The Bowery Presents
Clutch

Clutch

Lucero, The Sword

Mon, May 15, 2017

Doors: 7:00 pm / Show: 8:00 pm

Brooklyn Steel

Brooklyn, NY

$35 ADV / $40 DOS

This event is 16 and over

Clutch
Clutch
Neil Fallon: Vocals/ Guitar
Jean-Paul Gaster: Drums
Dan Maines: Bass
Tim Sult: Guitar

It’s the parabolic motion of projectiles. Or, as Isaac Newton stated, what goes up must come down — that is, everything except Clutch.

Earth Rocker created an insurmountable peak. But Psychic Warfare has altered laws of physics by elevating the smart songwriting and impressive performances of that last album, setting an even higher benchmark as their now-definitive album to date.

The eleventh Clutch studio album Psychic Warfare goes straight for the throat with “X- Ray Visions” and never lets go. Working again with acclaimed producer Machine, this time in Texas, the concise arrangements that made Earth Rocker so assertive is the same harness for the combustible musical energy on Psychic Warfare. Harder, faster… let the rhythm hit ‘em.

Formed in 1991, the Maryland-based band’s ability to absorb different musical styles and fabricate them into a distinct Clutch sound continues to be their forté. “A Quick Death In Texas,” overstocked with signature “Clutch heavy” Tim Sult riffs and lonesome guitar licks, and the funk undercurrent of “Your Love Is Incarceration,” color Psychic Warfare with articulate musicality and comfortable familiarity.

The overall intensity of Psychic Warfare would be self-consuming without the pressure valve of a canny rhythm section. Drummer Jean-Paul Gaster and bassist Dan Maines have an intuitive sense of dynamics that gives weight and contrast to the forcefulness of the vocals, steering Clutch into the straightaway out of tight, exhilarating corners.

“I listened closely to the rhythm of Neil’s vocals this time around.” Gaster explains. “The rhythms he sings, are very syncopated. It was my goal to articulate these rhythms on the drums while keeping the pulse of the music strong.”

Psychic Warfare is cinematic, a soundtrack to the plot of singer Neil Fallon’s imagination. The narrative of “The Affidavit” sets the scene for an album of gunslingers, energy weapons, paranoid neurosis, and the occasional three-legged mule. It’s an episodic lyrical landscape populated by abstract characterization, nuance, and clever peculiarity.

“I spent a lot of time doting over the lyrics,” Fallon says. “It was fun because I have a great luxury that I’m a professional liar — that’s what a storyteller is. Or at least that’s what I try to be. It’s the one socially acceptable way to completely deceive people, and that’s what they want. If you sing it with enough conviction, people won’t question it. I just love that escapism, the fantasy aspect of it. And fantasy doesn’t necessarily equate to dragons and wizards. It can be seedy hotel rooms and sketchy hitchhikers.”

Gaster says the band knowing Earth Rocker was such a high water mark put them in a position of needing to follow up with an exceptional album. “Looking back on the process, one thing that sticks out in my mind is the amount of rehearsal the band put in. We started each pre-production day by writing out a new album sequence and then playing that sequence straight thru as if it were a set list. I think this allowed us to get inside the songs in a way we had not done before. When it came time to record drum tracks, I had a clear idea of how I wanted to play each song.”

In the past, Clutch consciously made each album conspicuously different from the last one. “We had a sadistic fear of repeating ourselves,” Fallon admits. “But over the last few years, we’ve realized our strengths and what it is that people like about us. Why deny it? Clutch is Clutch, embrace what you are.”

The bar is set higher, laws of physics be damned. Psychic Warfare is the new adventure, and it has no limit.
Lucero
Lucero
LUCERO: ALL A MAN SHOULD DO – By Brian Venable

You could say we were one of the lucky ones, starting this band in April of ’98 without a clue as to what we were doing. We were getting tired of the steady punk rock and metal diet and we wanted to try our hand at country songs, or do our best Tom Waits/Pogues impersonation.

The trick there was that we couldn’t really play our instruments! I had never played guitar before and Ben Nichols (lead singer, guitar) had only played bass in other bands. Finding Roy Berry (drummer) and John C. Stubblefield (bassist) solidified the line up and being hidden away in Memphis allowed us to woodshed, experiment with different sounds and create one that was ours alone.

Eventually we got out of town, and playing 250 shows year not only made us tight as a band but as a family as well. We are still one of the few bands out there with the original line up from almost the beginning, and it shows.

Picking up Rick Steff on keys allowed us to expand the sound and grow musically. Being able to play whatever we could think up in our heads and having the music we loved and grew up on motivate and inspire us to try new things and take chances. We realized that if you added some horns to Ben’s lyrics that it took it to the next step, from sad bastard country rock to soul and R&B and we realized we were a Memphis band and came by it honest. We have always brought Memphis with us wherever we went and this just proved it.

We came out screaming on 1372 Overton Park. Big sound, bigger horns - like a kid with a new toy we put them on everything and loved it! This record was a marked departure from the previous sound and announcement of way things we’re gonna be now!

While 1372 Overton Park was written and the horns added after the fact, Women & Work was written with the horns in mind so it was a little less gung ho and was starting to settle in nicely. Women & Work is one of the best modern Southern rock records in my opinion and the song “On My Way Downtown” has almost surpassed “Tears Don’t Matter Much” as the crowd favorite… almost!

This brings us to the new record. All A Man Should Do contains some of the most resonant lyrics Ben Nichols has ever written, lyrics that read like chapters from his life on the duality of relationships, getting older, finding where you want to be in this world, and musically we are broadening our sound. Working with producer Ted Hutt for a third time at the famous Ardent Studios, we felt comfortable enough to take some chances with a palette of new tones that sound understated yet powerful, bringing life to the stories behind the lyrics without overshadowing them.

It’s also the first time we’ve ever put a cover song on a record, with a full band version of big star’s “I Fell in Love with a Girl”, and having Jody from Big Star sing back-up vocals makes it that more special and amazing. This is a Memphis record in the greatest sense and a perfect finish to the three-part love letter to a city that brought us up and made us what we are today.

“I was 15 years old in 1989. This record sounds like the record I wanted to make when I was 15. It just took 25 years of mistakes to get it done.” - Ben Nichols

“Having Big Star actually sing on your cover of a Big Star song that you’re recording at Ardent Studios - it doesn’t get much more exciting than that.” – Ben Nichols
The Sword
The Sword
One of the foundations of the metal revival of the past ten years, Austin TX’s The Sword have released two flawless slabs of vintage heaviness on Kemado Records, toured the world with Metallica, and were one of the first bands to lock into a whole new legion of fans through Guitar Hero. This summer, the band casts its gaze to the stars for Warp Riders, their third full-length and their most ambitious effort to date.

Warp Riders is The Sword’s first concept album, a science fiction maelstrom put to the storming, relentless riffage and pounding rhythms upon which the band has staked its reputation. It’s also their most flat-out, supercharged, adrenaline-pumping work yet, a chrome-plated war machine that lords over the blackened sky. From the street-prowling anthems “Night City” and “Lawless Lands” to the two-part showdown of “The Chronomancer,” to the furious mechanics of closing track “(The Night the Sky Cried) Tears of Fire,” The Sword forces eminent domain ruling over heavy metal for the next decade, and welcome all challengers for an ill-fated shot at the title.

Warp Riders tells the tale of Ereth, an archer banished from his tribe on the planet Acheron. A hardscrabble planet that has undergone a tidal lock, which has caused one side to be scorched by three suns, and the other enshrouded in perpetual darkness, it is the background for a tale of strife and fantasy, the battle between pure good and pure evil. How it’s told — through the dueling lead guitars of J.D. Cronise and Kyle Shutt, and the concussive rhythm section of bassist Bryan Ritchie and drummer Trivett Wingo — underscores the narrative with molten steel and unreal precision.

Guitarist and lead vocalist J.D. Cronise explains the lineage of Warp Riders: “I’m pretty sure the first concept album I ever heard was Operation: Mindcrime by Queensrÿche when I was a kid, which I was way into. Even though I never really understood the whole story, I was nonetheless enthralled by how the album created its own world. I wanted to create a setting for our songs that would be unique and different, but still a place where epic sagas unfold in proper Sword fashion.” Inspiration took hold from “lots of things “¦ the legend of Atlantis, old Heavy Metal magazines, the films of René Laloux, a childhood dream, and The Teachings of Don Juan by Carlos Castaneda to name a few.”

The story of Warp Riders, entitled “The Night The Sky Cried Tears Of Fire” (written by Cronise), follows Ereth as he discovers a mysterious orb and meets the Chronomancer, a being beyond time and space who enlists him in a quest to restore the planet’s balance. Along the way he encounters strange warriors, mysterious witches, ancient androids, and a crew of space pirates with a vessel that will alter the course of history… a vessel known as, The Sword.
Venue Information:
Brooklyn Steel
319 Frost Street
Brooklyn, NY, 11222