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TY SEGALL BAND +Acid Baby Jesus Live @ An Club 10.11.2012

16 Oct 2012 | Categories: Uncategorized | Posted by: anna

With the so-called “San Francisco new garage” scene (so novel…) getting a fair bit of press lately, it is fair to say that 3 larger-than-life personalities are emerging as the people around which this Northern Californian resurgence of garage, psychedelia and punk is gravitating: John Dwyer of The Oh Sees, Mikal Cronin and Ty Segall. We had the pleasure of hosting John, Bridgett, Petey and Mike (AKA The Oh Sees) in June this year, so what better than to have the other aforementioned people over: Ty Segall and his touring band, which includes Mikal Cronin on bass. That simple.

  Ty Segall, with all of his 25 years, has managed to release to date something like (depending on what you consider ‘official releases’) 15 records, seriously putting him in competition with his good friend John Dwyer as “the busiest men in music”. In 2012 alone, Ty released Hair (Drag City, as Ty Segall and White Fence), Slaughterhouse (In The Red, as The Ty Segall Band) and is about to release Twins, the follow up to last year’s excellent solo record Goodbye Bread (2011, Drag City).

 Originally from Los Angeles, Ty Segall moved to San Francisco at18 in order to study. A fan since high school of bands such as Coachwips, Ty soon became a part of a group of musicians that took advantage of the multitude of cheap rehearsal spaces and small studios available in San Francisco to develop a new signature sound for the city. A sound that appears to have developed from all the previous musical movements that emerged from The City By The Bay: garage rock, 1960’s psychedelia, hazy pop music, the 1980’s SF punk scene, and more.

And in Ty Segall, this resurgence of SF music may have found its most singular representative: the perfect fusion between complete noise, catchy pop hooks, acid-drenched lyrics and -lately- a taste for Sabbath-size riffs. Add to that the fact that Ty Segall’s shows are reputedly complete madness, and you can see why we are excited to have him and his band over on Saturday November 10th for the first time in Athens.

Opening for Ty Segall will be Acid Baby Jesus, mainly because we could not think of a better match (as we said, that simple) after pairing them with The Men earlier this year. Following last year’s Acid Baby Jesus LP (2011, Slovenly Records) and their EU/US tour, the band took part at the Austin Psych Fest 2012. Currently in the process of recording their new album, look forward to their split release with Hellshovel on November 6th.  Arguably one of the best Greek bands, their blend of garage rock tinged with 1960s rock melodies and their energetic live shows will prove a perfect foil for Ty Segall’s Band. But let it be known, we’re not cleaning the backstage room again.

Admission:18 euros


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JAPANDROIDS + The Noise Figures @An Club 24.10.2012

02 Oct 2012 | Categories: Uncategorized | Posted by: anna


Anonymity, break-ups, close bouts with death, self-inflicted or accidental wounds, nights doused with alcohol and smoked up in packs of cigarettes. Whatever one might think of their music or their artistic merit, Brian King (guitar/vocals) and David Prowse (drums and Darth Vader), better known as Japandroids, are not one of those bands that followed an easy trail laid with roses.

Japandroids formed in the year 2000, at least in the mind of two then students from British Columbia, Canada; the band itself actually took shape in 2006, as the two members had by then dispensed with higher education. Influenced by the spirit of the American continent’s 1980s independent scene (hardcore punk, Minutemen, Husker Du, Fugazi et al), the band started booking their own shows and tours, self-producing their records (All Lies EP in 2007, Lullaby Death Jams EP in 2008; both can be found on the No Singles comp of 2010 on Polivinyl records), frequently rounding up friends to assist in the true spirit of a do-it-yourself life.

But the best laid plans don’t always work : Japandroids came close to splitting in 2008 and it is only through the persuasion of tiny independent Unfamiliar Records that Post-Nothing (2009, Polivinyl Records) saw the light of day. An album of visceral and brutally honest music and lyrics, a sort of testament to growing up and singing about it in a band with your best friend. Post-Nothing quickly garnered rave reviews, and, as such, might be a fine example of how the internet can now bring attention to a recording that almost  never existed.

Two years of intensive touring and a couple of near-death experiences later, the band released Celebration Rock (2012, Polivinyl). Which sounds exactly like what it says on the tin : an anthem-filled celebration of an album, with debts to both the battery-acid pop of Husker Du and the bare naked emotion of a Bruce Springsteen. And as always, the live renditions of these songs turn into a Celebration of the travails and efforts of a band that are on stage not because they have to, but because they clearly want to and have the battle-scars to prove it.

The Noise Figures seem to follow the same high-energy path. George Nikas and Stamos Bambaris are prominent figures of the Greek wise indie folk scene and have played in several bands including Flakes, Zebra Tracks and Keyser SozeThey joined forces to create a new, darker sound and just released the Turn Off the Lights EP. They will set up their black music keys on An Club’s stage and corrupt us with their new garage blues stories.

Admission:18 euros



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Athens Urban Festival,September 27-29

19 Sep 2012 | Categories: Uncategorized | Posted by: anna

Momentum was a given for Errors in 2012, owing to the excellence of their third, Rock Action Records-released LP Have Some Faith In Magic. It’s what they’ve chosen to do with it, though, that might truly define them. Have Some Faith In Magic received a multitude of praise across the press, but the Scottish trio have refused to rest on those laurels; they return to the live arena in the autumn, and they do so with a stunning new mini-album in tow, its title of New Relics linked to the fact that, as well as being released on the usual formats, copies of it will be available on VHS.

For some bands, the creative process has a definitive start and stop point around each release; for Errors, that vein of invention and construction is constant, the sense being that even as they’re putting something out, they’re already thinking and moving towards the next set of ideas. So it proves with New Relics; the comprising eight tracks undeniably share a kinship with Have Some Faith In Magic, yet feel, even in the short time that’s elapsed since that release, a progression. New Relics takes the kaleidoscopic pop sounds of their previous material and removes them from the gridlines of motorik and kosmische touchstones of their past, creating a resultantly looser, less rhythm-driven sound. “When we started talking about making this record we wanted to have a slightly different approach compared with previous albums” explains the band’s Steev Livingstone. “We were keen to try out some tunes with less structure to them.”

The proof of that comes from the off; ‘Engine Homes’ is a panoramic beginning that belies its three minute length; the group’s aim for it was to introduce many of the sounds and dynamics that would go on to reappear over the consequent tracks. Even by Errors standards, though, the diversity of styles touched upon is too vast for just one song to contain; the band cite a love of blog Awesome Tapes >From Africa, and the spindly guitar lines and rolling rhythms of afro-beat do indeed drift in and out of the mini-LP, most notably on ‘Ammaboa Glass’ – Steev also cites ‘Discipline’-era King Crimson has a reference point for this track.

Beyond that, much of the album is mixed with synth sounds both contemporary and retrospective; from 21st century trans-Atlantic electronica to the stepladder arpeggios of early 90s house, to earlier analogue magicians like Jean-Michel Jarre, and going even further back to pioneering electronic composers like Karl Stockhausen, Errors are really beginning to stretch out. Then there’s songs like ‘White Infinity’, which Steev attributes to listening to a lot of Slowdive and Ride, “although”, he jokes “at one point it was sounding a bit like the Brookside theme tune”.

The group’s processes remain similar to how they put together Have Some Faith In Magic. Each member takes a separate room of the house they share and works individually on composite parts of the material, the trio then uniting to put them together as a whole. That harmony is disrupted, however, on the already-made-public ‘Relics,’ which sees the group open up to collaboration with vocalist Bek Oliva from Edinburgh lo-fi pop group Magic Eye. Thematically, ‘Relics’ is as good an indicator as any for the overall feel of the mini-LP. “It’s about future archaeological digs unearthing DVD players and misunderstanding what they were used for” says Steev; the emphasis, too, is on the accelerating change of technology, and the limited time it takes for the devices we take for granted today, to become obsolete.

To that end, the band are releasing a visual accompaniment on VHS – a format that, in itself, is a recent relic in the technological race to the bottom. Each video is made by a different visual artist, ranging from recent film graduates to more established artists, including Rachel Maclean (who created Errors’ ‘PleasurePalace’ video.) Each artist was just given an audio track, with no information – not even the song title – and were asked to respond to them. Film takes more of an abstract influence on the album too; the group were watching a lot of Alfred Hitchcock’s works during recording, and draw parallels to the uneasy structures of his pieces with their own lingering time-shifting tendencies. Tying it all in the album’s sleeve art was specially commissioned byGlasgowgraphic designer Gabriella Marcella DiTano.

Ultimately, New Relics is a release without pressure attached to it, a still frame of Errors current creative state, put out simply because the consistently high standard they now operate at demands it see the light of day. One day the Glawegians will physically become part of the past like the rest of us; the music they leave behind, however, looks set to remain timeless for years to come.

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WALLS + Drog A Tek @ SIX D.O.G.S 13.09.12

26 Jul 2012 | Categories: Uncategorized | Posted by: anna

WALLS are a band from London made up of members Sam Willis and Alessio Natalizia.
WALLS’ natural combination of guitar play and haunting vocals together with emotive synth lines, sample manipulation and vintage drum machine magic is a match made in heaven, gaining them DJ support from the likes of James Holden, Michael Mayer, Four Tet and Caribou.

The Kompakt duo’s self-titled debut LP was released last year to widespread acclaim, receiving 9/10 in the NME, praise from Resident Advisor and Pitchfork, and the coveted title of Mojo Electronica Album Of The Year.

WALLS tightrope the fine line between the headphones and the club to remarkable lengths, Their lack of concern for boundaries is reflected in their DJ sets, taking in the diverse array of genres and styles that inform their original productions with an eye directly on the dancefloor.

Drog A Tek is a Greek band possessed by the same sense of discovery, curiosity and an ingenious sense of musical playfulness that make them ideal openers of this electronic night.
The ambitious collective of Paranormale (various instruments), Voltnoi (rhythms/laptop), Stmc (trumpet), Nunu (guitars), Quetempo (bass) and Electroware (production music/keyboards/engineering) already counts ten years of wandering across the urban landscape and noisy streets in search of a new musical language.

Totally committed to the sound lectern of narration and they beat aesthetics, they use feelings and fragments of everyday life to create a new form of “dirty pop” that sometimes hauntingly, sometimes shockingly converts ephemeral materials into life, value and personality.

Admission:15 euros

Doors: 21.00


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DISAPPEARS + A Victim Of Society @ AN Club 10.07.12

18 Jun 2012 | Categories: Uncategorized | Posted by: anna

Note to self: Remember not to forget to mention that the drummer from the main band on the bill is a certain Steve Shelley who once played in Crucifucks. And then dropped everything and went to play in an unknown band from New York called Sonic Youth. And kinda helped them to become known outside of New York too. So much so that you might have heard about them.

Anyway, we decided to linger on a while in summer and tire you a bit more with our own – and hopefully your – musical obsessions. As such,  we are delighted to welcome for the first time in Greece, the quartet that are Disappears from Chicago Illinois,


Disappears are the brainchild of Brian Case (formerly of 90 Day Men and Ponys), who together with Graeme Gibson, Jonathan Van Herik and Damon Carruesco decided in 2008 to try to combine the spirit and tradition of  the Chicago ‘noise’ independent scene ( ironically, the last band ever signed to the legendary Touch & Go Records before it ceased activities) with elements of krautrock, shoegaze, garage rock and other music genres with imaginative sobriquets.
Their first LP, Lux (2010, Kranky Records) presented the first opening salvoes of the band, while the advent of a new drummer (can’t for the life of me remember his name)  for the Guider LP (2011, Kranky Records) promotion tour streamlined and tightened the sound of the band, a fact made more evident in this year’s LP, Pre Language (2012, Kranky Records), which is arguably the band’s best effort to date.
So this drummer (It will come back to me, don’t worry) definitely helped the evolution of the band. Well after all, he is considered as one of the greatest drummers ever. And beyond that, he also happened to play in a relatively good band from New York (Sonic Youth), runs a record label called Smells Like Records, launched the career of Cat Power, introduced the music of Daniel Johnston, Townes Van Zandt’s and others to a larger audience, etc. An overall busy man and a good drummer, as people say at least.

And since we like busy people, and music with weird names like krautrock, shoegaze, etc., we will be waiting for your attendance with great pleasure at An Club in Exarcheia for an explosive live show, our last until autumn.

Opening the show will be  A Victim Of Society, arguably one of the most promising independent bands of the Greek music scene. After our previous collaboration for the Dirty Beaches show (where we were lifting our jaws from the floor), the guys (Vangelis and Fotis ) have taken part in a  number of equally impressive live performances, highlighting the elements of experimental, post punk influences and dirty rock ‘n’ roll that characterizes their sound. Oh, and if you are not the owner of their self-released tape, your loss. But at least get the 7” Fake Friends / You ‘re Gonna Hate Me (2012, Fractal Press) …

Anybody remember the name of the guy who plays drums for the Disappears?

Admission:18 euros

Doors: 21.00


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THEE OH SEES + Baby Guru @ AN Club 04.06.12

04 May 2012 | Categories: Uncategorized | Posted by: anna

Continuing our time honoured tradition of booking bands that make your search engines go mad, we are proud to present, for their first time in Athens, Thee Oh Sees. AKA The OhSees AKA OCS AKA Orange County Sound AKA Orinoka Crash Suite. Well anyway, Mr. John Dwyer and friends…

 Hailing from the US East Coast, Mr Dwyer moved to San Fransisco, CAin the late 1990’s and has since been trying to put a face to the term “human music making machine”. From Pink And Brown to Coachwips and The Hospitals, not forgetting tons of other more or less ephemeral bands and collaborations, The Oh Sees seem to be the perfect haven for Dwyer to fulfil his musical obsessions, both on the personal as well as the band level.

 A reality well proven by Thee Oh Sees two releases in 2011 (both on In The Red Records): the psych pop experimental Castlemania (on which Dwyer recorded almost all instruments himself) and the “tight garage rock chaos” of Carrion Crawler/The Dream ( with the full band in studio and the addition of a 2nd drummer elevating their sound).

 One this is for certain: a Thee Oh Sees live show is something to be experienced. Energy, pathos, dancing and litres of sweat pepper the memories of those lucky enough to have seen the band live. And what better setting to see them live for the first time inAthens, following their Barcelona Primavera Sound appearance than AN CLUB in Exarcheia…

Opening the show will be Baby Guru, one of (if not THE) best bands to have emerged from the local Greek scene in these past years. With last year’s Baby Guru LP (Inner Ear, 2011), as well as their other projects, Baby Guru (Sir Kosmische, Prins Obi, King Elephant) have proven that they have the makings of a varied and always riveting band. Their 2nd LP, Pieces, will be released in September on the Inner Ear label.

Their impressive live shows, their roots in garage rock, the Kosmische German music of the 1970s and psychedelia promise an exhilarating on stage meeting with Mr. John Dwyer and Thee Oh Sees.

Admission: 15 euros

Doors: 21:00


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MILK MUSIC + The Mongrelettes + Pockets Full Of Sand LIVE @ Six D.O.G.S /23.05.12

26 Apr 2012 | Categories: Uncategorized | Posted by: anna

The capital of Washington State, Olympia, has long been a factory of independent music. From K Records to Kill Rock Stars, from Beat Happening to Sleater-Kinney, this city of 50.000 people has long been a beacon of independent music and independent thinking. It is therefore with great pleasure that we present, for the first time in Athens, another singular band hailing from that city, the quartet that is Milk Music.
Milk Music doesn’t make any pretensions about inventing a new way to make music. They simply build on their influences (The Wipers, Neil Young, Dinosaur Jr, Husker Du) and come out with a sound that is both thrilling and also reminds you of something familiar, but haven’t heard for a long time.
Their only official release up to now, “Beyond Living” EP (2011, self-released), is packed with tunes that, in a parallel distorted world, could be stadium anthems. What’s more, much like their road friends The Men and mid-1980s SST Records bands, this is a group constantly in search of new ways to interpret their influences. Their next official release, expected sometime in 2012, promises more of the same, or perhaps something completely different. The beauty lies in not knowing.
Because that’s another refreshing thing about Milk Music. In an age where new music is a click away on your computer, Milk Music don’t really care about promoting what they do: self-released and self-distributed records, no social media presence, a few scattered interviews. If you want to hear them, well make the effort to search them out. Chances are you probably won’t regret it.
Now isn’t that refreshingly new? Or does it remind you of something you used to do?

Anti-conformist post-garage rockers, The Mongrelettes will warm up the stage before Milk Music with a hearty music realism full of experimental fun and a moving and shaking refreshing tempo.
Five gifted musicians, four sweeping women coordinate Titto’s melodic farfisa with French pop essence and psych-power dance moves. The freshness of their sound horizon was recently imprinted on the “Mon Mec A Moi “ EP (2011, Fuzz Overdose) that besides the title track also includes the songs “My Baby’s Gone”, “You Got Me Cryin’ “ and “Take It Easy” . Marika Yé Yé, Mariloo, Calamity and Silver Bruise use their pop charms to effortlessly shoot oxygen to the unyielding garage music scene.

Pocket Full of Sand, a new quartet consisted of four young, versatile musicians will open the show by animating their rhythmic education with virtuoso personal references to the lo-fi scene. They will raise the db meter with their own version of musical climax and let the wave once again to be their guide


Admission: 12 euros

Starts: 21:30

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A Whisper In The Noise + No Clear Mind/LIVE Thursday May 10 @ SIX D.O.G.S.

29 Mar 2012 | Categories: Uncategorized | Posted by: anna

The self-described “orchestral garage rock” band, A WHISPER IN THE NOISE gives an extremely humble and personal touch to gorgeous, string-laden music. Their instrumentation includes cello, violin, French horn, synth/electronic keyboards, bass and percussion in some variation, resulting minimalist expression, unique arrangement of instruments, and the inclusion of visual media elements for live performances.

Since their inception 10 years ago, their three critically acclaimed albums , “Through The Ides Of March” (2003), “As The Bluebird Sings” (2006) and “Dry Land” (2008) showcased the band’s remarkable growth and ability to challenge themselves to greater heights with each new phase. AWITN began their musical career sounding like a combination of Nine Inch Nails and “Kid A” era Radiohead, but by the time 2006 rolled around, they had more in common with a male fronted version of The Dresden Dolls, merging a gothic saloon flavor with a dark cabaret aesthetic, culminating all in the 2007 release “Dry Land”, produced by long-time friend Steve Albini.

2012 will see AWITN as new incarnation, consisting only of two members -West Thordson(drums, percussion, keyboards, electronic, piano) and Sonja Larson (violin, strings). Together they create new, riveting mix of sounds that consists of different layers of synthesizer and samplers.

This year’s album “To Forget” (released by Exile On Mainstream Records) finds AWITN engaged in an unconditional playfulness with a melancholic natural environment which brings memories of another era.

Post Rock/ Dream Pop NO CLEAR MIND move inside the same musical labyrinth. They collect musical images from bothAthensandCreteand evolve through a space-time improvisational journey that begun six years ago and culminated with the completion of their debut album “Dream Is Destiny”.

Their musical coherence is casting a spell on numerous blogs around the world and is documented by hundreds of thousand hits on YouTube. Their album is available for free downloading on the Internet and has surpassed the number of 8.000 downloads so far.

NO CLEAR MIND with path the way for A WHISPER IN THE NOISE and together they will give us an evening of dreamy sound and image.


Admission: 10 euros
Starts: 21.30

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The Men + Acid Baby Jesus + Ruined Families / Live Saturday February 11 @ An Club

23 Jan 2012 | Categories: Uncategorized | Posted by: anna

This is hardcore! A seismic genealogy will take place at An Club on February 11. Brooklyn’s finest, THE MEN just a few days before releasing their new hybrid titled “Open your heart” and playing at the prestigious SXSW festival in Austin, Texas come to Athens to drive the Greek noise-rock scene on a frenzy!

The impetuous shoegazeness of the magnificent single “Bataille” will meet the drone sludge awesomeness of “L.A.D.O.C.H” on An Club’s stage.  Get ready to be blown away by “Night Landing”’s enthralling drum machine and bad ass punk guitars and get goosebumbs by the raging majesty of “()”. With three explosive albums on their trunk and hundreds of gritty, seismic live shows they promise to give us a legendary night.

Acid Baby Jesus will ride along on their colorful psychedelic journey. Their endless, irresistible dose of adrenaline found creative expression with the release of their self-titled album by Slovenly and the super successful “to the bone” tour of Europe andU.S.

Passages of fuzzy guitar and drums in trance skillfully distort their vocals and turn songs like “Tooth to toe”, “It’s on me” and “Mesmerized” into favorite “dance until exhaustion” numbers for every stoner pirate.

“Four wall freedom” is the name of the exceptional new album by Ruined Families and they will set up the dark hardcore beginning of the evening.

Clear sound and straightforward lyricism reveal an out of control stage presence. Consistent live performances in and out of Athens reinforced a tight-knit ensemble led by an explosive singer and an infallible guitarist that will open the page with violent black soundcolours





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