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Sun Sep 21 |
BRONCOS SUNDAY
with FREE SHOTS EVERY TIME THE BRONCOS SCORE!
Sun Sep 21 |
9 VOLT FATALE
with AUGUSTUS, THOUSAND FRAMES, MYTHirst
Tue Sep 23 |
YOUNG RISING SONS
with TOMMY FREED & THE SOUND, OKO TYGRA
Wed Sep 24 |
MIKE WATT
with THE POLLUTION
Thu Sep 25 |
HAPPY HOUR BINGO - Win tix to Phantogram, Jimmy Eat World, Young Rising Sons + more!
Thu Sep 25 |
GLASS ANIMALS
with ROME FORTUNE
Fri Sep 26 |
JESSE R.S.
with THE BELL HOURS, BEES WITH GUNS
Sat Sep 27 |
CASEY JAMES PRESTWOOD & THE BURNING ANGELS
with MILE HIGH EXPRESS, IDLEWHILE
Sun Sep 28 |
1400 MILES BLOCK PARTY
with ROWDY SHADEHOUSE, THE OTHER BLACK, ROSSONIAN, WOODSHED RED
Sun Sep 28 |
AGENT ORANGE
with IN THE WHALE, CODENAME : CARTER
Mon Sep 29 |
THE ELECTRIC SONS
with BESTFRIENDS, VOLITILLES
Tue Sep 30 |
KOPECKY FAMILY BAND
with AVID DANCER
Wed Oct 1 |
EARTH
with KING DUDE
Thu Oct 2 |
BEACH FOSSILS
with HEAVENLY BEAT, AXXA/ABRAXAS
Fri Oct 3 |
THE SOUND & COLOR
with KERRY PASTINE & THE CRIME SCENE, FAIRWATER
Sat Oct 4 |
THE GIRAFFES
with BRONZE, RANDY CONRAD OLINGER, CIRCLE NUMBER DOT
Sun Oct 5 |
KALIN AND MYLES
with RYAN BEATTY
Sun Oct 5 |
BRONCOS VS. CARDINALS
Tue Oct 7 |
BAHAMAS
with BASIA BULAT
Wed Oct 8 |
WILD PARTY
Sat Oct 11 |
WALK THE MOON
Sun Oct 12 |
BRONCOS VS. JETS
Tue Oct 14 |
ASGEIR
with LOW ROAR
Wed Oct 15 |
SONREAL
Fri Oct 17 |
HONEYHONEY
Sat Oct 18 |
THE PREATURES
Sun Oct 19 |
BRONCOS VS. 49ERS
Mon Oct 20 |
TURQUOISE JEEP
with YIP DECEIVER
Tue Oct 21 |
BRONCHO
with LOW LITAS, NED GARTHE EXPLOSION
Thu Oct 23 |
BRONCOS VS. CHARGERS
Sat Oct 25 |
CON BRO CHILL
Mon Oct 27 |
RUN RIVER NORTH
Tue Oct 28 |
AVI BUFFALO
Fri Oct 31 |
SECRET CHIEFS 3
with ATOMIC APE
Sun Nov 2 |
BRONCOS VS. PATRIOTS
Tue Nov 4 |
BEAR HANDS
with FENCES
Fri Nov 7 |
STREETS OF LAREDO
Sat Nov 8 |
JUDAH & THE LION
with LITTLE CHIEF, PHILLIP MARK
Sun Nov 9 |
BRONCOS VS. RAIDERS
Mon Nov 10 |
SOHN
with WET
Sun Nov 16 |
BRONCOS VS. RAMS
Fri Nov 21 |
J MASCIS (NIGHT ONE)
with LULUC
Sat Nov 22 |
J MASCIS (NIGHT TWO)
with LULUC
Sun Nov 23 |
SALLIE FORD
Sun Nov 23 |
BRONCOS VS. DOLPHINS
Sun Nov 30 |
BRONCOS VS. CHIEFS
Tue Dec 2 |
MY BRIGHTEST DIAMOND
Sat Dec 6 |
COLLEGE
Sun Dec 7 |
BRONCOS VS. BILLS
Sun Dec 7 |
THE BALLROOM THIEVES
Sun Dec 14 |
BRONCOS VS. CHARGERS
Mon Dec 22 |
BRONCOS VS. BENGALS
Sun Dec 28 |
BRONCOS VS. RAIDERS

Sat Mar 29 | OpenAir 1340 Presents | 18+

MILAGRES  

SKI LODGE
FAMILY CREST
NOT THE ARROW

Doors open at 7 PM   |   Show starts at 8 PM   |   $8 EARLY BIRD | $10 ADV | $12 DAY OF SHOW





Milagres / Violent Light Released February 23, 2014 on Kill Rock Stars Audible fireworks explode in the distance of the opening moments of Milagres second album, the aptly titled, Violent Light. It is essentially elemental, as vocalist Kyle Wilson descends on lead track, “Perennial Bulb”, singing, “I am in a cloud”, keys and drums pounding around him as he issues the album’s thesis statement: “My feet are bare. They hit the ground. I’m running toward the miracle.” This is the way down and the way up for the band, fire exploding in the sky behind them, toes tucked firmly into the dark soil, running toward a transfiguration. Far from being the fleeting perennial bulb or mercurial firework, Milagres instead fill Violent Light with richness and delicacy, channeling influences as diverse as Bowie, Peter Gabriel and Kate Bush, providing a durability of vision and influence that is as much born from the earth as it seeks to return to it.

The history of Milagres runs back more than a decade as Wilson performed under the name as a solo artist before moving to Brooklyn and eventually linking with current members Fraser McCulloch, Chris Brazee and new drummer, Paul Payabyab. In 2011, official debut Milagres record, Glowing Mouth, yielded a sight-unseen signing to Kill Rock Stars, national club and European festival touring, and inclusion on numerous year-end “Best of” lists for 2011 and 2012. Eponymous single, “Glowing Mouth” introduced audiences to Wilson’s brilliant falsetto hooks, as well as the band’s blinking, cold-medicine aesthetic. It was a fever dream, a fantasy world full of pitch and yaw, blurry edges and limitless possibility, choruses that erupted and hooks that stuck. Independent rock fans and press took note, as well as radio outlets KEXP and KCRW. Returning to the studio with McCulloch on production duties, Wilson and the band set out to expand and clarify the warm neon universe of Glowing Mouth.

Violent Light begins at the beginning. Wilson found inspiration for the record in the memories of childhood summers spent with his grandparents in Northern New Mexico. The caves, valleys and mesa burial grounds of the Pueblo Indians intermingled with Wilson’s conversations about atomic physics with his grandfather, a scientist on the Manhattan Project of the 1940s and the development of the hydrogen bomb in the 1950s. This mixture of twin organic compounds, the history of ancient people who made their lives in these caves in the earth and the lethal, brilliant modernity of the mid-20th century, unite and blur on Violent Light. When the recording for the album was complete, Wilson returned to visit his grandfather, an attempt to unify these visions, the scientist and the outdoorsmen poet. The conversation bore no fruit, and the listener is left only with the brilliant tension between these twin naturalisms on Violent Light. The stakes aren’t life and death, but how best to live in the shadow of modern fatalism, to wrestle with the meaning of the fire in the sky.

The album ranges across eras and soundscapes channeling psychedelica, dream pop and classic rock. Lead single, “Jeweled Cave” rides a winking Bowie hook, surging keyboard and syrupy backing vocals. Wilson insists in the tracer fire of the chorus, “We were in love” as the arrangement swirls around him. The stakes are in the sky on “Black Table” as Paul Payabyab’s insistent drumming backs an arrangement that easily could fit in the Peter Gabriel catalogue. Stand-out “Terrifying Sea” swells with immediacy, Wilson again drifting through a dangerous and elemental geography before pleading for connection, “I want nothing but you touching me.” Perhaps this is the “core of light” that Chris Brazee describes as lying at the center of these dark compositions. Even the bright, synthesizer-driven, “Sunburn” has Wilson wrestling between the earthly and the modern, “You felt real in a world of plastic, a bit of grit in a sterile place, I’ll be the bird flying up into the sunburn”, another of the album’s instantly memorable hooks. It is the Icarus problem, to have flown so high and burned our little wax wings: The caves of the Pueblo Indians dug into earth of the testing sites for the atomic bomb.

These tensions drive Milagres forward onViolent Light. Melodies and lyrics written partially in wanderings through Greenpoint and Williamsburg day and nightlife, Wilson and the band apply their unique democracy to fleshing out the arrangements that appear on the record. They take the listener into the belly of a remembered landscape, a meditation on the self and modernity as we have come to know and fear it. On final track, “Another Light”, Wilson sings, “When I was young I was afraid that I would never find a way home”, closing the record with, “I’m not afraid to die a natural death”, the final rest in the existential crisis. This is the atomic bomb, the ancient burial site, the melody hiding in the bar at the corner of Franklin and Manhattan Avenues.  This, then, is the miracle, the bare feet and explosions ofViolent Light, an intimate and ambitious record from a band with its toes on the ground and its eyes in the sky.
 

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