Thursday, February 2nd

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Is this not a fantastic photo? Golly!

Jubilee is not only a badass player in the X-Men game, but the stage name for another righteous lady coming to STL to bring a special blend of authentic hot jazz and swing music. Miss Jubilee combines playful stand-up bass with vocal that sound like they come right off your record player. Songs like “All of Me” bring energetic vocals akin to Miss Patsy Cline (think “Stupid Cupid“) with a the constant rhythmic trotting of a Hackney Pony.

See her 8 PM – 11 PM at The Schlafly Tap Room. Free, or so it seems.

Friday, February 3rd

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 The Skekses are a duo of Elly and Evan who bring the sleepy-pretty to Nashville sound. Acoustic compositions like “Mattress Truck” have the quiet composure of timeless country music without the cacophonous twang associated with contemporary country songs. Just don’t ask me how to pronounce that name! Need more music? Peep their 9-track album, Collapse of an Alternate Universe here.

Also playing: Spoken Nerd (“satirical indie hip hop” = deft white man’s rhymes) and HUMDRUM. At The Schlafly Tap Room from 9 PM – midnight. Fo’ Free!

Saturday, February 4th

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Yeah, their lives shows are kinda like that...but bigger.

Bo and the Locomotive have garnered a lot of attention from STL music connoisseurs. They make a video for STL.today’s LISTEN, their drummer Steven “interviews” Pretty Little Empire for KDHX as part of the ongoing Show Me Shows project,…oh!, and some publication I’ve never heard of called The Riverfront Times deemed their album “On My Way” as one of the best local releases of 2011. Not to mention, some of us (OKAY ME) at Eleven have this super professional propensity for getting drunk and seeing them live while simultaneously having the time of my life but whatever. Passionate, loud, exciting, and pretty damn talented, the group has a  relatability and pervasive energy that make you feel at so at home, that you forget they’re not your house.

If you haven’t seen them live, you kinda owe it to yourself to get on the bandwagon and get down to The Firebird at 8 PM. It’s a free show so bring enough money for beer and celebrate The Firebird’s 3rd Anniversary with Bo and the Locomotive, Mutts, and Sleepy Kitty.

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These team names are unreal...M-80s?! I love it!

Are you a fan of Drew Barrymore‘s feature length directorial debut, Whip It but always questioned the legitimacy of roller derby? Pontificate no more. STL’s Arch Rival Roller Girls are heading into their playoffs and demand you to come screaming and cheering for the packs of women haulin’ around a rink crackin’ skulls and scorin’ points in order to make their championship dreams come true.

See the action in Queeny Park’s Midwest Sport Hockey Rink around 7:30 PM for $15. No one said watchin’ chicks sweat and kick ass was free!

Sunday, February 5th

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I'd date Donald.

Head on over to CAM to check out Christodoulos Panayiotou‘s One Thousand and One Days exhibit. Themed on what cultural ceremonies says about a place, the exhibit of mainly black and white photographs (including some stunning full-color sunsets) explores different rituals of our domestic cultures and those foreign to us.

The photos are strikingly literal, you’ll wander around and see some familiar faces (Santa Clause, for instance), and moments of foreign tendencies that’ll make you scratch your head. A little incongruous, mostly intriguing, the photographs spark a conversation about how our cultures can relate to one other through what were commonly thought of as idiosyncratic moments of custom.

Related posts

This month is all about the females, and the latest efforts from these two darlings are worth your listen and pocket cash.

The Staves- Mexico EP (Warner UK)

Okay, so this was released back in November, but The Staves, who opened for The Civil Wars at The Pageant on Sunday evening, most likely escaped your radar last year.

This trio of sisters from Watford, England, centralizes on simplicity: gorgeous vocal harmonies and soft guitar.  It’s familiar sounding, but in a nighttime lullaby that never gets old kind of way.  Think Laura Marling or Fleet Foxes (minus the testosterone and their infamous batshit trumpet solo).

“Mexico”, the title track and gem of this three-track EP, showcases The Staves’ in their prime, strong song-writing and emotive vocals.  As they harmonize on the line “I want to see the colors of another sky”, The Staves epitomize universal winter woes.  For just a brief moment, the comfort of spring is in sight.

Lana Del Rey- Lana Del Rey EP (Interscope)

Who is Lana Del Rey?

Is she a major label creation, the next best thing, the biggest SNL trainwreck since Ashlee Simpson?  Or is she all of the above?  Regardless, after just six months and over 19 million YouTube views later, Lana Del Rey’s haunter of a romance ballad, “Video Games”, has her in the national spotlight.

So far, her recordings deliver.  Del Rey’s sound is distinctive; a pairing of old-Hollywood meets modern R&B.  On “Born to Die”, she sings over a blend of strings, electronic beats, and a hip-hop vocal sample.  Similarly, LDR’s vocals are all over the place.  “Blue Jeans” finds her shifting from a deep soprano to a nasally alto to a full-fledged falsetto.

But these bipolar tunes are as sonically attractive as her glamour shots splattered on every other music publication and buzz blog.  Say what you will, but don’t count Lana Del Rey out so early in the game.  Her full-length Born to Die is out today.

Also recommended: Kathleen Edwards- Voyageur (Maple Music/Rounder), Chairlift- Something (Columbia)

Related posts

Thursday, January 26

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In the Locals get LOUD feature of last month’s publication, we educated you on the ways of the STL LOUD crew. The LOUD Label is an extension of R&R Music Labs, a home-grown studio with its hand in the cookie jar of accessibility. Every so often they put together these compilations of unreleased music by local artists and have a release show per compilation. These local advocates have a goal to give St. Louis peeps and outsiders a taste of the music STL has to offer. Well, their latest release is up and ready to be celebrated. Look for Rum Drum Ramblers, Rev. Matt, and The LuLus can be found at Off Broadway. 7:30 PM. FREE!

Friday, January 27

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Last shows are always kind of a bummer, but at least this one brings hopes of a rekindling. Jailbox‘s Andy Tranz and Joseph Bassa have a relocation in the works, so they’ll be absent from the St. Louis music scene for a while.  Favoring “more slow songs than fast songs” (or so their FB says), tracks like “Baltimore” favor fragile guitar and a sweet vocal delivery. See ‘em at Plush. 8 PM. $5.

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I’m confused and frightened by this image.

Promising what seems like fun, “down and dirty drunken rock & roll from SPACE”, to be exact, The Browncoats‘ music certainly alludes to the extra terrestrial. “Space Age Loser” takes on Beck‘s token theme of loneliness and loser-dom and turns it into a reason( littered with grunge-inspired classic guitar riffs) to celebrate. See them at The Crack Fox with Gold Tooth and The Krank Daddies. Show 9 PM. $8.

Saturday, January 28

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I bet that thing still flies…

The enigmatic band formerly known as Ping Pong, Pillow Talk describe themselves as “noisy, weird, weird”. Good enough for me. The Winchester. Shaved Women. Black Panties.

See ‘em at Lemmons. 8:00 PM. $5.

QUICK QUESTION: Who, when they read “Black Panties”, thinks about this scene from 10 Things I Hate About You? BB JGL 4 LYFE!).

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The hat and pallid epidermis seal it for me.

Our Editor Tara has been blasting Michael Franco all afternoon after interviewing venue mate Cartweel for Eleven’s blog. From what I’ve gleaned, he’s worth a look and listen. Ambient hip-hip beats under Billy Holiday vocal samples? Heck yes! Watch him work at Off Broadway (and in this video) tonight at 8:30 with Adult Fur and Cartwheel. $7.

Sunday, January 29

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Nice space, Adam!

With a unique set of pipes (think a restrained Tim McIlrath), flowing acoustic guitar, and a base of ambient tones, Adam Arcuragi is a nice reprieve from the cloying clutches of most singer-songwriters (with the exception of Drake Bell, dang it!).

See him at Cicero’s. 8PM. $8.

Related posts

Catch them on Saturday, with Adult Fur and Michael Franco at Off Broadway.

11: So tell me how the band came together?

RB: Jason and I started playing together when we started dating.

JK: In sort of different forms, Rachel, Jon, and I have been playing together close to two and half years.

KC: I started playing with them in December [2011].

11: Tell me about your shared musical influences and how you bring those influences together in Cartwheel.

RB: Jason and I listen to a lot of Wilco together.

JK: I’d say my biggest influence personally is Lou Reed, Stephen Malkmus and the Jicks, Pavement. I like the sort of poppy brashness of that style now. Mix that with Rachel’s style which is a little more lax and smooth. We try to mix those together in interesting ways. We try to keep it poppy but also highlight what Rachel does well I think, which is everything. (laughs)

KC: I think when I came into it, I wasn’t really pulling from any direct source of inspiration, any sort of band, or artist. It was just more the overarching genre. Kind of going for the indie pop sort of sound. I definitely do keep in mind the juxtaposition of the softness that Rachel brings and the beautiful melodies overtop against some more interesting, harsher backbeats.

RB: I like slow songwriters but I really like the idea of rock and roll too.

JH: It’s some combination of Feist and Spoon. Rachel’s voice with a little more driving rhythms and melodies.

11: So what does the name Cartwheel signify?

JK: I think it’s trying to be playful, right? I mean at the end of the day we play music because it’s fun. Am I going to get rich by playing music?

RB: I don’t think anyone’s getting rich by playing music now (laughs).

JK: We take our music seriously, but not too seriously. I think the trick is finding the right balance of we’re having fun playing and listening to other people and being a part of the St. Louis scene. You do a Cartwheel when you’re having fun right? We try to stick to that.

11: What effect do you feel that St. Louis as a city has on your music and also what effect do you have on St. Louis’s music scene?

RB: I feel like St. Louis has a really cool music scene. St Louis is known for blues and jazz. I feel like that’s part of the roots. There’s some alt-country stuff going on now. I feel like we bring a lot more indie pop to that. More rock and roll. I love the culture of St. Louis. I love the South City bars. I love that we can go and see a band in St. Louis that we actually, really like.

JK: There’s a lot of good Americana in this city. I think that what we’re seeing, at least from the band’s, a few of our friends we play with is the poppy, fun stuff which I think has its place. It has been kind of left behind the last five to ten years here in the city. I grew up around the St. Louis area and we all went to school around here. I think we’re even on the verge of bringing that scene up to snuff, you know?

JH: St Louis is beautiful but messy and grungy at the same time. I feel like you see a lot of that in our music as well.

11: What do you feel is unique about the bands and music in St. Louis? You’ve mentioned Blues and Americana. Is there any progressive movement? What role do you think you play in it?

RB: I think St Louis is getting better all the time, not to quote the Beatles. (laughs) A couple months ago on Designsponge.com… there [was] a guide to St. Louis, and they talked about Pokey Lafarge. I think he’s brought a lot to St. Louis. I think that it’s getting there. The city itself is getting more hip, maybe that’s just because we’re just now noticing it. I feel like St. Louis is getting noticed a lot more too. <<Mr. Lafarge was also Eleven’s September/October cover!>>

KC: We have a major music festival [LouFest] now that’s largely supported by local musicians and wouldn’t be possible if we didn’t have a large pool of talented local bands to pull from. That’s awesome to see. I didn’t grow up in St. Louis and wasn’t directly involved until a few years ago, but I did notice the scene from the outside. I can remember one, maybe two bands for a while that would have a consistent, solid draw and you could really count on and you thought that they were actually going somewhere. Now there’s two handfuls. There’s three shows a week going on that I’d like to go to. There’s tons of local bands right now that are doing really well. Definitely progressing.

11: You guys combine a classic, cabaret sound with a peppier, pop vibe. How do you find performing in the St. Louis bars has affected that?

JK: I think that’s something we struggled with. Translating the cabaret aspect is difficult because we definitely have that influence in quite a bit of our music. I think the one way we’ve done that, we’ve tried to pep things up a little bit.

RB: We’re just really loud. (laughs)

JK: We went into the studio with Kit Hamon and David Beeman from Old Lights, which is actually one of my favorite bands to go see live.  They had some really good ideas on how we could really liven our songs up. I think they translate much better on the stage now. Not trying to go away from the cabaret roots, but trying to keep the energy high. We’re definitely going that direction.

RB: It’s real easy to just play jazz standards and be okay with that in St. Louis but I feel like we’re trying to do something different, more accessible.

JH: I think it’s cool. A lot more of our music is starting to feel more driving, but at the same time Rachel’s voice still holds…

KC: Still soaring with the eagles. Right above the damage happening below. (Laughs)

11: Tell me more about your recording experience. Did you guys do a lot of experimentation with Kit in the studio?

KC: Kit was awesome to work with. We definitely gave him the green light for any production ideas he had. It was a fairly live recording, we were definitely open to anything he had to say. Having a fresh set of ears on the songs is huge, and definitely on a trusted friend and musician in Kit. Touching on what we said a little earlier, we definitely were trying to liven up the songs in previous performances, and it definitely did feel a little forced. The songs were still the same but we were forcing the liveliness of it. Kit took that energy and helped us restructure some things, rewrite a couple parts that definitely brought out more energy. They were both awesome to work with, Kit and David.

RB: I feel like we did a lot of editing in the studio. A lot of sounds were maybe drawn out. We made things really count. Not that we were minimalist about it.

JK: We’re still putting on the finishing touches. There’s more  production to be done.

JH: That objective set of ears from a trusted friend is always needed.

KC: Yeah, we were sitting on some of those songs for almost two years. You kind of get set in the way, can’t imagine another way but Kit saw that. I feel like there’s a lot more space on the album too than what we had been playing previously which definitely makes each individual part more appreciated and sound better.

11: Can you guys give me details on the release you’re working on?

JK: It’s going to be five tracks. It’ll be short and sweet. Most of the songs thematically are about coming to age. It sort of sounds cliché, but all of us are recently out of school and obviously going through transitions on our own. Certainly, we’re going to embrace that. The songs embrace that. I think that theme is very human and relatable.

11: What is it you feel that makes Cartwheel stand out in this kind of girl-fronted pop arena?

RB: I feel like there’s a lot of girl-fronted bands coming out now. I feel like what makes us stand out is we’re not a “girl band” – I’m the only girl in the band. I think what makes it stand out is the rock and roll behind it. I’m not trying to be Joan Jett, I don’t play guitar very well.

KC: It doesn’t feel like it’s [Rachel’s] songs with a backing band. It feels like its all one band that [Rachel] happens to do the vocals for.

JK: If you go on Pandora and you like a girl artist, they basically group every other female artist with you which I think is unfortunate. It’s still sort of a deep rooted sexism in music.

RB: I don’t know how many times I’ve heard “You sound just like Norah Jones” and I really don’t think I do. It’s just that’s the only girl that people know that sings apparently.

JK: What I would love, is to not be considered a girl band. If we can do that, if everyone can do that, I would think we did better good overall.

11: You mentioned Rachel started as a solo performer. How has it changed with a more permanent set of band members now that you are Cartwheel?

RB: I used to write really sad and depressing songs. I went to Martha’s Vineyard [in Massachusetts] for music for a semester at school and I started playing with a band there but it wasn’t really playing with a band. I didn’t really know what that meant. I was just playing, and the band was just backing behind me. I would tell them exactly what to play and they would play it. It wasn’t until I started playing with Jason that we started writing songs together. We started really collaborating on things. I never collaborated before that. It’s changed a whole lot. I love collaborating on songs. I think they sound a lot better because you have two sets of ears listening. I don’t think that goes for everybody. If you find the right person and the right mix then it sounds really good.

11: Rachel and Jason are an engaged couple.

RB: Yeah yeah.

11: You guys share vocal duties…

JK: A little bit.

11: Do you guys ever just sit around and sing songs to each other? Do you bounce awkwardly cute musical ideas off each other?

RB: Last week we sang Dashboard Confessional songs and shouted them at the tops of our lungs. I had a friend that was coming over and she was knocking on the door, but we could not hear her because we were singing so loud.

JK: One of my favorite things to do is to take melodies from pop songs and interject things about Rachel into them. I do this so often, in fact, that sometimes I’ll be at work and I’ll start humming one of these made up songs of mine and insert Rachel’s name into it. People will look at me funny. So music is certainly a part of what we do.

RB: We like to play cover songs together too. Even when we first started dating, we would just play ‘90s songs together. It’s probably the most fun you can have with somebody, just to play random ‘90s songs and just sing your heart out.

11: Your music comes off as infinitely optimistic at times. Is this intentional? How do you feel your lyrics effect the sound of the song or vice versa?

RB: I love the lyrics. I will be really angry if the lyrics don’t match the song. Even if they don’t necessarily mean anything to anybody else, they definitely mean something to me. I have a constant theme I’m thinking about the whole time that I’m singing. It reminds me of a place.

JK: A lot of the time the way our songwriting works [is] I’ll come up with a mood or a theme. I don’t want to go too far with it. That’s always my worry. We talked about with the recording process getting too caught up on what your song should be and not letting other people decide what that should be. I much prefer a lighter mood than a darker one.

11: How does your rhythm section function? How do you work together?

KC: We like to call it the “Apollo Mission.” I use a set of vintage Apollo drums then Jon picked up a vintage Apollo bass so when the two of us plug in and go at it…

JH:  We’ll never stop.

KC: It’s the “Apollo Mission” all over again. The two really lock in a harmonious way that has never been…

JK: It’s like ground control and Major Tom!

11: How do you know how far to drive a song live without overpowering the songwriting faction of it?

JH: I just try to look for the different climax points in the song instead of having something that’s more monotone rhythm wise. I try to have a lot variation in the drive. I think that just comes with playing songs a lot and seeing what feels right.

KC: I think the longer we play the song, the more we’ve seen other ways we could do it. It’s kind of different show to show sometimes with us, which is kind of cool. That’s something in itself. Jon and I, we fill it out. We make it a little louder. We make it a little more impactful and fun to play sometimes. This is the first band I’ve been in that’s only four members, has more of a melody to it, and an actual structure so I’ve had a lot of fun actually having more space in the songs. Just kind of featuring different parts. It’s not all out all the time, it’s fairly up and down for us. We strip it down in a lot of verses, then bring it back. It’s something we’re still working on. The album is going to help us with that.

JK: One of the things that took me a long time to learn was when not to play.  I think some of my favorites, like some of them here in town they know when not to play. We’re still learning that.

11: What’s in the future for Cartwheel?

JK: I want to get this record out… and then I want to focus on sitting down and really working on some new tunes. We have a whole lot of stuff that is back-lined right now.  Maybe a short little Midwest stint.

11: What do you think is the best way to get involved in the St. Louis music scene?

RB: A lot of it has to do with talking to people after shows. Going to see local music and then talking to artists who are doing it. If you do like what they’re playing, tell them. It’s really nice to hear that. Also to hear new music and appreciate that. I also think the local radio and magazine scene do a good job at promoting local music.

JH: I feel like St. Louis is definitely a local music town. There’s always two or three shows a week that you think would be fun to go to.

KC: Just talking to people in bands and at venues after shows. I know growing up that seems kind of awkward and when I’m out of town [at a show] that seems a little awkward. Once you start talking to people in St. Louis that are in a band or they’re running a venue, they’re all just like us. Everybody’s working a day job and doing this at night. Nobody really has egos. Everybody’s cool about it. With St. Louis being so vibrant right now with music, you can look at that optimistically or pessimistically. You can look at that as everybody’s in competition and there’s all these other shows people can go to. Or, kind of the way I’ve embraced it is just make friends with everybody and everybody goes out and supports everybody else. That’s going to help things for everybody.

JK: I think one thing St. Louis has going for it is it’s a very accessible music scene. For artists and for fans too. There’s room to be both. I certainly am both. You can’t say that about every town. It’s something we should be proud of.

Related posts

When dealing with the promise of projects, the free-flow of invention, and the creative output that made the likes of Theaster Gates famous in the St. Louis community, a patron has to wonder: Who feeds the starving artist? Who is it that promotes the physical manifestation of an idea, and who is it that promotes this creativity that often leaves the wunderkind with a full stomach?

The answer for St. Louis’s creative type is SLOUP: a monthly Sunday congregation of artists, art lovers, and those who want to make art happen in St. Louis. A Sloup event consists of several applicants proposing future projects for an audience who will then vote for the winner of the night’s raised cash money. The micro-grant comes from the $10 cover that includes a dinner of soup and bread. Hence, the event’s title: Sloup.

Typically, the lot gathers around local establishments like Fort Gondo, the CAM, and Pig Slop. However, this month’s event will be held in many private locations, with a different host per locale. These locations are encouraged to explore a variety of inter-personal identities.

“In terms of talking about the open sites, it’s important, I think, to emphasize that having your own personal sloup at home with a friend is as meaningful and useful and creative as hosting an open Sloup or attending an open Sloup,” notes Sloup co-creator Maggie Ginestra.

This month’s Sloup is an opportunity to experiment with the Sloup format to gain participants. “We are hoping by having multiple dinners in the same nights will allow more populations to participate with greater ease and aid in attracting new applicants and attendees. Team Sloup is looking to grow up and out this year. Francesca Wilmott from Los Caminos is working with us now – this month seemed like the perfect time to be brave and try this experiment,” adds fellow creator, Amelia Colette Jones.

The results of their experimentation stem from the participation of the Sloup host. Each host will be able to retrieve the same array of proposals by printing what is provided on the Sloup website. The host will then invite some people over, feed them soup, collect $10 from each person in attendance, read the proposals, and cast a vote for the best idea.

Each host is responsible for creating a post-Sloup package containing (as listed on Sloup’s official blog):

**
post-Sloup packet contents
1. a list of participants & their email addresses (& any extra documentation!)
2. the recipe or story behind the soup
3. all ballots (or a tally if your Sloupers voted together)
4. $10 per ballot (or per vote in tally)
5. process notes from your Sloup based on these 7 questions:
-What drew you to hosting and what were your plans or hopes for your Sloup? How did it play out?
-Describe your Sloup’s dynamics (i.e. host/guest, dinner/proposals, etc).
-Describe the discussion and voting process regarding the artists’ proposals.
-What were some successes and challenges of hosting your Sloup? Any supreme moments, surprises, major issues, small awkwardnesses?
-Would you host a Sloup again? Why or why not? What elements would you keep or change?
-If you have attended Sloup before, compare your Sloup to others. If your hosting experience was your first Sloup, what do you now expect from future Sloups?
-After hosting a Sloup, do you have any advice for Sloup as it moves forward?
**

If you are an artist interesting in having your proposal in this month’s Sloup, e-mail a one-page of text detailing what you are making, how you’ll make it, when will you make it, what is your timeline, and what is something that you have heard or seen about making art that you have embraced to sloup2122@gmail.com. You have until the Friday before the event to submit.

And, finally, if you are interested in attending this month’s Sloup, look for host sites to be posted on the blog. Sloup’s on Sunday, January 29th from 6 PM to 8 PM.

DID YOU KNOW: January is the official international month of soup? Why not celebrate this glorious substance by becoming involved in a participating Sloup cite. Already the idea of sharing arts projects is infiltrating the world of Chesterfield and Ferguson!

Related posts

Prologue, the seminal release by St. Louis’ newest imprint, FarFetched Records, brings new sensibilities to old material as the collective makes its bid to usher in the future sound of St. Louis. Bringing together 18 tracks, the release spans considerable ground, ranging from neo-soul to ambient hip-hop and everything in between while avoiding the feel of a hodgepodge. Dedication to pushing familiar sonic boundaries animates nearly every song on the album and ultimately ties the disparate productions together into a cohesive offering. That is not to say, however, that the album breaks cleanly or completely with the past; in a city where musical traditions run deep and are practiced fiercely, Prologue delivers exactly that – the glimpse of a new beginning.

Looking now at some standout tracks, Loose Screwz and Helen Marie go full robot on their respective cuts “Bloom of the Android” and “He Say She Say.” Where the former effortlessly blends trip-hop rhythms, French house filters and a thick, early 80’s low end, the latter delivers a smooth, almost grime-y futuristic R&B burner. On the hip-hop/rap tip, Air Haze and Whiteout twist and wind verses around minimal, eclectic beats with “Artsy Fartsy” and “Stay At Home Daddy” while Midwest veterans Scrub disregard such subtleties on their throwback banger “Double Trouble.”

With one foot in the past and one in the future, Prologue establishes FarFetched as a formidable brain trust of forward thinking artists, who this writer sincerely hopes push past this release and thrust St. Louis into a brave, new sonic future.

Hear the album here, and catch the Prologue‘s free release party tonight at 2720 Cherokee.

Related posts

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“Farfetched is an independent music and art imprint based out of St. Louis, MO. We specialize in creating thought provoking, honest, and innovative content for all.”

via FarFetched’s Tumblr

OFFICIALLY. FREAKING. OUT. ABOUT. THIS. PARTY.

No, really. I am. In order to properly celebrate to release of FarFetched’s {Prologue}, we’re throwing a jubilee.

The acts featured will be: 18 and Counting, Adult Fur, Standing Sleep, Scriptz n Screwz, Thelonius Kryptonite, Helen Marie, Scrub, Whiteout, and Blank Generation.

FarFetched also incorporates other forms of art, such as the tactile. An example would be the installation from Matt Strom and Davis which will also be in attendance at the party.

You can catch the show, for free, January 20th. Festivities will commence within the space of2720 (2720 Cherokee) with doors opening at 9 PM and music starting at 10 PM.

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Julien Denoyer

New art? Don’t mind if I do…

Los Caminos, the brainchild of Cherokee wunderkind Francesca Wilmott, is having a one-night-only exhibit. Catch undergrad art students (think of this as the preview for epicness to come) question the real world (post-St. Elmo’s Fire and pre-graduation style).

Children of the End of the World Present: Are We There Yet? is slated for 7-10 PM. Remember: this is exhibit is ONE NIGHT ONLY.

PS. I have a wicked crush on Andrew McCarthy circa ’85 because of that movie. Long live the love-jaded writer!

Saturday, January 21st

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This looks legit. Yeah.

I always wanted to listen to live music in a basement…

Harmonies and acoustic guitar galore: Falsetto Boy, Kid Counselor, Heavy Weather, and Tommy and Sam of Family Might (all homies) play at the Bowen House (4107 Bowen St). 8 PM. Free!

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Melvin Theater? Do you have to go down a rabbit hole to find this place?

Whether waxing with his guitar on Success or strumming gaily on a track like Barriers, Owen Pye has enough of an innocuous vocal delivery and a practiced tepid style that could have him rubbing elbows with Ben Kweller. See him at the Melvin Theater with Sons, So Save Me, and Palace. 7PM.

Sunday, January 22nd

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Did you say… String Cheese Incident?

“Chances are if you’ve been to a bluegrass festival, the memories most prevalent in your mind are not so much that of the “scheduled” performers but more of the impromptu jams and unscheduled collaborations. It’s with that spirit that the McCoury family decided to embark on a traveling bluegrass festival that they are calling The Bluegrass Ball. Ask most string musicians young or old and they will mostly likely tell you that sharing a stage with the McCourys is at or near the top of their list…if they have not already. The McCourys are known for not only their ability to play with just about anyone but also for actually doing it! Anyone who has attended the McCourys’ highly acclaimed DelFest can tell you that the McCourys are on stage all throughout the day and night playing with many of the bands in attendance. These jams are what make DelFest unique, and The Bluegrass Ball will be akin to the epic late night jams that have become a DelFest highlight. Along for the ride are mandolin player extraordinaire Jeff Austin (Yonder Mountain String Band), Billy Nershi (String Cheese Incident), and bluegrass up and comers Mountain Sprout. With this particular line up there are sure to be some phenomenal collaborations and each show will certainly be unique from the next!”

via Do314.com because I wouldn’t be able to come up with anything as succinct.

7pm. Old Rock House. $25.

Monday, January 23rd

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IS THAT A F*ING VELVET JACKET?!?!?!

Say what you will about Nickelodeon/Disney stars-cum-musicians, but this cat is the real thing. Drake Bell put out what has to be the most entirely underrated and under-heard pop album of ever 2006. If you added up It’s Only Time‘s hitgrediants (see what I did there?) you’d get the sweetest, most lovingly made carrot cake with non-fat frosting EVER. Additionally, that album could literally make you want to adopt Bell over orphan baby wombats. It’s THAT cute.

Not to mention, it’s THAT good and THAT self-aware. Bell knows he’s creating pop songs. For Christ’s sake, he can’t stop smiling when he performs. Lyrically, Bell has enough dexterity as a pop-rock musician to name drop his influences (Fallen For You), make Yellow Submarine allusions (Up Periscope) as he details his usual morning after with a lady-of-the-moment, and cash in for writing the catchiest theme song to ever grace a television show centered around two odd ball brothers with nothing in common but a penchant for mischief (Found a Way). Please click that not only to listen to the song, but watch the sweetheart give his sweaty towel to a fan.

So, with all those credentials I just listed and hyper linked the shizz out of, it’s safe to say that I’m totally championing the hell out of this cat. Catch Drake Bell and all his well-manicured, and coltish glory at the Old Rock House. Doors at 7 PM. Show at 8PM. $17.50 in advance and $20 day of.

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Today, local electronic pop favorite Née releases new single “Pretty Girls.” How fitting (see frontwoman Kristin Dennis, above).

“Pretty Girls” is the single from Née’s forthcoming EP – and a new direction from Dennis’ last EP, The Hands of Thieves. Perhaps it’s the Robyn influence. Perhaps its the involvement of Dennis’ band, which includes drummer Mic Boshans, multi-instrumentalist David Beeman, and synther Lex Herbert. Whereas Hands was dominated by Dennis’ higher vocal register and straightforward organ/synth riffs punctuated by electronic drum pad kicks, “Pretty Girls” is a faster, more bass-driven, multi-layered track. You’ve still got Née’s signature vox – a rare gem nuanced by both a haunting melancholy and an undeniable stimulus to your dance reflexes.

“Unlike the last EP, we’re doing everything on analogue, vintage gear,” says Dennis in a note to Eleven. “Although by definition synthesizers are inorganic, the way the sounds are coming through into the new songs feels much warmer and, well, organic than the last EP. There’s that ever-present hint of white noise, electricity, and the accumulated particulates of age that provide a backdrop for the melodies.”

We at Eleven are feeling the electricity. You can, too, here:

[Audio clip: view full post to listen]

Track: “Pretty Girls,” by Née
Recorded: at Native Sound by David Beeman and Kristin Dennis
Mixed: at Native Sound by David Beeman and Kit Hamon
Available: In CD form with screen printed artwork (Dennis at Native Prints) and a BONUS remix by Adult Fur ($2) will at the Mud House, Apop, Foam, and The Royale, among other local spots. Streaming and downloadable ($1) from neemusic.bandcamp.com.
Favorite line: “The heat of blood created chemistries to bond the two of us.” Yum. Science. Made sexy. OR: “You know I probably broke a hundred hearts by now.” True words.

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It’s a long standing musical tradition that at one time or another, bands must quit this brotherly love bull-hooey, and get busy with some serious sibling rivalry. A battle ensues, guitars get smashed, amps get broken, bottles of Jamieson get thrown, someone calls the fire department…or that’s at least how I would picture a proper Battle of the Bands. Not to say that won’t happen, but we at Eleven just hope for some good ol’ pure rawk rivalry. After all, we’re sponsors and don’t want the liability.

As for interested bands, applicants have been chosen, so you are too late to apply. Look for this battle to become annual as the prizes are substantial, enough to fix your tour van that keeps making that bizarre clinking sound every time I drive it to FOAM for a latte…

If you’re looking to go, expect a pretty high bar to be set for bands who are competing. First prize is $800, second place gets $350, with third place landing $150. Ask anyone in a band: That’s money to fight for.

Hosting the war battle is SIUE as part of a series of Campus Activity Board events. The carnage commences at 7pm, Friday, January 27th, at the MUC Meridian Ballroom.

Participating bands: The Ashland Project, The Madison Letter, Faraday, Primary Colors, Soccer Moms, The Broken Hands Band, Mouthbreaker, and Tear Down These Walls.

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Thursday, January 12th

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It must be said, that a community is nothing without collaboration. In order to let teamwork and community prevail, members of this community must work together in order to form a concrete whole. In St. Louis, we have a rather large network of musicians willing to work together and bring to our ears unique projects that illustrate the beauty and genius of STL’s brightest music minds.

Yankee Racer is the brainchild of musicians Aaron Greber and Riley Meek. Gathering multiple local artist, Greber and Meek created an album of the collaborative sounds of local musicians, many stretching with maximum dexterity in genres outside of their comfort zone to bring an interesting disparity to the tracks that comprise the album Doulogue.

Friday, January 13th

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South City has plenty of uncharted territory in terms of nightlife. Often the red-headed step child of St. Louis, South City is normally bypassed on the weekends in favor of its neighbor, Tower Grove . An underrated source of decent venues and cheap booze, South City is charming, hospitable, and a little dirtier than most would like to admit.

Invest a night visiting one of South City’s best bars, The Heavy Anchor. Known for its Hemingway meets nautical decor (completely with framed photos of the ex-patriot author), The Heavy Anchor is slowing building up steam toward becoming South City’s most venerable bar-venue. Stop in to see local indie-rock outfit, Fight for Midnight. The lead singer, Mr. Leif Johnson, has an issue with believing he’s a better singer than he actually is and ever will be, yet when he coasts within his range, and utilizes his esophagus, not nasal passages to produce sound, the band comes together with a pretty and promising sound.

Also playing are Mona Grooves and Highway Heat. Show starts at 9. $5.

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Blending intelligent humor with sentimental alt-folk singer song writer aesthetics, Todd Snider effectively weaves factual tales of the Billy the Kid kinda antics of D.B. Cooper, with the realism of a frat-boy laden late night beer run.

The Portland native and Nashville based singer plays The Sheldon. 8 PM. $15 – $25.

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With album tracks christened “Poop”, “Masturbate”, and “Cheetos, why the hell would you not want to check out the punk outfit called Stinkbomb? Apparently conscious of the issues plaguing uneducated modern punk-rock, Stinkbomb maintains a cantankerous and humorous approach to their lyrics’ subject matter. Never do they delve into tricky, sometimes pretentious topics like politics or corporate fuckery. Stinkbomb keeps it real. Really real. Like bowel movement real. The music carries with it a void in the realm of “noise”. Never cacophonous, always aware of rhythm and timing. Stinkbomb is an interesting band worthy of your time.

See ‘em at Fubar.  Doors at 7 PM. Free show.

Also playing: SCENE OF IRONY, GANG CONTROL, THE BASEMENT, PETCOCK, Captain DEE & THE LONG JOHNS, ALL THINGS AQUATIC, SNOOTY & THE RATFINKS, AL BUNDIE’s ARMY, LEFTOVERS, 431, and VIVISECTIDE.

Saturday, January 14th

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Pay attention to the shirt, not the melancholy expression on his little pre-pubescent face.

The Hibernauts, easy-to-shimmy shimmy shake-to indie rock, may have a peculiar marketing strategy (see the ennui victim above), but can definitely brighten up an other-wise overcast sky. Honest, bittersweet, and antagonistic lyrics manage to covet the spotlight on tracks like “People Better Than You”. While “Throwing Rice” is a colorful allusion to the musicianship starry-eyed  brit-indie pop bands like The Kooks.

Catch them at Off Broadway with Kishi Bashi. Show at 9 PM. $8/$11.

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Jack Buck might make your ears bleed. But, maybe you shouldn’t be such a wuss and just handle it like a man. Coward is all instrumentals, all the time (as a voracious proponent for Fantasia, this sounds sweet to meeeee). Magic City incorporates a Leonard Cohen/Lou Reed style vocal delivery with tepid Strokes-esque arrangements for a surprisingly complete and intriguing sound.

Catch all three at The Heavy Anchor at 9 PM. $5.

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The Heartbreakers Rock and Roll Saloon might not be the most well known and it might not be where one would expect a band like Steepwater to play (I mean, how many more T&A themed bars does this world need?), but Chicago bred Americana-rock n’ roll troupe The Steepwater Band doesn’t seem to mind. After opening for the likes of The Black Crowes, Wilco, and Gov’t Mule, The Steepwater Band is in town to play a benefit show with the proceeds going to help Steve and Shaunna Eaton. Doors open at 8 PM. $5.

Sunday, January 15th

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Local psychedellic alt-indie rockers, Troubadour Dali, are getting in the swing of this residency idea that’s spreading through St. Louis. First it was So Many Dynamos at Foam. The band’s last record, Let’s Make It Right, sounded like a hybrid between a lucid version of Grandaddy and, what Scotty says is, Brian Jonestown Massacre. I agree. But, don’t take my word for it. Seriously. Do not take my word for it. Just go see them this Sunday, fo’ free at Off Broadway. Show starts at 8 PM.

Correction: Troubadour Dali’s first residency at Off Broadway was 2 years ago.

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