TOC presents Frontier Ruckus with Cataldo (solo)
Friday, February 9, 2018
8:00pm - Doors at 7pm
$10 ADV / $12 DOS @ BrownPaperTickets.com
All Ages Bar with I.D.
Frontier Ruckus is a roots-based band from East Lansing, Michigan that incorporates elements of rock, folk, bluegrass, country, blues, and jazz into their lyric-driven songs. The band was formed by singer/songwriter Matthew Milia and banjo player David Winston Jones while in high school and became a three-piece with Eli Eisman on bass. Milia then went to Michigan State University and Jones went to the University of Michigan, but instead of disbanding Frontier Ruckus, they expanded the band, adding Ryan "Smalls" Etzcorn on drums, Anna Burch on harmony vocals, and multi-dimensional musician Zachary Nichols on horns, singing saw, and melodica. All three additions were recruited by Milia in East Lansing.
Frontier Ruckus became a four-member band in 2010 when Burch left as they prepared for the release of their second full-length album, Deadmalls & Nightfalls. She was replaced on bass for touring purposes by Brian Barnes, while Barnes was one of several players who handled bass duty on the band's third long-player, 2013's Eternity of Dimming. Burch Contributed backing vocals to the album, which found Frontier Ruckus returning to the roster of Quite Scientific Records. Milia, Jones, and Nichols took turns on bass along with their usual instrumental duties on 2014's Sitcom Afterlife, with Etzcorn on drums and Burch again guesting on vocals. After tours of Europe and the U.S., the band returned to the studio in 2016 with former Wilco Drummer Ken Coomer in the producer's chair, to record the follow-up to Sitcom Afterlife. The resulting fifth album, Enter the Kingdom, was released at the beginning of 2017.
I was braced for a gut-shot New Years Eve sings Eric Anderson in the opening lyrics of Keepers, a boat beyond the shipping lanes / trailing wakeless into spring. But almost immediately, light cracks through the fog of solemnity and Puget Sound imagery. The next line, Thats when I met you on the street, sets a heartening course for the Seattle based musicians unapologetically ambitious new album under the Cataldo moniker.
The mania of romance and domestic bliss sparked the songs of Keepers. However, the scope of the album and depth of its production were fueled by the urgency and empowerment of a songwriter with both everything and nothing to lose. A few trips to Los Angeles to flirt with professional--and potentially more profitable--songwriting opened Andersons eyes to some unappreciated benefits of the scrappy economy of indie rock. I started to realize that I had it better than I knew and way better than lots of folks doing for-hire writing in LA, he says after a view inside the major label hit-making sausage factory. I get to write whatever I want, record it with whoever I want, and release it whenever I want. No one I met at any level had that same freedom and it was liberating to realize, for me, giving that freedom up wasnt worth the dubious financial rewards that folks were chasing.
And yet the process of recording Keepers was anything but carefree. As he wrote and recorded the songs that would become Keepers, Anderson started to hear the clock tick. Hand in hand with the realization that I didnt like the LA songwriter hustle came the acknowledgment that I probably wasnt going to make my way in the world with music alone. A chance to make a record suddenly seemed precious and finite; I felt some healthy pressure to do good work. These competing but complementary forces are what makes Keepers the most exciting and dynamic Cataldo record yet.
Anderson would take the same no-stone-unturned approach to recording.
The Old Church Concert Hall (View)
1422 SW 11th Ave at Clay St
Portland, OR 97201
|Kid Friendly: Yes!|
|Dog Friendly: Yes!|
|Wheelchair Accessible: Yes!|