2017
Joshua Carpenter w/ Schooner, Shelles
February
24
Friday
Doors 8:30 Show 9:30 - $5
Joshua Carpenter
I looked Joshua Carpenter in the eye and asked him why his sophomore album had taken so long to come to fruition. "Well, I wrote at least two albums worth of material that I decided wasn't good enough to put my name on. So, fucking time, man." He said this to me before I had the chance to sit down with his new release. And when I did I understood. This is a great rock album from someone who is intent on performing rock music. And someone who is not sure rock music is something anyone wants to hear anymore: "I'm not sure anyone wants to hear rock music any more." But Carpenter BELIEVES. Keith Richards said that maybe, when it comes to rock 'n roll, people have forgotten the ROLL. Carpenter has possibly forgotten the roll, he admits that he has forgotten a lot of things, but he has not forgotten the rock. -Adriana Peterskind
Schooner
Schooner is a disheveled, mercurial band from Durham, NC that began as a 4-track project by Reid Johnson & features Joshua Carpenter (Floating Action), Nick Jaeger (Wild Fur), Patrick O'Neil (Some Army, Wyrms, Lacy Jags), Maria Albani (Organos, See Gulls), and a rotating cast of characters.

...a deliciously loose stomp through clattering drums, whirring psych-ish guitars and a marvelously vivacious vocal delivery. It’s the kind of track that could only have come from America; the sound of great expanse, of stifled dreams and of the unending belief that anything is possible if we just sing loudly enough... -Gold Flake Paint (UK)
Shelles
Shelles started from the bare bones recordings of songwriter Stuart Edwards, who formerly wrote songs with the outfit Old Bricks. On the 2016 release Carousel, he takes his understated, often grave content, and adds a full band including Justin Blatt (viola, Shit Horse), Chris Girard (bass, formerly of Spider Bags), John Jaquiss (drums, Jphono1, Spider Bags, Wild Wild Geese), and Reid Johnson (guitar, Schooner, Organos). The five-piece advances his compositions into a sweeping Southern Gothic affair, with rhythms and tonal nuances resonating underneath Edwards’ hauntingly melodic verse. Edwards’ voice conveys an introspective intimacy throughout ruminations of disquiet within a reverbed bed of instrumental sublimity.
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