Wavves, FIDLAR

The Echo Presents




Wed, March 20, 2013

7:00 pm

The Echo

Los Angeles, California

This event is all ages

Straight from the dungeons of L.A., Wavves are releasing Afraid Of Heights,
their fourth album and first on the Mom And Pop label. Now a duo consisting of
guitarist Nathan Williams and bassist Stephen Pope, they sound bigger, brasher,
and shockingly professional than ever on Afraid Of Heights that positions the
band to take their rightful place amongst the pop-punk gods.You know the story
by now. Bored dude in his parents' tool shed-turned-room with no insulation
and a record stuck to a hole in the wall to keep the mice out turns on a four-
track recorder, fucks around and ends up with two of the oddest, noisiest and
downright catchy albums of recent memory. Those two records (the eponymous
Wavves the eponyymous Wavvves) were winningly, messily chaotic—grand on a
small scale, but not necessarily world-beaters. Which is why when Williams, then
solo, linked up with erstwhile Jay Reatard sidemen Stephen Pope (bass) and
Billy Hayes (drums) and busted the door down with the stunner that was King Of
The Beach, a pop-punk blackout for the DeLonge and Deleuze crowd. After the
smoke of King Of The Beach had cleared, Williams and Pope released the Life
Sux EP, a testament to the crushing powers of rock n' roll and also ennui. The
product of more than a year of writing and recording, Afraid Of Heights expands
the Wavves sound while remaining true to the band's original vision—it was
created with absolutely no label involvement, a specter that nearly derailed King
Of The Beach. Working with producer John Hill (known for his work with M.I.A.
and Santigold, as well as with hip-hop acts such as Nas and the Wu-Tang Clan),
the band found a willing party in creating what they felt was the truest expression
of what they wanted. As for the Afraid Of Heights sessions themselves, Williams
paid for them out-of-pocket, explaining his reasoning with, "In doing so, I had
no one to answer to. We recorded the songs how and when we wanted without
anybody interfering, and that's how it's supposed to be."

Lyrically, Williams took the focus less off of his own melancholy and out
into the world, with songs that dealt with crooked preachers ("Sail To The
Sun"), relationships ("Dog") and killing cops ("Cop"). Even when he reaches
outside his own damaged psyche, Williams is still making Wavves songs,
saying, "The general theme of the record is depression and anxiety, being
death-obsessed and paranoid of impending doom. I feel like the narration is
almost schizophrenic if you listen front to back; every word is important, even the
constant contradictions and lack of self-worth. That's all a part of this record—
questioning everything not because I'm curious, but because I'm paranoid."
That paranoia manifests itself on many of the album's best tracks, such as the
spacey drones and bummazoid vibes of the Weezer-referencing, getting-drunk-
because-you-can't-bring-yourself-to-care-vibey "Afraid Of Heights," or the string-
aided "I Can't Dream," which rounds the record out with the optimistic, "I can

finally sleep," before subverting itself with, "But I can't dream." With their biggest
and boldest-sounding record yet, Wavves might have finally come into their own,
a fully-realized punk rock force in both sound and vision.
FIDLAR are slackers at heart. The only thing they really care about is skateboarding; trivial things like doing their homework and making the grade in school have little meaning to them. But when their adopted Vietnamese brother turns up dead after discovering an error in the shipping records at his place of work, FIDLAR begins to suspect something more. Refusing to accept the police's theory of suicide, FIDLAR launches their own investigation, determined to uncover the truth of what really happened to their brother.
Cheatahs’ long-awaited debut album, out Feb. 11th on Wichita Recordings, is first and foremost an exploration of the possibilities of modern guitar music. A blend of ecstatic noise, ambient drone and visceral, resounding alt-rock, combined with lyrics that touch on the complexities of relationships, nature, the city, memory, dislocation and self-identity, the self-titled record displays a giant creative leap from the lo-fi fuzz of the band’s first two EPs.

But let's start from the beginning. The London based band came together when Nathan Hewitt (vox, guitar), originally from Edmonton, Canada, and James Wignall (guitar, vox), originally from Leicester, UK met 7 years ago while both working in a pub in Camden and bonded over a shared love of Seinfeld and hardcore punk. Despite both friends playing in various bands over the next few years, it was only in 2010 that the two decided to finally make music together. After writing a handful of songs, they asked friends Marc Raue, originally from Dresden, Germany, and Dean Reid, from San Diego, USA to join them on drums and bass respectively.

To make the record, Cheatahs, headed first to the country, spending a week in an old stone-floored cottage in Cornwall, where recording was punctuated by walks in nearby forests and evenings whiled away at an isolated pub. The second location, Dropout studios in Camberwell, home of friends Part Chimp, was perhaps the polar opposite, but no less conducive to the creative process – not surprising given that the band were given access to the full arsenal of ridiculously loud vintage amps that help create the brutal majesty of Part Chimp’s recordings. As with Cheatahs' previous work, all tracks were recorded and mixed by bassist Dean and produced by the band.

For an album influenced by everything from Link Wray to Cy Twombly - influences as scattered as the band members' geography - the result is a cohesive behemoth, 12 tracks of raucous guitars, breathy vocals, and honeydripped, soaring melodies.
Venue Information:
The Echo
1822 W Sunset Blvd
Los Angeles, California, 90026