The requirements below have been requested by the artist and are fully supported by the venue and promoter.
For entry and attendance to this show, the following are required:
Proof of COVID-19 vaccination
- or -
Proof of a negative PCR COVID-19 test within 72 hrs of showtime
RECORD RELEASE SHOW
Oh, to have our innards again be stirred by sounds of visceral, human music; to feel the welling excitations induced by rumbles of earnest, physical rock-n-roll. So it is with giddy relief that we swing open wide our creaky doors to welcome the percussive bass bottoms, deftly lathed drums, and sinisterly insinuated guitar dissonance of Flood Twin to swoop in and rescue us all from this sensory deprivation chamber. And to announce their arrival, frontman and bass player Grant W. Curry reminds us in the album’s opening track, “People,” that: “There’s no in-between, that means a fucking thing.” It doesn’t matter how these three guys found each other, but it was a hallowed day when they did. Each man here wields his instrument with a distinctive panache. The drummer, and mono-appellatived Sterling, works his stripped-down tubs-and-skins with the reckless precision of a top-flight tail-gunner. He picks up where Wire’s beat man, Robert Gotobed, left off, playing only kick, snare, and high-hat from whence he veers into the realm of the industrial with recollections of Tom Waits/Latin Playboys found-object punctuation and carefully curated samples. There is not a lot of dazzle and flash here, just a sturdy undergirding for the band to ride on. Guitar man J. Leslie Hedberg weaves his way through the arpeggios of diminished chords with the skill of Dexter Morgan dissembling a rival. Don’t come here looking for scaly, wanky soloing though; you won’t hear it. What you will hear is adroitly integrated metallic guitar textures with the occasional dub-laced upstroke. Bassist/vocalist Grant W. Curry, who you will correctly peg as he of New Orleans bands James Hall, and Pleasure Club, reminds us what a bass should sound like: prominent in the mix, at that register right where menace melds with music.
.....Singing/writing years ago in a Rockabilly band called "The Screaming Lillies" & barely 19, Liv packed up and re-located herself to Nashville from the Midwest, where she performed at places like 'Tootsies' and 'The Rose Room' while supplementing her income occasionally by playing for money on the streets with an open guitar case. Not long after Nashville, Austin became her next home wherein she formed the first incarnation of 'The Lovelies'...Re-forming the band after returning to the Midwest is where The Lovelies had the most success. After recording four records, touring & charting nationally twice, the band ended in 2004/05. Two albums were released under her next endeavor, 'The Dark Horse Project', production team Marc Hutner & Grant Curry (Pleasure Club) helped her to refine a new sound she had envisioned...... capturing a beautiful , haunted landscape of listening. Recording deep in the south of Louisiana proved to be just what she needed to unearth her next phase of writing, and performing. In the last several years however, Liv prefers to play solo, releasing now two records..The first solo release entitled 'LIV SINGS' Love Songs For The Forlorn And Misguided, and the second 2017 release entitled 'LIV SINGS Light Of The Valley Shadow Of The Mountain' both of which she composed, played, recorded and mixed nearly the entire album alone in her home studio. Both albums are now available through cdbaby, and itunes. ~Currently, Liv is recording a third solo album and will be releasing a series of singles prior, during 2020.