http://www.bottomofthehill.com         http://www.facebook.com/bottomofthehill http://twitter.com/#!/bottomofthehill

CALENDAR CLUB INFO BOOKING SCRAPBOOK HIGHLIGHTS

click on month for monthly picture calendar 
   http://www.bottomofthehill.com/iC201811.html http://www.bottomofthehill.com/iC201812.html http://www.bottomofthehill.com/iC201901.html http://www.bottomofthehill.com/iC201902.html http://www.bottomofthehill.com/iC201903.html

Listings are in the opposite order of appearance: headliner is listed at the top, next is the support band(s), and the last band listed is the opener.


Bookmark and Share





BUY TICKETS ONLINE
>>back to listings calendar
>> back to picture calendar
Sunday March 24 2019
  6:30PM doors -- music at 7:00PM
 
•••  ALL AGES
$20 in advance / $25 at the door
Laura Jane Grace & The Devouring Mothers
  from
Against Me!

www.facebook.com/LauraJaneGrace/
 Folk Punk/ Punk Rock
Mercy Union
www.facebook.com/mercyunionband/
 Alternative Post-Punk
Control Top
www.facebook.com/controltopband/
 Post-Punk


Laura Jane Grace & The Devouring Mothers
-from St. Augestine, FL/Chicagi, IL
-To say musician, author and activist Laura Jane Grace has had a defiant career would be the understatement of the year. Whether being accused of leaving the DIY punk scene to pursue a major label career over a decade ago, or courageously challenging people's conceptions of gender identity with a bombshell Rolling Stone article, Grace has remained a daring and influential cultural figure in her over 20+ years of creating dynamic art across various mediums. Sure, she’s bound to worry some fans with her decision to press pause on Against Me! to release a more intimate singer-songwriter leaning solo album under the name Laura Jane Grace & the Devouring Mothers, but her artistic motivation cast her determination in steel. “In the back of my head I was thinking, ‘f**k all of you, I’m going to do this anyway,'” she says with a smile.
 

With this conviction came liberation, because few expectations equals total freedom. Indeed on the record’s opening cut, “China Beach,” Grace delivers a bold, lip-curled statement of intent: “Learn to trust yourself, no one else matters / Respect the source and always welcome failure.” And it’s in this spirit—with the help of Against Me! drummer Atom Willard and long-term AM! producer Marc Jacob Hudson on bass—that Bought to Rot, the debut album from Laura Jane Grace & the Devouring Mothers, came into existence.

Bought to Rot was written largely in motion—on tour, in Spain, Australia, Amsterdam hotel rooms, and some at home in Chicago. It’s a record scorched with honesty, unapologetically confessional, capturing many moments snipped from Grace’s life and stitched together in song. Although it’s a step and a twist away from Against Me!’s sonic blueprint, there’s still a kinetic punk energy that vibrates throughout. These compositions are looser, stripped, but with a melodic pop immediacy pushing to the fore. “I have my main gig, but I’m still doing this thing,” she continues. “It’s undeniable and it’s really good and here’s the proof … so what are you going to do with that?” Well, it has to go out into the world: via Bloodshot Records, the storied Chicago indie boasting a past & present roster that includes Ryan Adams, Neko Case, Murder by Death, Old 97’s and Justin Townes Earle.

The seeds of this project were initially sown when Grace, Hudson and Willard introduced the band on a small run of dates in 2016 that included Grace delivering impassioned readings of journal entries between stripped-down Against Me! songs, most of which were featured in her critically acclaimed memoir Tranny: Confessions Of Punk Rock’s Most Infamous Anarchist Sellout. Coming off the cycle for Shape Shift With Me, Against Me!’s latest full-length studio album, and a North American arena tour with Green Day, Grace was asked to perform a Mountain Goats cover on the podcast Welcome to Night Vale, and it was then that she received a massive sense of renewed momentum overall. 

With additional songs penned that felt more stand-alone than a proper Against Me! offering, Bought to Rot resulted in 14 gripping tracks detailing Grace’s fractured relationship with her adopted hometown of Chicago (“I Hate Chicago”), the act of interpersonal acceptance (“The Friendship Song”), all-consuming affection until our ultimate demise [“Apocalypse Now (& Later)”], complicated romance (“The Airplane Song”), and reconciling everything in the end. As a complete body of work, the album stands as the most musically diverse collection of songs Grace has written to date, and is what she affectionately calls her “Scorpio” record – redolent in sex, drugs, and rock ’n’ roll.

Additionally inspired in large part by Full Moon Fever, the first album Grace ever owned, Bought to Rot finds her at the same age Tom Petty was when he created his classic solo debut. In light of his recent passing, Grace was even able to pay direct homage to him on the recording. "I bought a '64 Fender Jaguar off Stan Lynch, drummer of the Heartbreakers, and I always like to think that maybe Petty had picked it up and strummed a couple chords on it,” she says. “I always liked the idea of having my fingers dance on the same fret board as my hero."

There’s a refreshing sense of variety present on Bought to Rot, an album that features a vast array of musical textures and lyrics that read like separate short stories throughout. “My approach musically to the record was that I wanted it to feel like a mixtape,” Grace recently told Rolling Stone. “Like OK, you’ve got this Nirvana-like song, you’ve got a Cure song. It was musically freeing, in that way, to just be playing whatever was coming to me as I was writing and not having to think about it.” As such, “I Hate Chicago,” a tongue-in-cheek centerpiece to the album that has become a bit of a live favorite to Chicagoans and non-locals alike, finds Grace at her most wry and entertainingly venomous, lambasting the city’s sports teams and revered bands, its festivals and its unfriendly denizens over an Americana-angled jaunt.

Created at a breakneck pace, Bought to Rot is finally here and ready to be consumed & dissected: to be loved, to be hated. It’s an album propelled by a sense of restless, forward motion and the inherent need for Grace to continue evolving as an artist and person the only way she knows how. “I don’t want to write about these same things anymore,” she says. “I need some new sources of inspiration. And I don’t want to be negative. I want to write some positive, happy songs, and I wanted that to be inspired by positive, happy living, too.”

Against Me! has toured with Bloodshot artists Murder By Death, William Elliott Whitmore, and Cory Branan and, in 2017, Grace appeared on the lead track “I Only Know” on Branan’s album Adios.




Mercy Union
Jared Hart
Benny Horowitz
Nick Jorgensen
Rocky Catanese
-from Jersey City, NJ

-Four friends from New Jersey decided to come together over the past year in a basement. Over their countless meetings in the shadow of Manhattan in Jersey City, the four members of Mercy Union – Jared Hart (lead vocals/rhythm guitar), Rocky Catanese (lead guitar), Nick Jorgensen (bass) and Benny Horowitz (drums) – pushed their creative limits through endless riffs and backbeats, and in the process, the band was born.

While navigating topics as heavy as the air in that tight basement, these musicians blended their individual styles into a unique and wistful sound that moves one's soul. From the driving & sweeping centerpieces, “Young Dionysians” and “Silver Dollars,” to the dreamy, romantic twang of “Layovers,” The Quarry is influenced both by the timeless music of the band’s home state as it is the classic tradition of punk, soul and Americana music. There is something familiar about the music presented here; it’s not quite déjà vu or nostalgia but it harkens back to the music cherished during one’s formative years. The Quarry washes over you – it is nothing you’ve heard before and has the comfort you didn’t know you needed. Hart had the following to share about the album and what it represents to him:

"'The Quarry' embodies the human thought process. It represents the ability to look
at your life and memories from the outside, and hopefully gain some perspective.
These songs explore elements of worry, gratitude, loss, and self-worth. It's a record I've been hesitant to approach until the right pieces fell into place."

With an infinite number of miles under their collective belts, thanks in part to their previous projects which include The Gaslight Anthem, The Scandals, and Let Me Run, Mercy Union sought to road-test The Quarry immediately. In the months that followed the recording of the album, the band supported acts such as California’s Racquet Club (feat. members of Samiam, The Jealous Sound), John Nolan of Taking Back Sunday, The Menzingers and Dave Hause on various tours and one-off gigs. Mercy Union has recently been shredding around the Northeast and will be performing at The Fest in Gainesville this fall.



Control Top
Al (he), Ali (she), Alex (they)
-from Philadelphia, PA

-Appearing in various forms in the Philly DIY music scene since 2015, the post-punk trio Control Top is a tribute to persistence and evolving through doing. Amid periods of dormancy, stylistic forays and lineup changes, singer/bassist and founding member Ali Carter was determined to keep the project going after the release of the band's demo tape. In 2017, she recruited drummer Alex Lichtenauer (HIRS, Get Better Records) and guitarist Al Creedon (Bleeding Rainbow, I IM EYE MY). Lichtenauer was searching for a new project to get involved in, while Creedon was rediscovering electric guitar after years of playing noise and electronic music. Together, they forged a clear identity, blending diverse tastes to create music for a time beyond despair and naïveté. Covert Contracts--their debut full-length recorded, produced and mixed by Creedon--will be out in 2019.
That’s the thing with post-punk. There’s so much a band can do under its umbrella. The Slits and Devo, Glenn Branca and Siouxsie and the Banshees--these artists are all wildly different yet found a home in a genre that resists definition. Control Top gets inspiration from these wide-ranging pioneers yet remains true to the post-punk ethos of anti-imitation and the drive to create a new remedy to modern ills. The urge to resist conformity is stronger than ever, and the need for urgent, relevant music is just as strong.
“Control Top play fast and hard, and there’s wildness in Carter’s voice, so it’s almost like they’re a runaway train of a band. But there’s no chaos in the way they play. Instead, their sound is tight and crispy and impeccably constructed. It’s tension and release all at once.” - Stereogum