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Event:
Nick Waterhouse + The Allah-Las with DJ Greg Vandy
Date:
October 14, 2012 8:00 pm
Cost:
$10 ADV
Organizer:
Neumos
Updated:
August 1, 2012
Venue:
Neumos
Phone:
206-709-9467
Address:
Google Map
925 E. Pike St., Seattle, WA, 98122, United States
10-14-nick-waterhouseWEB

Neumos Presents: Nick Waterhouse + The Allah-Las with DJ Greg Vandy
Sunday October 14th, 2012
$10 ADV
Doors at 8pm
21+
Nick Waterhouse Website
The Allah-Las Website

Advance Tickets on sale at Moe Bar + etix.com

Nick Waterhouse

Nick Waterhouse is the New Breed – An R&B fanatic who combines an uncanny old-school sensibility with a charged, contemporary style. At just 25, He joins the ranks of a growing cabale of similar acts and producers of recent times – Mark Ronson, Mayer Hawthorne, the Daptone Crew et al – that are all moving forward into the past, yet all quite different. For Waterhouse, his muse is the over-modulated sound of vintage R&B, and his take on such a time-honored tradition evokes the back-alley thrill of New Orleans, Detroit and Memphis in their heyday. He combines an astute attention to detail with an honest desire to match the emotional impact of the music that inspires him.

When asked to pinpoint the sound or style he strives for, Nick Waterhouse simply shrugs and responds, “American music. And I know that’s pretty general, but it is what it is. I have spent so much of my life immersed in this stuff, because I wanted to figure it out, [yet] all I figured out was that there was no plan.” In other words, whatever musical style Nick may choose to espouse, it’s not done because someone else did it, but done for the same reason someone else did it. “To me, [the music I play] is not a ‘type’ of music,” he emphasizes; “it IS music. The records I listen to ARE music. A record is a moment in time, and something recorded in 1955 is the same as something recorded in 2010.” Growing up in the Southern California, Waterhouse eschewed his surroundings and found emotional authenticity in the vintage wax of Ray Charles, Roy Head, Little Willie John and the whole panoply of American music, where feel so often trumps technique. After the sold out release of his own self-produced 45, the raunchy ‘Some Place’, and a string of exciting shows with his live group The Tarots, Nick went to work on his forthcoming full-length for Innovative Leisure – continuing an undeniably raw and rhythmic take on American music.

His approach to production – entirely vintage analog equipment, open-reel tape machines, lacquer cutting machines, and even hand letter-pressed labels – has left a few fans wondering where and when he comes from; Long-lost deadstock Rhythm & Blues artifact? White or Black? New or old? It’s a fitting recall to the days of early Rock & Roll, when rhythms crossed the tracks and no-one was quite sure WHAT or WHO this music was. As LA Record bears witness, “You’ve gotta be one kind of maniac to produce like this, and a whole other kind to shout like this, and an even more frightening kind to make the first two maniacs work together. Nick pulling this all off simultaneously means preternatural powers in play”

The Allah-Las
Allah-Las met while working at the biggest of all the L.A. Record stores, but they became a band in an even more rare and special space—a California basement, dug out somewhere between the mountains and the beach. They began gigging shortly after their conception in and around Los Angeles in the later part of 2008. It wasn’t until three years later that they would find the proper environment to record their first single “Long Journey” which now bookends their self-titled release. These were the kind of songs that bounced between London and Los Angeles, the kind of thing that could have come from Mick Jagger or Arthur Lee or both at once, with crystalline guitar and slow-mo drums that recalled the way the waves take big bites of the beach at night. This was mystery music from the strange and ancient-modern California fringe, more Night Tide than Easy Rider. Allah-Las were a reflection of a reflection, an echo of an echo, a band that was psychedelic not because of reverb or shredding through pedals but for the simple way their songs seem to extend to infinity. (Chris Ziegler)

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