$6 in advance/$8 at the door
10:30pm doors/11pm showtime
more.is.more is bombastic minimalism in post-rock.
What the hell does that mean? Well we are a two-piece from Minneapolis that manages to make quite a clamor. We like things like Battles, Glassjaw and Lettuce. See what you think.
We recorded an album with Adam Tucker at Signaturetone Recordings this summer and will be putting out our debut 10 inch record, Roy G. Black, most likely in early 2015.
With over a decade of experience under its belt, you'd expect Athens, GA's Cinemechanica to have a pile of records completed. It'd be entirely reasonable to expect that the decade between the band’s groundbreaking debut The Martial Arts and its upcoming self-titled LP would have been separated by more than a single EP, 2008’s double-drum experiment Rivals. Sure, that'd be reasonable – but Cinemechanica is anything but.
While the band cut its teeth as pioneers of the region’s millennial math-rock landscape, those very chompers have now worn into predatorial fangs through years of exhaustive performance, tireless composition, and – most recently – a new level of aggressive sneer honed by Kurt Ballou (Converge) at GodCity Studios. From the opening blast of “Hang Up The Spurs” to the closing hyper-melodic bleed out of “Biblical Noise,” descriptors ash through the mind like subliminal screens in a movie house: Immediacy. Tension. Panic. Pacing. As the sweat starts to pour and the ears begin their tell-tale tingle of exertion, the body/brain divide dissolves into a blur of between the goosebumps of anxiety and full-breath catharsis. This band will move you, literally and otherwise.
Cinemechanica is centered around the constant trio of guitarist Bryant Williamson, bassist Joel Hatstat, and drummer Mike Albanese (Maserati). For this year’s release, the band has collaborated with guitarist/vocalist Jordan Olivera (Manray), while those live duties will be carried out by Bryan Aiken (Lazer/Wulf). The group tends to plot its music meticulously and often works for months for an output of seconds. For lesser bands, that may be overkill; for Cinemechanica, it’s a case of intense dedication to its craft that makes for line-drive focus in the studio and on stage. There’s no doubt that storied engineer Kevin Ratterman (Young Widows, My Morning Jacket) at Louisville's La La Land could tell this from day one, and by the time Ballou mixed this decade-gestating monster of a record, it was poised to stand easily alongside the man’s legendary output.
Self-Evident are signed to US label, doubleplusgood as well as Stiff Slack Records in Japan.
Hailing from Minneapolis, MN, Self-Evident have developed and applied a unique, intricate, and smart formula to standard rock songwriting, conjuring music that is very resistant to categorization.
Variously described as math, indie, jazz, punk, and post-rock, Self-Evident encompasses all of these styles and more-often in a single three minute song with a strong melodic sense. The instrumentation is simple: bass/vocals, guitar/vocals, and drums.
Self-evident have played over hundreds of shows through the US, EU and Japan and with countless bands such as Don Caballero, TTNG, Tera Melos, Helms Alee, Into it. Over it., Oxes, Juno, Chokebore, Local H, Bad Wizard, The Vida Blue (Ten Grand), Traindodge, Bear Claw, Bronzed Chorus, Dropsonic, Riddle of Steel, House Of Large Sizes, and many more.
Multiple full length albums and EPs have been released since their conception:
“The Arrogance Of The Common Professional (EP)” - 1999
“What We Sound Like” - 2000
“Direct (EP)” - 2001
“Angular” - 2003
“Epistemology” - 2005
“Self-Evident” - 2007
“Billions (EP)” - 2008
“Endings” - 2009
"We Built A Fortress On Short Notice" - 2012
“The Traveler” -2015