Dylan's guitar from moment he 'went electric' in 1965 could fetch $500K at auction (With Video)

Parade of Flesh presents . . . SPILLOVER DAY 2: The Orwells, Shannon and the Clams, Broncho, The Spits, Yuck, White Lung Alex G, True Widow, All Dogs, Beverly, Aa (Big A Little a), Culture Abuse, Porches, Self Defense Family, The Dirty Nil, Your Friend Sat, March 19, 2016 Doors: 6:00 pm / Show: 6:00 pm Trees $20.00 - $25.00 Tickets Available at the Door This event is all ages PRESENTED BY PARADE OF FLESH Share This Event SPILLOVER The Orwells Converse Rubber Tracks Live is a monthly, free concert series supporting emerging music across the U.S and internationally. The series features an opening artist at every performance who has recorded at the Converse Rubber Tracks studio and has been hand-selected by the headlining act. Now in it's second year, the series began in Brooklyn and has since expanded to San Francisco, Boston and Los Angeles with more cities to follow globally. Information on how fans can receive entry to the free concerts is announced prior to each show. ***SUBJECT TOCAPACITY*** For The Orwells, Remember When will be an introduction of sorts-the 12-track rat-race shows the band's repertoire of pranging riffs and sneering, snot-nosed vocals. The tracks are a walloping war-cry from a generation that up until this point has only offered bubblegum pop-the animus of The Orwells. It's quite clear early on the in listening to the LP that the band is well aware of the past, the homage rings through the record, using the ghost of punk's past as their musical sprit guide. However, the band straddles the thing line between their influences and their originality, ripping riffs and smashing drums in a fashion that their age into being just another fact mentioned in their bio. The Orwells are made up of five 17-year-olds from Chicago, Illinois. They play rock n roll music. Their names are Mario, Grant, Henry, Dominick and Matt. They write songs - scratch that, primitive teenage battle cries - about girls and America and being suspended from high school. Althoughone might categorize The Orwells' distinct brand of the blues as garage or punk, they would be wrong. The Orwells sound comes from a deeper, different place-a place both long forgotten and also timeless. Shannon and the Clams The American West. America's America. It was here in three very different worlds that Shannon and the Clams were spawned. From the dark redwood forests of Oregon emerged Cody Blanchard: singer and guitarist. The dusty walnut orchards and vineyards of northern California gave us Shannon Shaw: singer and bassist. Out of the lonely dunes of California's central coast shambled Nate Mayhem: drummer and keys. These three talented visual artists were drawn separately to Oakland, California and it was there that the Clams began playing house parties and grimy clubs. The band was forged in the anachronistic remote communities of the west, in some strange mixture of computer show and country fair; their music is some odd alloy of The Last Picture Show and The Decline ofWestern Civilization. The pioneer spirit of western life is all over this band: pushing into the unknown, blazing their own trail, creating their own destiny, with the accompanying canyon-esque loneliness and untamed joy only truly known by those with the courage to pull up stakes and head off into the big empty sunset. Gone by the Dawn, the newest Shannon and the Clams album, is their best work to date. The music is complex, the lyrical content is emotionally raw and honest, and the production is the strangest it's ever been. The album was written as one member was recovering from a serious breakup and another was deep in one. The lyrics reflect it, and the entire album is dripping with sadness, pain, and introspection. Shannon and Cody have not written generic songs about love or the lack of it. Instead they have written about their very own specific heartbreak, mistreatment, and mental trials. The emotion is palpable. On Gone by the Dawn the Clams have DARED TO BE REAL. They'veexposed their true emotions, which is what's most moving about the album. People are scared to be so real. Society does not encourage it. Folks remain guarded to protect themselves from being mocked, punished, and becoming outcast . The Clams have opted to forgo the potential tongue-clucking finger-waggers, and have instead had the artistic courage and audacity to splay their pain and struggles out for all to hear. We are lucky to hear them get so damn real. For Gone by the Dawn, the Oakland trio hooked up with studio wizard and renaissance-man Sonny Smith to record the album at Tiny Telephone Recording in San Francisco. Best known as the driving force behind San Francisco's beloved Sonny and the Sunsets, Smith uses his refreshing production techniques to create an engaging sonic landscape without compromising the Clams' signature Lou Christie-meets-The Circle Jerks sound. The Clams have evolved: their skills are sharper, their chops are tighter and weirder and they've added newinstruments to to the mix. A whole new dimension of the Clams has emerged. Nowadays, it's exceedingly rare for a two-and-half minute rock song to have raw emotional power, but with Gone by the Dawn Shannon and the Clams have gifted us an entire album of them. -Dan Shaw Broncho Just Enough Hip To Be Woman is a bold step forward for BRONCHO. Though it certainly bears the hallmarks of their previous work — fuzzy, guitar-driven rock – the production and energy of the record moves into decidedly sleeker and decidedly more new wave directions (think Cheap Trick meets the Drive soundtrack meets every great song from Fast Times at Ridgemont High meets the greatest after-hours party you've never been to). Tracks like "Stay Loose," "NC-17" and "What" are the kind of pop-rock that could have easily been beamed in from the same universe that gave rise to The Cars (or a looser version of The Strokes), while the album's first single, "Class Historian" — with its unstoppable "do do do do" vocalrefrain is the kind of song that seems scientifically engineered to stick in your brain forever and is arguably best played loudly over a car stereo with the windows down and your long hair blowing in the breeze. Clocking in at just more than 30 minutes, the eleven tracks on the new record are a potent statement of intent: an effortless sounding rock record that dips its toe into a variety of different styles without ever succumbing to any of them. The Spits The Spits are already as ingrained in modern punk music as possible, yet still manage to devour the rip-offs and influence the youth of today without even looking like they're trying. Going strong now for over fifteen years, smashing the windows and tearing down the walls of our minds every time they roll through town, these truly vicious visionaries have cooked punk down to its most powerful base form, crawling like Neanderthals through the muck, and creating a flaming trail of hits that'll take quite a fit of dementia to everforget. A perfect distillation of punk's original open-ended weirdness, and modern music's serrated salvation, The Spits have proven themselves to be no one to fuck with, over and over again. They've always been one of the most original bands of the twenty-first century, yet it never really seemed like they weren't doing anything too experimental, save their signature, yet refreshingly just-ahead-of-their-time, synth/drum machine noise they forced the fickle punk crowds to gladly swallow. The demonic void that they fill is utterly too much to handle, the band everyone wants to see, that pre-information overload-type of underground music mystery that just gets all the endorphins rushing. The way their throbbingly addictive songs just drip like sticky tar out of the speakers, their guitars that sound like food processors seemed to dull all our senses, just at the same time that the impeccable lyrics invigorate us beyond belief. The Spits have already done so much, but still have so muchmore to come, as they continue to influence anyone with a penchant for irresistible punk music, played like there's nothing to lose. Yuck Though Yuck has been a band for less than a decade, the London-based garage-pop outfit has already managed to cram what feels like a lifetime of Behind The Music-worthy experiences into their backstory. Formed in 2009, when most of the band members were still in high school, the group quickly garnered attention for their early singles (2010's "Georgia" being a standout) and in 2011—after having already toured with the likes of Tame Impala—they released a self-titled debut album (the gloriously fuzzed-out Yuck) to critical and commercial acclaim. This early success was followed by the departure of founding member Daniel Blumberg in 2013 and the induction of new guitarist Edward Hayes. The band promptly got to work on a sophomore album (2013's Glow & Behold) in upstate NYC whilst overcoming the anxiety of a lineup change and the realities of abug-infested recording studio. As rock and roll stories go, theirs is not an uncommon one—or even an outrageously dramatic one—but for frontman Max Bloom, the path has felt almost comically arduous. "It's so cheesy, the whole thing," he says. "Being in a band really is like Spinal Tap. There's so many situations in music rockumentaries that actually echo my life, it really is a giant cliché." Cliché or not, the path that Yuck has taken has seemingly all been leading up to the band's excellent third album, Stranger Things, a record brimming with manic energy and pop hooks for days. Released online last summer, the record's first song "Hold me Closer" is a visceral primer for what the rest of the record has in store. "I remember the first couple of songs that started the record off, I basically wrote one morning when I was very high on coffee," says Bloom. "I guess it set the tone for everything that came after that." To that end, tracks like "Cannonball" come ripping out of the gatewith the appropriately buzzed-out guitar sound that made previous Yuck tracks like "The Wall" such epic jams, while "Yr Face" could be a long-lost lover to an old Dinosaur Jr or Built to Spill record. Stranger Things is a remarkably gentle record as well, with tunes like "Swirling", "Like a Moth", and "I'm OK" addressing the fears and uncertainties that followed the band for the last few tumultuous years. "'I'm Ok' is a very personal song because it's just about the anxiety I've been feeling over the last couple of years. It's very cathartic to write about in a song, but definitely not easy to speak about," says Bloom. "It felt important with this record to deal with a bunch of that stuff, clear out the past, and make a fresh go of things." Recorded in London over the course of several months at the band's own pace, Stranger Things reflects the refreshingly un-fraught state of affairs within the group. "The band feels better now than it ever has," says Bloom, "We recorded the drums ina rehearsal studio by our house, which we've rehearsed at for ages. Everything else was done at my parent's house—in the same room we recorded the first record, which wasn't an intentional thing. It's just the only quiet space that we have access to in London! Mostly I wanted to make the in a space that I was comfortable in. I wanted no one else involved—just me and Ed and Mariko and Johnny—and to just do it in a way that suited us and not have other people there messing with our vision or whatever. I just wanted to get on with it and make something that was truly us and not affected by any outside influences. We basically spent no money on the record and it was a really relaxed way of doing things. I really, really like it. I'm more proud of it than anything we've ever done." "I think all records have stress because shit just happens—you lose files, guitar pedals break, stuff like that—and that's normal. Still, there was a hell of a lot more stress on the second album than thereshould have been. This time, I wanted it to be fun. I wanted it to be really simple and really fun to play. If a record is not fun, if the songs are not fun for the band, it shortens the time that it takes for it to get stale. I didn't want to stray too far at all from guitar, bass, drums, and vocals because that's the format that I fell in love with as a music fan. All my favorite bands keep to those limitations and work within those guidelines. I think it's what we're best at." Stranger Things is the sound of a band firing on all cylinders, finally comfortable in their own skin and in control of their own vision. Having overcome the weird expectations that come with being a buzzed about new band and all the attenuating complications and growing pains that come with it. Having made exactly the record they want to make, the band—who have now sold well over 50,000 albums worldwide—are looking forward to getting back on the road and playing the songs that made them so happy to create."We'll just see where it goes, really," says Bloom, "It's difficult to have any expectations because I'm quite a negative person (laughs) so I try not to. But this record is all us—it is everything that we owned and everything that we had. It was just a record that was made completely on our terms. I guess that's why I'm comfortable with the idea of people liking it or even not liking it. If people don't like it, then it means they just don't like the band and I can't force people to like the band. All we can do is make songs that we love…and we've done that." White Lung White Lung are known for their furious yet melodic approach to punk. Since adding guitarist Kenneth William in 2009, Mish Way (vocals), Anne-Marie Vassiliou (drums) and Grady Mackintosh (bass) have received nothing but critical acclaim for their distinct brand of punk and their tight, live stage shows. White Lung's debut LP It's The Evil (Deranged Records) was Exclaim's Punk Album Of The Year in 2010 and the band wasnominated for Punk/Hardcore Artist/Group of the Year at the 2011 Canadian Music Week Indie Awards. Their second LP Sorry (Deranged Records) was released spring 2012 and pushed the band to a wider audience, receiving critical acclaim from SPIN, Pitchfork, Bitch, E! Music. Sorry landed on "Top Albums of the Year" lists Exclaim!, Magnet, amongst others while Rolling Stone marked Sorry in their "Top 10 Albums Of The Year". Sorry was also nominated as "Best Album Art of 2012″ by NME and made the shortlist for "Best Album Art" by Art Vinyl in London. A vinyl exhibit was held worldwide from Japan to Britain to Sweden. The band has toured through out North America extensively and went through Europe and the UK Fall of 2012. Alex G "It has the potential to be one of the defining American indie records" -The Quietus Though only 21 years of age, and recently a student at Philadelphia's Temple University, DSU is Alex G's fifth album. "I have been making music for as long as I can remember. Myolder brother is a talented musician and, as a kid, I would take after him by playing the keyboard. I always preferred writing my own music to learning other people's work," says Alex, which may go some way to explaining the volume of original material that exists. All recorded at home, almost exclusively solo, and, until recently, all self-released and available only via Bandcamp; the volume of his work online - combined with its vitality - has helped build a fervent cult fan base, resulting in two sell out US-only pressings of DSU via the esteemed Brooklyn bedroom label Orchid Tapes. Wise beyond his years, Alex's lyrics draw upon personal experiences whilst conveying something universal as if touching upon topics with a world-weary authority: the frustration that comes with dealing with reprobate friends, self-centred drug-use and the stinging loneliness of an unreciprocated affection all feature prominently. Like classic alternative artists Neil Young and Alex Chilton, Alex's songsare refreshingly robust and rapturous, with enough lo-fi grit to ground them in a sparse, impressionistic space. Sonically, his palette fluctuates from the rolling rhythms of album opener 'After Ur Gone' to the distorted atmospherics of 'Hollow'; a shift that makes more sense when you realise Alex counts Silver Jews, Aphex Twin, Lucinda Williams and Boards of Canada amongst his diverse musical reference points. Everything is tied together by the ever present winding open spaces of his languid acoustic strums and the meandering melodies of that classic indie aesthetic. Lyrically each track on DSU - from the more intricate narrative of addictive highlight 'Harvey' to the overtly questioning elements of album closer 'Boy' -  reveals just enough to embolden the listener to explore beneath its surface - making what they will of Alex's introspective musings. Much like his closest musical forebear, Elliot Smith, Alex's music offers a complimentary sense of cathartic comfort in its moodiness.DSU is evidence of Alex G's pliable sound – one which has whole crowds singing his own words back to him with voracious intent. In the US the album has already been ecstatically received, earning Alex the accolade of "the Internet's Secret Best Songwriter" from The Fader while Rolling Stone named him "a bright new talent". Though Alex seems to gel with other musicians - "The Philadelphia scene has a few bands that I really like. Orchid Tapes is cool. Everyone in the scene is very supportive"- in many ways, he is even an outsider in a scene of outsiders; determined to succeed on his own artistic terms. As the furore for him grows internationally, the clearest and "the most magical thing about Alex G is that everyone who comes into contact with him seems to fall in love" -The 405. True Widow Up from the warm, almost oppressively humid Texas air rises a din. The sound is created by only three people. For now, we'll just call them D.H., Nikki and Slim. The music that they are creatingmight be the aural equivalent of walking down a farm-to-market road on a foggy morning just before day breaks. The clamor began in November 2007 when these three humans came together to form True Widow. As is to be expected, they set about committing this alchemy to tape and from this arose their self-titled debut in November 2008. True Widow was recorded by the more-than-capable hands of Matt Pence at his Echo Lab studio. But then came time to spread the good word. So they headed out West and then out East, bringing their simultaneously breathless and heavy live set with them. True Widow have released two previous albums: True Widow (2008) and As High As The Highest Heavens And From The Center To The Circumference Of The Earth (2011). Each release has built on the band's unique approach to the guitar-centric intersection of shoegaze and ambient pop, which the band self-described as "stonegaze," NPR described the band's sophomore release as "a warming headphone album for a bleaksnowfall, moody and dreamy chords crushed by a rumbling low-end, " Decibel Magazine said the album is "a droning, strung-out record that is, frankly, almost perfect" and All Music said True Widow's guitar sound is "not so much detuned as it is shuddering." All Dogs All Dogs is a loud rock band that plays pop songs. With roots firmly planted in the DIY punk scene, All Dogs present their sincere and bittersweet songs in a unique, demanding and dynamic fashion. Since 2012, the Columbus Ohio based quartet has been touring the United States, and have released a 7" and a split cassette tape. In 2015, they will be releasing their debut full length Kicking Every Day on Salinas Records. Beverly BEVERLY WILL BE PLAYING SONGS BY THE PIXIES. Beverly began as a recording project between Drew Citron and Frankie Rose. During numerous tours, the two started collaborating and sharing aspirations for making simple, clutter-free music. Their debut LP "Careers" is a result of those ideas, and came out inJuly 2014 on Kanine Records. The album combines raw pop, post-punk, and dreamy harmonies, drawing inspiration from lofi & shoegaze greats such as The Amps, The Clean and Mazzy Star. To support the record live, Drew is currently joined by Jamie Ingalls (Chairlift) on Drums, Scott Rosenthal (Class Actress/The Beets) on bass, and Caitlin Frame (FRAME) on guitar and synth. The four piece band packs a tight punch with a barrage of guitars and a wash of heavenly vocal harmony. Drew is currently back in the studio writing and recording, while they prepare for their fall US tour supporting The Drums. Culture Abuse Dudes from San Francisco and Santa Rosa getting drunk and doing drugs, and then also writing riffs and playing shows. Porches When Aaron Maine looks back on his early work as Porches, he's often struck by how sad and angry it can feel. "That music turned out a lot more pessimistic than I intended it to be," he says. "But when I took a sad moment and turned it into a song, it was acathartic, positive, and clean process. For me, those moments were victories. Feeling better," he adds, "was making a song." As it turns out, Maine is very good at making songs. Over the last few years, the 27-year-old singer and songwriter has released a wealth of material on a number of influential labels, including singles on Terrible (2014's Prism), Birdtapes (2013's Townie Blunt Guts) and Seagreen (2014's Leather), as well as a beautiful yet crushing full-length on Exploding in Sound (2013's Slow Dance In The Cosmos). And in the process he's become a magnetic live presence while playing out in New York, gaining the notice of discerning listeners and labels alike. February 2016 marks the much-anticipated release of Pool, his debut full-length for Domino and a major step forward for him—as an evolving singer/songwriter, and as a nascent producer. Written and recorded almost entirely in the Manhattan apartment he shares with his partner and frequent collaborator, Greta Kline a.k.aFrankie Cosmos, Pool is an elegantly drawn set of gorgeous, synth-driven pop songs that were influenced, in part, by settling in the city as an artist and a person. "I'm feeling like I'm in a more permanent situation than I've been in before," he says. "There is something special about recording at home. It's why it sounds the way it does. Being able to obsess over it on your own time and being in your own little cube knowing you're surrounded by the city, being able to go so deep into it and to spend hours building it, loving it: all of that allowed me to reflect and focus on things a little closer." The album was recorded twice - the first time a crash-course in learning Logic and navigating his first synthesizers and drum machines, the second time starting from scratch with a better hold on the recording process - and eventually mixed by Chris Coady (Yeah Yeah Yeahs, Grizzly Bear, Beach House, Tobias Jesso Jr.) in his Los Angeles studio. Sometime in 2014, Maine, a long-devoted NeilYoung fan, began listening to house and electronic music and contemporary pop music more closely and frequently than he ever had before. What followed is a hypnotic and expansive re-articulation of the melancholy we've come to expect, from the pristine harmonies of "Hour" to the undulating R&B of "Underwater" to the Auto-tuned majesty of the title track. "I feel like the lyrics are like mood boards or collages of my experience in New York," he says. "Rather than focusing on a particular incident or story like I have in the past, I wanted to be more abstract, in order to paint a very specific mood: ideas of lightness and darkness, water, air, movement, acceptance and security." The result is a sophisticated and fully immersive listening experience, with Maine's voice at its center. "I'm getting a little older and a little more in touch with my emotions," he adds. "I just wanted to make this album more positive and to make sure that my message was coming across clearly this time. I neverwanted my music to bum people out. I feel like I naturally gravitate towards the more melancholic experiences in life, but this time around I tried to dissect those moments and somehow extract what was so beautiful about them to me. With this record, I want people to feel something different, something subtler. I want people to feel dark, beautiful and strong when they hear this new record. I want people to put it on at a party and go wild, to put it on just walking or driving around. I want them to fall in love to this record." Self Defense Family Self Defense Family are one of the most interesting bands in contemporary independent music. Formed in 2003 in Albany, New York, they are now a musical collective spread across two US coasts and Europe. Their musical output is as varied as their curiosity and ambition. At first influenced by revolution summer and melodic Dischord bands, in recent years the band has grown into a new phase where they explore post-hardcore territory reminiscentof Lungfish and Wilderness, as well as delve into the alt-country of Drive-By Truckers. After a full-length on Revelation Records, Self Defense have most recently released several LPs and EPs on Deathwish Inc as well as the 12" MLP "Duets" on Iron Pier, as well as many other 7"s and EPs. The Dirty Nil For The Dirty Nil, the past three years have been a period of ceaseless, reckless action. Though the band formed in 2006, while they were still in high school, it wasn't until the release of their first 7" in 2011 that they truly began to harness the propulsive, kinetic energy of their live shows. Since then, they have channeled this energy into three further 7"s, three lathe-cut 7"s, a 10" EP, a few cassette EP's, and a handful of digital singles. Their dedication to short-form releases has helped foster their relentless creative output. Fractured pieces of rabid punk, feral garage rock, and uneasy pop hooks – assembled and reassembled. Performing live, The Dirty Nil are an unhinged,destructive force. Kyle Fisher ferociously pummels his drums, while guitarist Luke Bentham and bassist Dave Nardi stretch their amp volumes past their breaking point. Bentham and Nardi's vocals range between melodic and frantic, violent and—less violent, with a grin on their faces. Whether live or on record, theirs is a performance based on tension and cathartic release. Three friends unified by the common desire to create something vital, meaningful, and excruciatingly loud. The Dirty Nil play rock and roll - cause they couldn't do a damn thing else if they tried. Your Friend Since the release of her debut self-recorded EP, Jekyll/Hyde, in early 2014 via Domino, Taryn Miller has experienced many firsts as an artist – her first tour (with Courtney Barnett), her first SXSW (in 2014, in support of the EP release), and her first time working in a proper studio with a producer. And now, the 24-year-old who resides in Lawrence, KS and makes music under the moniker Your Friend, begins theprocess of another first – the release of her debut full length album, Gumption, out March 2016. Before recording Gumption, Miller searched for the right sonic touchstones for her full length. She struggled initially with the evolution of her sound, calling her EP "raw and innocent", and was concerned with how to write newer material, while being conscious of a platform that could be wider reaching. Miller asked herself: How are you able to identify what is genuine to you and not under the guise of the potential to have a larger audience? After making calls to close friends, and even reaching out via email to the avant-garde composer William Basinski for advice, Miller took direction from perhaps an unlikely source – her former high school teacher, who simply said: ""Art is just where you are now. Where are you right now?" Miller used this simple maxim as the basis to start recording. Miller began writing the songs that would become Gumption at her studio space and apartment inLawrence, KS after returning from touring in mid-2014. As a part of the album's process, Miller acquired a field recorder that she used to explore sound from a familiar place. She took it to her family farm in Dexter, KS and drove around, dipping her senses into childhood nostalgia. If you listen closely, you may be able to identify a few of these noises on Gumption - creek water and engine noise (on 'To Live With'), the wings of pigeons on the walls of their cages ('Who Will I Be…'). Gumption builds on the ideas of Jekyll/Hyde, dealing with the dualities and nuances of human interaction, and questioning how much we, as individuals, are responsible for in the ways we are perceived. Jekyll/Hyde came from a place of, "how am I being affected," while Gumption takes that and says, "how am I affecting?" Recording with producer Nicolas Vernhes (The War on Drugs, Deerhunter) at the Rare Book Room in Brooklyn helped Your Friend fulfill a penchant for drones, loops and found sounds. "I paidattention to textures," Miller says. "I was trying to remove myself from an approach that I had followed before, but to be able to bring in that melodic element that is most inherent to me, and marry it with a more sonically meditative landscape." The album opens with "Heathering," a brooding track Miller had been working on long before entering the studio. The opening acoustic guitar sample was something that Vernhes had caught before she knew they were tracking. It was left as somewhat of a playful placeholder initially, but then ultimately became an endearing and important part of the opening. "Come Back From It," was composed of salvaged pieces of an almost entirely scrapped song during the demoing process. The whirling, dark, drum loop (arguably the backbone) and the crackling drone were the only original pieces of audio from the demo. Vernhes encouraged that there was something about the lurching nature of those elements that was worth pursuing. Miller already had a sense ofverses, but there wasn't a "relief," as Vernhes said, when referring to a chorus. Vernhes sat her in the control room and played Lou Reed's "Pale Blue Eyes," with the both of them in silence, then said, "you have thirty minutes, go write a chorus." After the structure was formed, Miller took on the task of creating several, separate loops for each chord in the entire song, and Vernhes collaging them and achieving an overall cinematic type of texture. "Gumption," came from two separate songs that worked better blended together than apart. "I really struggled with this one initially. One of the songs was more lyrically strong, while the other may have had stronger progressions." It ended up falling together in an unexpected way, with Vernhes sampling old drum machines in order to find a percussive element that would move the song. "He really amazed me with his ability to shape them and give them an entirely new presence with his mixing and editing." The record closes with "Who Will I Bein the Morning," a haunting, shimmering track that nods at those first few, rewarding seconds that come with waking - that small amount of time in between sleep and consciousness, before you can decide how you feel about anything. "The songs on the EP were coming from the lens I was looking through. Now, the lens is flipped around and facing me," Miller says about her songwriting for Gumption. Thematically, the album deals with growing pains that come from self-inducing this sense of quiet that can be uncomfortably revealing. "I was sitting with myself so much, I got to know myself in ways I liked and ways I didn't like," Miller admits. Gumption is a record of courage, as its title suggests - of having the willingness to make necessary shifts, and to have a sense of self-awareness that ultimately leads to growth. Venue Information: Trees 2709 Elm Street Dallas, TX, 75226 There are currently no videos. Check back soon.