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Wed Jul 1 |
DEAD ROCKS PRE-PARTY
with Larimer Lounge to unveil new mural painted by Hooks of Zeds Dead, + Dead Rocks ticket giveaway
Thu Jul 2 |
SHADY ELDERS
with OKO TGRA, BLEAK PLAZA, THE CIRCUS HOUSE
Fri Jul 3 |
TANLINES
with MAS YSA
Sun Jul 5 |
SUNDAY BBQ SERIES
with TYTO ALBA, THE GHOULIES, UMBRELLA WEATHER, KENJI URADA, CATERED BY LARGE MARGE'S PHILLY CHEESESTEAKS
Tue Jul 7 |
THE DELTA SAINTS
with RYAN CHRYS & THE ROUGH CUTS, DOUG BALMAIN
Wed Jul 8 |
UNCLE LUCIUS
with OL' HICKORY, MISS MINIVER ROSE
Thu Jul 9 |
ZELLA DAY
with POVI, MILLICENT
Fri Jul 10 |
ETERNAL SUMMERS
with WILD HONEY, MALE BLONDING
Sat Jul 11 |
K. FLAY
with LILY FANGZ, REASON THE CITIZEN
Sun Jul 12 |
THE GRISWOLDS
with WILD PARTY, RUMOURS FOLLOW
Mon Jul 13 |
THE GARDEN
with THE BIPEDAL APPROACH, GHOULFRIEND, JILLIAN GRUTTA
Tue Jul 14 |
LATE NIGHT METAL FEATURING:
with LEECH, THE HUMAN EPIC
Tue Jul 14 |
JAY BRANNAN
with SARAH SLATON (OF EDISON)
Wed Jul 15 |
SARAH BETHE NELSON
with AMERICAN CULTURE
Thu Jul 16 |
EP RELEASE PARTY
with GET ALONG, THE CIRCUS HOUSE, INNERSPACE
Fri Jul 17 |
HEEMS
with ZELOOPERZ, BA$EMENT MUZIK, BSIDE THEIVES
Sat Jul 18 |
GRAYSHOT
with THE SOLID OCEAN, THEY CALL ME HERO, MIKE RING AND THE CONNECTION
Sun Jul 19 |
SUNDAY BBQ SERIES
Mon Jul 20 |
CAYUCAS
with HIBOU, COASTAL WIVES
Tue Jul 21 |
ELENI MANDELL
with COURTNEY MARIE ANDREWS, NATALIE TATE
Wed Jul 22 |
TV GIRL
with NOVELTY DAUGHTER, MYSTIC BUMMER
Wed Jul 22 |
FEUFOLLET
with THE CLEARING
Thu Jul 23 |
SMOKESTACK RELICS
with RL COLE
Fri Jul 24 |
MELT BANANA
with HOT NERDS, SUGARSKULLS & MARIGOLDS
Sat Jul 25 |
THE NEW PACIFIC
with LIVE LIKE GLASS, I ATE A MONSTER, DIMMER SWITCH
Sun Jul 26 |
SUNDAY BBQ SERIES
with FOREVERFALL, THE OUTBREAK, OCTOBER SKIES, WITCHFINGER, with post show by, MITCHEL EVAN & THE MANGROVE, CATERED BY LARGE MARGE'S PHILLY CHEESESTEAKS
Mon Jul 27 |
CHAPPO
with YUKON BLONDE
Wed Jul 29 |
LOWER DENS
with YOUNG EJECTA
Thu Jul 30 |
NICHOLAS DAVID
with CLOUDS AND MOUNTAINS, WALKER LUKENS
Fri Jul 31 |
MILE HIGH CONNECT SUMMER SHOWCASE
with M.O.A., TROLL PACK, YOUNG GOTH, WES DAWG, YOXNG JAH, NIKO, MARVELOUS | DIEON FIGURES | J SWIFT, MALEMAN | DAVID B.A.N.G | DJ COOP SUPREME
Sun Aug 2 |
SUNDAY BBQ SERIES
with THE KISS OFF, GUN STREET GHOST, NATALIE TATE (of Ark Life), PORLOLO, ANIMA, JIM MCTURNAN ( of Soft Skulls)
Tue Aug 4 |
SCREAMING FEMALES
with DIRTY FEW, VACATION
Wed Aug 5 |
THE SPILL CANVAS
with 10 Year Anniversary Tour for One Fell Swoop
Thu Aug 6 |
GIVERS
with AERO FLYNN
Fri Aug 7 |
CIVIL TWILIGHT
with TRAPDOOR SOCIAL
Sat Aug 8 |
X AMBASSADORS
with LANY, PHASES
Tue Aug 11 |
METZ
with BIG UPS, DILLY DALLY
Thu Aug 20 |
HAVE GUN, WILL TRAVEL
with GARRETT KLAHN
Wed Aug 26 |
SEVEN SEA VOYAGE
with WALL OF THE FALLEN, EYES SET SAIL, FUNERAL IN FLAMES
Sun Aug 30 |
SUNDAY BBQ SERIES
Mon Aug 31 |
WALL OF THE FALLEN
with PATHS TO NECROPOLIS, OUR SCARLET WINTER
Wed Sep 9 |
ON AN ON
Thu Sep 17 |
THE LIGHTHOUSE AND THE WHALER
Mon Sep 21 |
STEVE'N'SEAGULLS
Tue Sep 22 |
TYLER WARD
Fri Sep 25 |
A PLACE TO BURY STRANGERS
with GROOMS, EMERALD SIAM
Tue Sep 29 |
SHANNON AND THE CLAMS
Fri Oct 9 |
JOEY CAPE
Sat Oct 10 |
THE GIRAFFES
with ENGINE EAR
Sun Oct 11 |
BOB MOSES
Tue Oct 13 |
WILLIAM FITZSIMMONS
Sat Oct 24 |
THE BROTHERS COMATOSE
Mon Oct 26 |
KING DUDE
with DRAB MAJESTY
Fri Nov 13 |
LOW
with ANDY SHAUF
Thu Nov 19 |
DAVID RAMIREZ

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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