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      Houndmouth in San Francisco


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      June 15, 2019

      Saturday   9:00 PM

      628 Divisadero Street
      San Francisco, California 94117

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      Houndmouth

      with Balto
      In late 2011,Matt Myers,Zak Appleby andShane Codystarted playingmusic together in a historic home in New Albany, Indiana dubbed "The GreenHouse." Its rooms were adorned with relics from times past, so it was nosurprise that songs such as Penitentiary bounced off the walls. Nostalgicsounds from their first album seemed to serve as a welcome escape forlisteners from the relentless demands of the digital age. But if you asked anyone of the guys, they were 'just having fun.'Houndmouthsigned with legendary indie label Rough Trade Records in2012.From The Hills Below The City landed them on several world-famousplatforms such as fellow lovable Hoosier, David Letterman's stage.Whenvocalist, guitarist, and songwriter Matt Myers first spoke with big-nameproducer Dave Cobb prior to working together on their sophomore LPLittleNeon Limelight,the two laughingly agreed to not make another fuckingboring Americana record. Anatural sounding album captured in a familiarfashion came together, except this time with a #1 adult alternative radio singleinSedona.I never once thought of us as an Americana band, saysdrummer Shane Cody. The four of us were just a rock band, but some of ushad Southern accents, he laughs.The group find themselves on their third full length album,Golden Age,setfor an August 3, 2018 release via Reprise Records, now with four new touringband members (Caleb Hickman, Drew Miller, Graeme Gardiner, and AaronCraker - after Katie Toupins departure). Although there is no doubt that theirperceivedpublic identity is founded on roots and Americana, Houndmouthnevertheless created a concept album around a nostalgic future - and thesound will certainly reflect its message. The credits forGolden Ageonlybegin to hint at the lengths they went to in order to find the sound of theirnostalgic future vintage Voxes, Vocoders and Moogs, modernprogramming, strings, tympani, baritone sax, live drums, Linn drums,unvarnished pianos and very distorted guitars.What's happening withhumans and technology right now was on my mind really heavily, saysMyers, and we naturally went that way with the music too. Usingsynthesizers and drum pads just kind of felt right. I feel like we went into itbeing like, Yeah, lets do a Bruce Springsteen/Daft Punk record. Myersgoes on to explain,I think the human aspects are still paramount, eventhough it may sound a bit more bizarre. There's some part of Tom Petty,Randy Newman and the Band that I cant get away from, and I wanted to keepthat untouched, I guess. Itsnot about trying to emulate whats on the radio,its combining and messing with sounds to try to make something that seemsvery familiar but doesn't actually sound like anything you've ever heardbefore."Houndmouth knew they wanted to work with producers who would be open toembracing a restless inventors spirit, but they had no idea just how inventivethings would get until they hooked up with the team ofJonathan Rado, bestknown as a member of the celebrated indie band Foxygen, andShawnEverett, who as a producer, engineer and mixer has been a primarycollaborator on records from artists as diverse as Alabama Shakes, TheKillers, The War on Drugs, Kesha, Kacey Musgraves and John Legend. Infact,the first single,This Party,bears a credit for bucket and rubber bandbass, which turns out to be a literal rendering of just how they got the criticalingredient: by putting actual rubber bands around a bucket and pitching theplucking up or down in tone until they had the faux boomy bass-synth soundof everyones dreams. For another song, they cut up an analog tape loop anddragged it behind a truck in the desert outside of El Paso; when they ran itback through the machine, somehow the abuse had caused a spooky hi-hatsound to appear on the tape, which turned out to be just perfect forWorldLeader.As for the jaguars credited on Black Jaguar?Theyre real boththe car and the animal.Theres no denying that with the previous records, weweren't hip to all the stuff at our fingertips, says bassist, vocalist, andsongwriter Zak Appleby. This time it was a completely different vibe like,Okay so we've got the skeleton for the song, now let's put the meat on it. Ithink experimental is exactly the right word. We still had boundaries to draw;they just didnt have to do with how we got to the sounds. Shawn andJonathan said, Hey, any sound that you hear in your head that you canhum, that you can imagine we can create that here. That was day one, andthat led the album in this awesome direction of anything being possible.On Coast to Coast,Myers sings, Do you ever feel like a ghost when yourestaring into your phone? Despite the holy-shit-far-outside-the-box recordingstyle, the songs on this concept album touch more on the prison manyhumans find themselves in daily - one based around staring into the littleelectronic box we carry, or our digital comfort zones as the band describesthem.Knee-jerk reactions may defineGolden Ageas a metamorphosis, but it is inactuality a catharsis. Uploading ones thoughts on life is easier than ever, butHoundmouth took a painstakingly unique route to creatively craft their purge ofemotions. This album tackles the issues of identity and self in the digital epochof romance.Perhaps the perceived 'escape' or break in time provided by Houndmouth'sinitial sound was enough to fight off the modern plight for some time, butmembers and listeners are awarded now with true sight and perspective intothe world as it currently stands. In the words of an author you probably quotedto some girl in college to sound interesting, "I think novels that leave outtechnology misrepresent life as badly as Victorians misrepresented life byleaving out sex," viaVonnegut.

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