Lee Bains III & The Glory Fires

Lee Bains III & The Glory Fires

Crazy Bull, Pinact

Sat, July 29, 2017

Doors: 7:30 pm / Show: 7:30 pm


Tickets at the Door

This event is 21 and over

Lee Bains III & The Glory Fires
Lee Bains III & The Glory Fires
On June 30th, Don Giovanni Records will release Youth Detention///(Nail My Feet Down to the South Side of Town), the third full-length album by Lee Bains III & the Glory Fires.

Call it Youth Detention for short.

A double LP spanning 17 songs, it is the band's most ambitious work to date -- a sprawling and visceral record given to both deep introspection and high-volume spiritual uplift.

Where The Glory Fires' previous LP Dereconstructed (2014) sought to dismantle one-dimensional notions of Southern identity and culture, Youth Detention has a similar, but more personal intent. "It's about dismantling myself and the narratives that I've taken on," explains Bains. "It's an examination of youth and the processes through which we begin to consider ourselves, our identities, and what various communities we belong to or are in tension with." Often, the songs detail moments in which cultural boundaries and biases become apparent -- scenes in which systems of privilege and oppression become visible, particularly as they relate to race, class, and gender. Everyday settings -- a church, a ballpark, a cafeteria -- are revisited again and again, to explore these fleeting moments of revelation from different perspectives and roles. It's a record defined by accumulation. Stories, images, and thoughts pile up to create confusion and cacophony in the narrative.

Recorded in Nashville, Tennessee at Battletapes with engineer Jeremy Ferguson and producer Tim Kerr, Youth Detention captures the band in raw form. Each song was cut live to tape, with the four performing in the same room without headphones or baffling. The result is thoroughly human, Lynn Bridges' mix retaining the band's live energy and looseness at the expense of a few out of tune strings. The Glory Fires' music draws deeply from punk, but also soul, power pop, country, and gospel. It's equal parts careful curation and geographic inheritance. "It's the sound of my place," says Bains. "I want to know it. I want to argue with it. I don't want to be a band from anywhere that could be doing anything. For me, that's what punk is about -- figuring out who I am and how to be the best version of myself. I can't do that by pretending to be something I'm not."

The songs are deeply rooted in Bains' experience of his hometown, Birmingham, AL. Youth Detention depicts a Southern city in the decades surrounding the turn-of-the-millennium: in the throes of white flight, urban disinvestment, racial tension, class struggle, gentrification, gender policing, homophobia, xenophobia, religious fervor, deindustrialization, and economic upheaval.

The lyrics could ring true anywhere, though. The South exists in the world and, like the South, the world is increasingly beholden to many of these same tensions and forces. The songs on Youth Detention are meant as small acts of resistance to those systems. Documenting minor moments -- the refusal to sit quietly through a display of bigotry, the act of quieting down and listening to somebody's struggle, sticking up for friends targeted for their difference -- that, hopefully, serve as the beginnings of a more profound awakening.
Crazy Bull
Crazy Bull
Crazy Bull is a four- piece hard rock band from Philadelphia. Musically they strive to show reverence to bands like Mountain, Pentagram, mc5 and the Scorpions, without losing a fresh approach to their songwriting. They believe in tight, crushing riffage and soloing that draws you in and splits your head in half. Crazy Bull has that classic edge in their music. The edge that makes you remember. The edge that makes you light up and smile because you just have to. The riff sets in, the drums bellow through you, the vocals make your lower half rumble and your deep in it. Bong.
Pinact is back, but it’s hardly like they’ve been away. Relentlessly performing and honing their craft, Corrie Gillies (vocals,
guitar), Lewis Reynolds (drums) were already a frantic on-stage force, before they added Jon Arbuthnott (bass) to bring out the
razor-sharp melodies and unapologetically fuzzy guitars. The Part That No One Knows, a much-anticipated follow-up to 2014’s
excellent debut, Stand Still and Rot, delivers on all fronts – the trio offers hooks by the dozen, artillery-style drumming and
perfectly synchronised guitar interplay.
Written and recorded in Glasgow, the Scottish Highlands and London, Pinact’s approach to album 2 was noticeably different.
“We intentionally holed ourselves up in the Highlands to focus on bringing out the melodies, and I think that shows”, Gillies
explains – the fruits of a frozen Northern labour are evident in anthemic efforts like ‘Oh’, an immediate sing-along, and ‘Seams’,
which sees the singer take on challenging vocal parts with consummate ease.
In the early writing stages of the writing process the band went on a trip to Leeds to see The Cribs; the influence is notable,
while fans of Dinosaur Jr., The Breeders and Weezer will find a lot to nod along to in The Part That No One Knows. However,
Pinact’s brand of pop-infused rock is an entity unto itself: “I purposefully didn’t listen to other music while writing and recording, I
get lost in my own world”, Gillies says, and the lyricism makes this very clear: ‘Regrettable Thrill’ for example lends more to a
bleakly Scottish sense of humour and world-weariness that could only be Gillies, as opposed to American rock bands.
With the band now all based in Glasgow, the group's cohesiveness is plainly apparent all over the LP. ‘Separate Ways’ is an
example: the chorus is unmistakably Pinact’s, but with Arbuthnott’s rock-steady bass work, Gillies’ is allowed to play a snaking
guitar line over drumming so determined that threatens to burst out of the speaker. While Stand Still and Rot was far from an
album of restraint, The Part That No One Knows is the work of a more versatile outfit, and the song-writing is all the better for
Emboldened by appearances in New York, at Texas’ SXSW and extensive UK tours, Pinact’s live show and recorded output is
thrilling; articulate but brash, kind but loud and fine-crafted, yet frenetic. Try to find a more fun record than this in 2017, one that
isn’t afraid to be playful but expresses complex emotion side-to-side with rhythm work that’s second-to-none. The Part That No
One Knows is a record that a lot of people are about to know.
Venue Information:
Kung Fu Necktie
1250 N Front Street
Philadelphia, PA, 19122

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