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July Talk and special guests
free show!


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.

It took

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.

It’s a

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.

July Talk

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.

In the

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.[1]

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[2] 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",[3] and the first single, "You'd Think This Was Easy" premiered on American Songwriter. Positive album reviews appeared on NPR,[4] Paste,[5] The Washington Post, The Huffington Post,[6] Prefix,[7] 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,[8] 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,[9] 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[10]

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.

Ark Life

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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