,” Waterhouse sang in a fierce yet plaintive register. “And it’s something that’s been on my mind almost constantly.”

These days, Waterhouse is a successful recording artist, with one well-received LP and and several high-profile tours and collaborations to his name. But his latest work still embodies the struggle of his early forays. During “This Is a Game,” Waterhouse sets up a snarly, post-surf guitar solo with a succinct statement of a cynical outlook: “This is a game / Please remember my words / And don’t get upset when you don’t get what you think you deserve.” And on the gothic-soul strut “Let It Come Down,” he meditates on the inevitability of pain. “If there’s gonna be rain tonight,” he sings in a stoic croon. “Let it come down.”

It’s clear from this material that Waterhouse is in the midst of his own becoming. He isn’t the type to let ecstasy take over, like Van Morrison, or to drawl away in a consummately laid-back register, like Mose Allison. In the tension between his wry lyrics and crisp arrangements, you hear the expression of a worldly skeptic who’s also—when it comes to his art—a sanctified believer. Whoever it was that Nick Waterhouse wanted to be matters less now; these days, he just sounds like himself.

THE DAYS
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The Days was once the collaboration between brothers Addison and Robert Day. The two began writing together while sharing a one-bedroom apartment in Arlington, TX. Robert (guitar) was studying architecture at UTA and Addison (keyboard) was studying classical voice. The brothers moved to Denton and spent the next year playing with musicians until meeting Abdon Gonzalez (drums) and Glen Farris (bass). Their music is a blend of old styles, the result of years glued to oldies radio stations, and they make no apologies. “Sometimes I imagine us being The Jackson 5 or Dr. Teeth and The Electric Mayhem,” admits Addison (keys) whose vocals and harmonies bare little resemblance to the traditional style of his training. In February 2013, The Days released their first demos. They are currently recording their first album to be released Fall 2013.

 

Date: July 31, 2014 9:00 pm

October 3, 2014

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When: Friday, October 3
WhereTrees 
Times: Doors: 7:00 pm | Show: 9:00 pm
Tickets:  Advanced: $15 | Day of: $18 | All-Ages

For Fans of: Phantogram | Volcano Choir | Active Child

POLIÇA
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POLIÇA began as a collaboration between fellow Gayngs’ members Channy Casselle and Ryan Olson in June of 2011. By July they had completed 11 songs, made the key additions of drummers Ben Ivascu and Drew Christopherson, bass player Chris Bierdan, and headed into the studio. After Mike Noyce (Bon Iver) lent his voice on Lay Your Cards Out and Wandering Star, the record was brought to Austin, TX to be mixed with Jim Eno (Spoon). In a few days, the LP was completed and the band Poliça was formed. On stage, the original beats composed by Olson play amongst Channy’s passionate vocals & an intense rhythm section, that lead to a description somewhere in the area of electro-r&b goth-pop.

WEB OF SUNSETS
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The term “golden hour” is used to invoke a specific time or event. Technically speaking, it is the first and last hour of sunlight on any given day. Definition aside, it is the time of day when everything effectively slows, when the light becomes perfect, when time fades and everything is imbued with a languid sense of ease. This is the hour Web of Sunsets inhabits.

Web of Sunsets began in 2012 in Minneapolis, when three friends and seasoned band members – Sara Bischoff (Heavy Deeds), Sarah Nienaber (Gospel Gossip, Is/Is), and Chris Rose (Robust Worlds) – decided to band together and give focus to their so-called acid country leanings. All three play guitar and sing, trading lead vocals every couple songs, and occasionally a casio keyboard or midi synth pops into the mix. Absent is a rhythm section, and absent is a stereotypical lead singer. Instead, clean guitar tones weave in and throughout each other in a continuous braid, linking up with each distinct vocalist, all of it shining through in layers. Using a combination of tranquility, restraint, and a healthy dollop of reverb, they craft a perfect haze – just enough twang, just enough harmony.

Room of Monsters was tracked live, vocals and all, in a single day at Old Blackberry Way. Though it was a quick session, it wasn’t without intention – everything contained within the album is delicate and deliberate; every note rings out in an extended refrain. The premise is simple: certain songs simply require more space. Within that space are passages of darkness and regret, and an overall sense of yearning that permeates each track.

Room of Monsters is the debut LP from Web of Sunsets. It is golden, and it is true. Pull up a chair and stay awhile.

Date: October 3, 2014 7:00 pm

October 16, 2014

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When: Thursday, October 16
WhereTrees 
Times: Doors: 7:00 pm | Show: 9:00 pm
Tickets: Advanced: $17 | Day of: $20 | All-Ages

For Fans of: Wild Beasts | Klaxons | Foals

METRONOMY
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Down a quiet driveway in East London is an old-fashioned studio. It’s the home of analogue sound, of warm, dusty machines, where the ambitions of independent-minded artists get turned into classic recordings.

In short, it’s where that magic happens.

Arguably a go to studio for rock’n’roll musicians, there is one genre that Toe Rag Studios are certainly not known for, yet. One man plans to change that. It’s ambitious, adventurous modern pop’s turn.

Over the past six months, a man with curly hair has been regularly checking into Toe Rag studios in order to finish his anticipated fourth album. He has brought with him with a passion for The Zombies, an affection for Love, and a ridiculous enthusiasm for Sly and the Family Stone. He is already known for writing great songs, crafting his lyrics with care, and pushing pop melodies into fabulous shapes. Synthesisers and computers have been his primary tools in the past; at Toe Rag, he felt he could he push them to more heavenly places.

Joseph Mount, from Totnes in Devon, is the lead singer and architect of Metronomy. His new album, Love Letters, has a title that speaks volumes about sensations and modes of communication, about things that have always been there, and will always be here.

It’s no coincidence either. This is a record that wants to be timeless.

In its execution, Love Letters tries to do fresh things in an old-fashioned way. It takes richer methods of recording and injects them with the shock of the new – of tight electronics, and experiments in sound. It does so not to be retro, but to embrace the quality standards of the past. It also aims to be up there with the greats, reaching for those old stars.

Date: October 16, 2014 9:00 pm

November 8, 2014

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When: Saturday, November 8
WhereTrees 
Times: Doors: 7:00 pm | Show: 9:00 pm
Tickets:  Advanced: $12 | Day of: $15 | All-Ages

For Fans of:  Dr. Dog | Givers | Generationals

DALE EARNHARDT JR JR 
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Formed in late 2009, Dale Earnhardt Jr. Jr. is the off-kilter title under which Detroit-area natives Joshua Epstein and Daniel Zott record, release and perform music.

Initially beginning as an exercise in collaboration undertaken with very little intention of ever being publicly consumed, the band’s trajectory has been as unexpected as it has been unlikely. In just a few short years, fans have seen the project grow from basement recording project–to media curiosity–to an international touring ensemble widely recognized for their joy-fueled live offerings.
While Epstein and Zott have no ties to popular NASCAR circuit driver Dale Earnhardt Jr. nor his late father, the band’s peculiar name was initially suggested to the duo on a lark. The pair assert that the strange moniker has been kept in tact due to the freedom they came to realize such a title gave them to explore whatever musical endeavors they could think up. “The idea being”, Epstein says, “that if one can accept a band being named Dale Earnhardt Jr. Jr., then you’ve already opened yourself up to listening to anything that band can come up with. You’ve already decided to leave expectations behind”.
From that mantra, the foundation of their partnership was built. Each having spent a good deal of time in various recording and performance environments prior to working with one another, Epstein & Zott set out to explore the many intricacies of cross-genre songwriting and production together with a willingness to borrow as much from the Beach Boys as the Geto Boys if it meant a more dynamic form of pop music. An organic vs. synthesized perspective which by necessity lacked a specified audience or desired outcome, outside of challenging oneself.
Date: November 8, 2014 9:00 pm

November 12, 2014

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When: Wednesday, November 12
Where: Trees 
Times: Doors: 7:00 pm | Show: 9:00 pm
Tickets: Advanced: $15 | Day of: $18 | All-Ages

For Fans of: Frightened Rabbit | Manchester Orchestra

WE WERE PROMISED JETPACKS 
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In 2009 Adam Thompson (Vocals / Guitar), Darren Lackie (Drums), Sean Smith (bass) and Michael Palmer (Guitar) were a band of nineteen year old University Students, bunked up together in a tenement flat in the West End of Glasgow, Scotland. On signing to Fat Cat Records later the same year, the band could not have anticipated the journey they were about to embark on. Now, five years later, We Were Promised Jetpacks are ready to release their third studio album entitled “UNRAVELLING”.

We Were Promised Jetpacks debut album “These Four Walls” (2009) was released to critical acclaim. Thus began the bands busy touring schedule, playing high profile festival slots around the UK and USA supporting label mates Frightened Rabbit and The Twilight Sad.

2010 saw the release of the follow­ up album “The Last Place You’ll Look”, an EP comprising of unreleased tracks and swelling, orchestrally­ inspired rewrites of songs from their debut album “These Four Walls”.

The bands sophomore release followed in 2011 and was recorded at Sigur Ros’s Sundlaugin Studios in Iceland. “In the Pit of the Stomach” was testament to the poise, control and vigor the band had learned to command. The extensive touring schedule continued and the release received support and high praise from the likes of Rolling Stone and Spin Magazine. The band also continued to build on their high profile live performances with sets at Coachella, Fashions Big Night Out at New York’s Rockerfeller Centre and on Last Call with Carson Daly

During the 2012 US Tour the band recorded and captured footage from their live set at Union Transfer, Philadelphia. Early 2014 saw the release of “E Rey: Live in Philadelphia”, in ode to Esteban Rey the bands’ friend and then tour manager. The album captures the explosive energy and drama fans have come to expect from a We Were Promised Jetpacks show, with behind the scenes footage allowing fans a unique insight to life on the road with the band.

Early 2014 saw the band working tirelessly on “UNRAVELLING” which will be the bands most confident and accomplished record to date. Recorded in Glasgow at the infamous Chem19 Studios with Paul Savage who has previously worked with numerous established and diverse Scottish acts such as Teenage Fanclub, King Creosote, The Twilight Sad, Franz Ferdinand and Mogwai.

Date: November 12, 2014 8:00 pm