Far Out Fest
Fri · May 11, 2018 - Sat · May 12, 2018
Doors: 7:00 pm / Show: 8:00 pmMercy Lounge
$40 WEEKEND PASS // $20 FRIDAY PASS // $25 SATURDAY PASS
This event is 18 and over
FAR OUT FEST 2
MERCY LOUNGE & THE HIGH WATT
MAY 11-12, 2018
FRIDAY: High Watt
8:00 Opening Ceremony
9:30 Nest Egg
11:00 Dead Feathers
FRIDAY: Mercy Lounge
8:45 Wet Piss
11:45 Electric Citizen
Click here for Saturday schedule
ART INSTALLATIONS by
a one-of-a-kind COSMIC MARKET
SATURDAY the 11th
5 pm - 12 midnight
HOLLY & THE HARE
& JEFF CRAWFORD
thanks to our sponsors
Based in Nashville, Ttotals have been stoically ensuring that the genre remains relevant in Music City going on several years. Founded in 2009 by Brian Miles, a Nashville - native, Ttotals have employed an ever shifting cast of exceptional musicians in their eight years as a band. Their latest release, We Are the Outer Blues, sees newcomers Dylan Frost and Austin Edwards rounding out the Ttotals lineup alongside Miles, as well as making their first contributions to Ttotals’ catalog. Conceived out of a desire to bring avant garde principles to psychedelic music, Ttotals’ newest release continues to bring that original idea closer to reality. Over four songs, the trio establishes a sound that honors a lineage established by 13 Floor Elevators and continued later by Spaceman 3 without forgetting that Ttotals exists in the present. The songs themselves are driving and meditative, with riffs that become like chants, often expanding their presence over the entirety of the song.
“Ttotals is a celebration of repetition and reflection. We want it to be an introspective experience for listeners."
We Are the Outer Blues follows Ttotals’ 2014 full-length, Let Everything Come Through, which Psychedelic Baby Mag called, “an absolute trip in the outer stratosphere of consciousness.” We Are the Outer Blues pursues that description as a mantra, establishing a sound that will continue to be explored on future releases.“We Are the Outer Blues is a continuation of a sound we’ve been mining and developing for years,” Miles said. “We hope our listeners will see the lineage of psychedelic music carried forward in our own music.”
After bursting to the American heavy rock forefront with their 2014 debut album, Sateen, Electric Citizen released their second album, Higher Time in 2016; a breakout moment for the band as a whole and for vocalist Laura Dolan. Like its predecessor, Higher Time was recorded at The Diamonds studio in Cincinnati by Brian Olive (The Greenhornes, Dan Auerbach, Dr. John, etc.), and in search of an even more expansive feel, Laura, Ross and Brian traveled to mix alongside Black Keys engineer Collin Dupuis at Easy Eye in Nashville, TN.
Electric Citizen branch out with stage-born assurance across a collection of definitive rock ‘n’ roll. It is a bold, complete sound that sacrifices nothing of the band’s on-stage energy and clearly demonstrates that while their progression has been quick, it’s been hard won the traditional way: They worked their collective ass off. Electric Citizen brazenly refuse to be pigeonholed and craft a style that, like every stage they step onto, is completely their own. Look for them on the road in North America and Europe throughout 2018 and beyond.
After the dissolution of heavy psych stalwarts Abby Gogo, singer/guitarist Bon Allinson began working on a batch of songs more heavily influenced by his upbringing in Alabama and by the musical traditions of the South. He brought these songs to drummer Pumakawa “Puma” Navarro (Abby Gogo) and bassist Asha Lakra (Tikka) and the trio hit the ground running. They played their first set opening for Matt Hollywood of Brian Jonestown Massacre and soon after recorded a three song demo with Spencer Garn at Diamond Street Studios. The band gained a reputation as one of the most intense acts in Atlanta and around the South playing with acts such as Lee Bains III and the Glory Fires, Holy Wave, Spaceface, White Reaper, and Froth.
Ready to set the songs they’d crafted to two-inch tape, ADCT headed to Water Valley, Mississippi to record Medicine Music with producer Matt Patton (Drive-By Truckers, Dexateens), and engineer Bronson Tew at Dial Back Sound (owned at the time by Bruce Watson of Fat Possum Records). The band stayed in the small apartment adjacent to the studio, working in marathon sessions that ended in all involved crashing wherever was convenient. The tracks were also mixed and mastered at Dial Back Sound and pressed to vinyl at Gotta Groove Records. Now with their debut album in hand, ADCT has teamed up with Psych Army Intergalactic and are ready to conquer the rest of the U. S. and then the world.
Within a dense fog of cultish isolation, they create deliberately off-kilter music. Each Chewer plays various instruments which coagulate into an eclectic blend of deadpan, primitive rock, heavily focused on rhythmic interplay and unbalanced semi-melodic car-crashes.
The songwriting has a strong isolationist streak running through it. The songs feature characters who are immersed in psychological hells, struggling with deep disconnect and dissatisfaction with the society they live in. Though thematically dark, these subjects are presented with a crooked sense of humor and the absurd.
Reviews of The Chewers
"Twisted hillbilly noise-rock...fascinating, unpredictable, and doesn't sound much like anything else I've heard lately."
-Music for Maniacs
"...full to the brim with mind melting, idiosyncratic, Beefheartian punk from the outer limits..."
- The Devil Has The Best Tuna
"Outstanding -- funny, weird, and rocking."
"...Pessimistic, avant-garde Americana, but with a wry sense of humor. The deadpan vocals delivered over a musical candy store backing are not for the squeamish. The songs, short as they are, demand the full attention of the listener...The duo wants to be heard, but crowd-pleasing isn't part of their vocabulary."
- Here Comes the Flood
"...Rugged, roughly-hewn, juddering oddball folk, the perfect soundtrack for a doomed world...Nightmarish, witty, compelling and deeply, deeply unusual."
-Neill Dougan (Thumped.com)
"(They sound) as though a couple of tattooed hillbillies decided to retire early from the bathtub speed trade and form a band based on the Residents and Tom Waits records they found at a yard sale in Wheeling."
-The Weirdest Band in the World
"The Chewers address (themselves) to the awkwardness and uncertainty of real people, with rhythms that mimic the gestures of rock, but stumble along like the slightly-overweight and under-rested on their way to work after a disturbed night on a cheap mattress...There's creativity and intelligence in every moment of this album, even at its most random and bizarre, and its most serious points are directed via that most subversive of channels: laughter."
-Oliver Arditi (oliverarditi.com)
"Most of what they do involves rudimentary guitar lines which complain like old suspension springs; drums thumped with a bastardized ritual technique; frowning, stump-handed bass playing which is too big for the room, but too inert to leave it. They sing, after a fashion -- usually in a menacing deadpan creak, sometimes in a gruff, lobotomized roar. Melodies are torn off, like unwanted paint. They strip everything down to a trapped and surly chug...Their Americana is absurd and brutal, part Faulkner and part 'Gummo'..."
- Dann Chinn (misfitcity.org)
1 Cannery Row
Nashville, TN, 37203