Presented by Bowery Boston
Doors: 6:00 pm / Show: 6:45 pm
Tickets on sale Fri. 4/20 at 10AM!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
The Jesus Lizard
Following an instantly sold-out handful of US shows this past winter, the Jesus Lizard have confirmed eight more dates. Kicking off September 6 at Washington, DC’s Black Cat the itinerary also takes the legendary band to Boston, Philadelphia, Detroit, Austin, Atlanta, Seattle and Portland. Prior to this past December, the band had not played live together since 2009 and these new shows represent the only new appearances planned.
Tickets for all shows are on-sale Friday, April 20 at 10am local time.
2017’s tour reminded all that saw the Jesus Lizard that their live show is unparalleled. Brooklyn Vegan noted, “…it would be hard to say The Jesus Lizard have mellowed in the 30 years since forming” and reviewing Houston’s Day For Night Festival, the Houston Press declared, “it was hard to deny that the Jesus Lizard was the best act on Sunday, hands down.” Stereogum have called them “one of the greatest live bands ever” and The New York Times has used the words “extravagantly good” while Rolling Stone speaks of the band’s “shattering live performances.”
The Jesus Lizard formed in late 80’s Austin, TX after David Yow (vox) and David Wm. Sims’ (bass) previous band Scratch Acid broke up. They started the Jesus Lizard with Duane Denison (guitar) and a drum machine and recorded their debut EP Pure with Steve Albini in 1989. A move to Chicago prompted the firing of the drum machine in favor of Mac McNeilly (drums) and in 1990 the band recorded their first full-length, Head, for Touch and Go.
While the labels “seminal” and “legendary” are often applied too easily, they both accurately describe the Jesus Lizard. They released five more remarkable LPs before disbanding in 1999, the last being 1998’s Blue. During that time, they toured endlessly and issued not only the critically acclaimed studio LPs but also assorted singles, EPs, compilations and a live album. Pitchfork has said of them: “the Jesus Lizard raised a bar that few bands have reached since…Rarely does a band have each member adding something essential to such a united, ferocious whole.”
Life’s paths twist and turn, but we always eventually end up where we’re meant to be.
In that respect, the story of All Souls feels pre-destined. Way back in 1994, Tony Tornay [Fatso Jetson, The Desert Sessions, Linda Perry] first met Tony Aguilar and Meg Castellanos [Totimoshi, Alma Sangre] by introduction from Erik Trammel [Black Elk, Wadsworth]. They kept in touch and always bandied the idea of “writing and jamming” about.
It took 21 years, but a band finally became a reality in 2015 when these four artists sat around a table and discussed officially working together…
“One of the things that we did in this band that I’ve never done before is have that discussion,” recalls Aguilar. “Meg and I had always wanted to play with Tony as did Erik. It finally fell into place. Once we figured out what the lineup was going to be, we sat around and discussed what we wanted to sound like artistically before even jamming. It gave us a really great grasp on the artistic angle. It was almost like forming the painting before it was brought to life.”
“This is the culmination of thirty years as a professional musician,” adds Tornay. “It’s everything I’ve wanted for as long as I can remember. When we get together, it feels like home. This embodies every reason why I do what I do.”
Throughout 2016, the quartet—Aguilar [vocals, guitar], Castellanos [bass, vocals], Trammell [guitar], and Tornay [drums]—recorded what would become their self-titled full-length debut, All Souls, during intermittent sessions at Sound of Sirens Studio in Los Angeles with producer Toshi Kasai [Tool, The Melvins, Foo Fighters].
For Aguilar and Castellanos, the music spoke to a dormant primal need that harked back to their time in the fan favorite underground mainstay Totimoshi.
“At the time, we had been doing Alma Sangre, which was our take on flamenco meshed with Ranchero,” says Aguilar. “We’re rockers at heart though, and we had been wanting to be in another rock band. It also reunited us with Toshi who did three of our Totimoshi records. He has his own approach. It’s almost like you enter into a different world with his production. Each song becomes like a journey, and nobody curtailed that. We were all on the same page.”
Following tours with the likes of Red Fang, The Sword, Kvelertak, and Torche, the band unleash All Souls in 2018 via Sunyata—the label founded by iconic Screaming Trees and Mad Season drummer Barrett Martin. Earmarked by Spaghetti Western-style expanse and rough-and-tumble riffing, the music proudly bears the wild wear-and-tear of the nineties Palm Desert scene with a twist of psychedelic voodoo and metallic edge.
Introducing the album, the first single “Never Know” barrels forward at full speed powered by gusty distortion and a psychedelically catchy refrain.
“Lyrically, I want to keep it a little mysterious,” Aguilar reveals. “It’s about people in our society who feel like they own the world, act accordingly, and behave in ways that are completely derelict of social responsibility. They’ll never know love or understand that responsibility. They’ll never know anything.”
Elsewhere, “Party Night” dements a surf rock-style gallop with punchy delivery and overcast production. The melancholy melodies of the seven-minute “Rename The Room” paint a stark picture of bipolar mood swings and abuse inspired by a dark day in Aguilar’s childhood home. Tool drummer Danny Carey kicks off the entrancing “Sadist/Servant” with a spirited cameo on Tabla Drums, providing a tribal flare.
“‘Sadist/Servant’ one never gets boring,” smiles Tornay. “It’s always in your face and never falls back in the pocket. Danny killed it. He’s playing this really aggressive instrument on the quietest part of the song!”
In the end, these four musicians were always meant for this band. That’s why All Souls is so easy to get lost in.
“When you hear this, I hope you have that experience where you’re just completely inside the music,” Aguilar leaves off. “You can just fall into it.”