Potty Mouth + Partybaby

Potty Mouth + Partybaby

Tennis System, Stove

Wed, March 1, 2017

8:00 pm

Baby's All Right

Brooklyn, NY

$15.00

This event is 18 and over

Potty Mouth
Potty Mouth
Potty Mouth are Western MA-based trio Abby Weems (guitar, lead vocals), Ally Einbinder (bass) and Victoria Mandanas (drums). Originating in 2011 from the hometown of guitar rock predecessors Dinosaur Jr., Potty Mouth emerged from a casual, "why not?" attitude when Einbinder, who met Mandanas at Smith college, set out to form a band with like-minded women who shared her interest in learning and growing together as musicians. Though no singer was chosen at the time of formation, Weems emerged as having a knack for melodies and lyric writing, and what started out as a casual pastime turned into a way of life; recording, making t-shirts, and planning tours soon came in natural succession.

One year after their formation, the band recorded a 12" vinyl EP, entitled 'Sun Damage,' released through three small, independently-run labels. 'Sun Damage' garnered the attention of Pitchfork, who called the six-song EP an "an impressive, no-filler debut," as well as local big-hitters The Boston Globe, who named Potty Mouth one of the top five indie-rock bands to watch in 2013.

In 2013, Potty Mouth signed with Brooklyn-based indie label Old Flame Records to release their debut full-length album, 'Hell Bent.' NPR music premiered the album, calling it "one of the best rock albums of the year." As Potty Mouth garnered national attention, the band began to tour more extensively, co-headlining their first full US tour with Perfect Pussy and Swearin' in summer 2014, as well as supporting artists like Waxahatchee and Juliana Hatfield.

On August 21, 2015, the band debuted a five-song self-titled EP under their own imprint, Planet Whatever Records. Produced by John Goodmanson (Sleater-Kinney, Blonde Redhead, Bikini Kill) at London Bridge Studios in Seattle, the new EP shows off a new level of both songwriting and production for the trio. Refreshingly candid, singer-guitarist Abby Weems weaves sarcasm and melancholia into a passionate performance held together by drummer Victoria Mandanas and bassist Ally Einbinder's solid foundation. The crisper direction emphasizes the work the triad has put in since 2013's 'Hell Bent,' with more vocal harmonies and bigger production, recalling the sounds of influences like Veruca Salt and Nirvana.
Partybaby
Partybaby
Few groups start out by attempting to write pop hits for Christina Aguilera. But there isn't an awful lot about PARTYBABY's early existence that seems especially normal. Noah Gersh and Jamie Schefman were getting sick and tired of doing music. Gersh used to be a member of Portugal. The Man, while Schefman had spent life as a producer and engineer, most notably on 30 Seconds to Mars' past two records. They built themselves a "nice but shit little studio" in Los Angeles, and set about rediscovering enthusiasm for their day jobs.

"We'd both become pretty cynical. It's a dicey thing to play music professionally, especially when it's something that's incredibly therapeutic. You run the risk of it turning into something that's also causing you strife, and that's what we'd reached," says Gersh from his backyard. The potential Aguilera gig wasn't a dream come true, or some genie in the bottle. "They put out feelers to five thousand musicians!" guesses Schefman, and his wild estimation probably isn't far off. They "slaved away" at this draft track, to the point where they were climbing up the walls. Rage gave birth to 'Your Old Man', one of two balls-to-the-wall punk songs to PARTYBABY's name. "Made up, on the spot. It was like 'Ok cool - that's our band,'" remembers Gersh.

"The disenchantment that we felt from that grind is what led to the start of the band," confirms the afro-sporting Schefman.

Once PARTYBABY was set in motion, both members were intent in regaining their lust for life. "I wasn't happy," admits Gersh. "And the only reason for that was music. And that's scary as fuck, because that's how I know how to cope in the world. I was about to go to fucking culinary school or something. And then we started making this record, and thank god. I genuinely do believe that in one way or another, I'm going to be playing music for the rest of my life and that's what I'm supposed to be doing. This project came along at literally the last moment it could have happened. And it kept me on that track."
Tennis System
Tennis System
The promise of L.A. may well lie in Tennis System, who have thundered their way through their adopted city with a reverb-drenched ferocity that has, in short order, made the East Coast transplants the city's band to watch.


One listen is all it takes to comprehend why: Tennis System are masters of unhinged, lo-fi psychedelia, laced with the inescapably pop DNA of Jesus and Mary Chain, Nirvana and Ride. Behind the sweat-drenched performances, behind the Orange amps and squalling anthems is a coolly leather-clad trio, composed of front man Matty Taylor, drummer Hector Gomez, and bassist Zach Bilson. Arriving at the current lineup, however, was spirit quest that took Tennis System from one coast to the other: It was in gritty Washington, D.C. that a young Taylor steeped like tea in the music of Fugazi and Bad Brains, Black Tambourine and Nation of Ulysses. He decamped for Los Angeles, where denizens Gomez and Bilson joined the band, propelling the band forward as a full-fledged L.A. band.


Though Tennis System has shared bills with the likes of Ty Segall, Wavves, Japandroids, Pains of Being Pure at Heart, Mark Gardner and Beach Fossils, and worked with Jeff Zeigler of Uniform Recording (Kurt Vile, War on Drugs, Nothing) and Fred Kevorkian (White Stripes, Pavement, Sonic Youth, the National) since its founding in 2009, life on the best coast has only served to raise its profile: In the past year, crowds at Filter Magazine's Culture Collide festival, Austin Psych Fest, L.A.'s iconic Part-Time Punks showcase and South by Southwest have begun to bear witness to Tennis System's slash-and-burn live shows.


After 2011's much blogged-about self-released album, "Teenagers" (and its stunner of a single, "Hey We Tried"), the band returns in the fall of 2014 with "Technicolour Blind," the appropriately named, heady fever-dream of a new album that has been a year in the making for Tennis System. Its tracks, including "Technicolour Blind" "Memories & Broken Dreams" and the sparkling, anthemic "Dead Honey" are melodic departures from the gritty, fuzz-washed tunes of yore; rather, Los Angeles life, with its thrilling beauty and starkly menacing underbelly, has left Tennis System sun-bleached and wary, and left their music imbued with the peculiar patina of a rough-and-tumble circumstance. The guitars still squeal, but listen closely: Taylor's lyricism bears unexpected wisdom and woe. Recorded with Ulysses Noriega (The Wedding Present, Ben Folds, The Offspring) mixed by Drew Fisher (The Melvins, Bleached, Babies) and mastered by John Greenham (Ice Cube, Aesop Rock, Chuck Prophet), "Technicolour Blind" is poised to be Tennis System's breakout effort, even if fans knew it all along.
Stove
Stove is a new beginning, a "band" with no preconceived notions, no expectations. Things are getting Stupider, but nothing in the world of Stove is quite as it appears. Is it a band? Is it a solo project? It's all irrelevant and getting deceivingly Stupider, if you chose to believe that.

Stove's debut album Is Stupider, was written and performed alone by Stove Van Borden himself... Steve Hartlett. Following the demise of Ovlov, Hartlett wasted no time converting songs previously written for his former band's sophomore album into his new vision, an ever morphing sound too inspired to stand complacent. With the seeds of a revolving cast of friends and musicians collaborating live, Hartlett recorded Is Stupider himself, tracking the bass, guitar, drums, and vocals on his own during the span of three days this past spring, fatefully concluding on 4/20... a Stupid coincidence... but a coincidence no less.

Recorded and mixed at The Barn in beautiful rural Panton, Vermont with producers Nick Dooley and Dan Francia (both of Brooklyn's Flagland), Is Stupider is an album of expansive thoughts where the ideas shape themselves. Hartlett's songwriting travels as far dynamically in tonality as it does emotional depth, achieving the same impact from the song's fuzzy guitar melodies as their honest lyrics. Exploring the delicate balance of life's heavier choices vs. the need for a sense of humor and a healthy dose of alcohol and weed, Is Stupider is a view of our world from afar, taking the time to step back and watch the Stupidity of our choices and conventional beliefs with a sarcastic yet hopeful charm.

The album's art captures the themes and vast sonic textures with a brilliantly vibrant painting from Ben Prisk, the visionary behind Squidbillies impeccable background art. Matching the album's swirling guitars and hazy outlook, Prisk's painting is nothing if not radiant... the perfect visual welcome to Stove's outer-space drift.

Stove Is Stupider, but don't believe everything you hear.
Venue Information:
Baby's All Right
146 Broadway
Brooklyn, NY, 11211
http://babysallright.com/