July Talk and special guests
Event tags: Pappy's, Music, Free, Pioneertown, Pappy And Harriet's, Concert, July Talk, Fourth Of July
8pm JULY TALK! free show!
July 4, 2013
returning to his hometown of Toronto from a final European tour with his band,
Peter Dreimanis sat sweaty and half-drunk in a candlelit basement bar, nursing
a drink, debating his next musical pursuit. Lulled in lethargy, he paid little
attention to the beat-up acoustic guitar being passed from patron to patron
around him; that was until it found its home in the hands of Leah Fay.
only seconds of strumming and dreamy, dulcet singing for Dreimanis to realize
he’d met his muse. He sat listening, dumfounded, dreaming up ideas for what
could come to be between the two of them. Clear-headed the next day, he started
his search for the stranger from the bar with whom he seemingly shared a soul.
He found her; they founded July Talk.
their relatively young union, the primary pair behind July Talk has already
established its own sonancy: a sound rooted in roots and Americana with the
dual-voice charm of Johnny and June, the creepy quirkiness of Tom Waits, and
the hooks of Edward Sharpe and the Magnetic Zeros. It’s a very unique blend
that borrows from different decades and domains, though where those influences
begin and end is cleverly disguised.
special about a July Talk experience, though, is the foiling of Dreimanis and
Fay as personas; who they are inside or outside of the public eye and just what
it is that exists between them. Lyrically, the pair plays with the
juxtaposition of gender roles and perspectives, distorting social
preconceptions. It’s often a war waged between clashing personalities in a
frame that shares two perspectives of the same relationship – at times
conflicted, at times chaotic, most times just downright bewildering.
opposition between the two forces is only heightened when the band brings its
buzz-building show to the stage as both Fay and Dreimanis physically exercise
their interpersonal demons via everything from bite marks to blown kisses. Even
the line between spectator and spectacle blurs as some crowd members in
themselves become a canvas for the art being produced onstage.
relationship full of extremes, both poetic and musical. The lyrics seem to skew
an onlooker’s perspective of the ever-morphing relationship these two share.
The sonic dynamics, on the other hand, are equally polarizing, from
whiskey-whetted lyrics at the forefront of a few softly-strummed chords to a
flurry of frantic shouting, overdriven guitars, and pulsating rhythms. The
loudest louds, the most haunting quiets.
is currently at work on their debut LP, eyeing a fall 2012 release on White
Girl Records. Should it contain even a fraction of the passion and in-your-face
frenzy of one of the band’s performances, there’s no question it’ll capture
ears and propel them to new plateaus in new places.
meantime, see them soon, because as their audience continues to expand, so too
does the likelihood that they won’t remain a secret much longer. As the story
of their origins only exemplifies, you really never know who might be listening
at any given time.
Adam Arcuragi is an American-born folk/soul songwriter and musician from Georgia, who also lived in Philadelphia, Pennsylvania, for many years. He is credited with being the founder of the musical genre Death Gospel.
Adam's debut album (untitled) was released on High Two
in 2006. Upon release of the album, Arcuragi was praised for his
complex and often introspective lyrics and his voice garnered
comparisons to Nick Drake and Mark Kozelek. Songs from the album were featured on stations and sites such as NPR's All Songs Considered. In 2008, Arcuragi recorded a La Blogotheque/Take-Away Show in New York City and the same year released his EP 'Soldiers For Feet'.
Arcuragi released his second full-length album titled I am become joy in September 2009. The album included collaborations with singer Dawn Landes, Jesse Elliott of These United States, as well as Brian Christinzio of B.C. Camplight The backing vocals on I Am Become Joy
were meant to sound like that of a "ramshackle choir as though each
song was tracked in a different church across the wide swath of Route 80 that cuts from southern Georgia to Mississippi".
"Like A Fire That Consumes All Before It" was released on January 31, 2012. The album premiered on NPR's "First Listen", and the first single, "You'd Think This Was Easy" premiered on American Songwriter. Positive album reviews appeared on NPR, Paste, The Washington Post, The Huffington Post, Prefix, Impose, Time Out New York, The Portland Mercury and many others.
Over the past two years, Adam recorded an NPR Tiny Desk Concert with Bob Boilen, three Daytrotter Sessions, and toured extensively through the United States and Europe, with his band 'The Lupine Chorale Society'. He recorded a version of Claude Ely's Ain't No Grave
for a compilation called 'The Old Lonesome Sound, alongside artists Wye
Oak, Deer Tick, Phosphorescent and others. Reviews, Interviews and
articles appeared in Rolling Stone, Paste Magazine, American Songwriter, on NPR, in The L Magazine, Magnet, The Philadelphia Weekly and The Washington Post,
The Austin Chronicle, The Guardian UK, Huffington Post and many others.
In 2012 he recorded a 78 Project that was featured on The BBC
Words by Sean Moeller, Illustration by Johnnie Cluney, Recording engineered by Mike Gentry
Life's Jesse Elliott is well aware of the snags in the road. He's
driven over all of the bumps and the holes that have worked themselves
into formerly smooth surfaces. He's driven over them at great speeds,
banging into their bellies with cringe-inducing knocks. He's aware of
the jokers and the mimics. He's found the fakes - or they've found him.
He's put himself in the den of temptations and he's been dazzled by the
mundane. He's given himself over to the urges that come from some place
that never thinks anything through and he's glad to have done so.
a hiatus from These United States - one of the hardest working bands of
recent times, Elliott has relocated to Denver, Colorado, and has cooked
up a band to present stories that are more domestic in nature. They're
stories that are indebted to years and years of foraging, or drifting
around, of sleeping on floors, of missing out, of living it up, of
feeling shitty and exhilarated all in the same day/same hour, of wasting
time, of finding love, losing love and not recognizing it. They are
stories that have come out of him after all of these years of exhausted
eyes, all of the dancing on the blade of a knife (as he refers to it),
plenty of rainy and wet days (one of them in wine country) and more than
enough reasons to do it all over again and more than enough reasons to
say to hell with it and stay in forever and for always.
songs are what happens when you slap yourself a little bit, when you've
come undone and then seen the makings of what might put the seams back
in where they need to be. This recognition leads to something that many
would recognize as renewal, but there's a recognition that it could lead
back to some of those divots and another undoing. Elliott sings, "I
gave you so much time to love me/Gonna have to leave you now," on the
song, "Have To Leave You Now," thanking the one-to-be-ditched for the
"crow's feet marching valleys to my brow," accepting the aged
aggravation that's been caused. He continues, singing, "I can't be
carrying on to the blue dawn repeating the same sad sounds," hinting
that there's a chance to experience more than what he's been taking.
L-O-V-E" is the song here that ties it all together, that gives a
glimpse of what's going to happen now. With three lovely lady voices
(coming from Anna Morsett, Natalie Tate and Lindsay Giles -- along with
drums from Ben DeSoto) singing soulful harmonies, we see that
depreciation to quality of life is always subjective. It's always about
what someone's willing to take or willing to accept. Here, once again,
love is a culprit, a real twister, and it turns out that it's what's
been desired all along, even when it's a damned mess
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