BEGIN:VCALENDAR VERSION:2.0 PRODID:SoDel X-WR-CALNAME:Shakey Graves/Lucius BEGIN:VEVENT UID:164412023-08-17 DTSTART:20230817T230000Z SEQUENCE:0 TRANSP:OPAQUE DTEND:20230817T040000Z LOCATION:31806 Lake View Drive\nSelbyville DE 19975 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=31806 Lake View Drive\nSelb yville DE 19975;X-APPLE-RADIUS=49;X-TITLE=31806 Lake View Drive:geo:38.466 017,-75.112054 GEO:38.466017;-75.112054 SUMMARY:Shakey Graves/Lucius CLASS:PUBLIC DESCRIPTION:The prehistory of Shakey Graves exists in two overstuffed folde rs.\nInside them\, artifacts document an immense era of anonymous DIY\ncre ativity\, from 2007 through 2010 \"” the three years before ?Roll\nThe B ones? came out and changed his life. There are stencils\, lyrics\,\ndrawin gs\, prototypes for concert posters\, and even a zine. The latter\,\nwhich Graves \"” aka Alejandro Rose-Garcia \"” wrote and\nillustrated\, tel ls the tale of a once-courageous\, now retired mouse\nwho must journey to the moon to save his sweetheart. At the time\, he\nenvisioned the photocop ied storybook as a potential vessel for\nreleasing his music. \"There was a lot of conceptualizing going on --\ntrying to figure out what I wanted s tuff to look like\, sound like\, and\nbe like\,\" Rose-Garcia recalls\, sh uffling through the physical files on\nhis second-story deck in South Aust in. \"And\, honestly\, a lot of trying\nto keep myself from going crazy.\" In this lode of unreleased ephemera\,\nCD-Rs are the most bountiful eleme nt. There are dozens of burned discs\nwith widely varying track lists\, lo osely resembling what would become\nthe Austin native's 2011 breakout debu t ?Roll the Bones?. For\nRose-Garcia\, who's long loved the incongruous ar t form of sequencing\nstrange mixtapes for friends\, his own record was su bject to change\nevery time he burned a disc for somebody. Consistency did n't matter\,\nhe asserts\, because there was no demand or expectations. Th us ?Roll\nthe Bones? was by no means a Big Bang creation story\, rather a years\nlong process of metamorphosis where literally hundreds of tracks we re\nwinnowed down into ten. As the album took shape\, he began\nmanufactur ing one-off editions of the CD\, stapled to self-destruct in\nbrown paper\ , with black and white photographs glued upon them\, and an\nink pen marki ng of the artist's enduring logo: a skull struck by an\narrow. \"I liked t hat if they were opened\, you couldn't close them\nagain\,\" he smiles. \" Sometimes I'd spray paint the CD so they looked\ngood and people would sti ck them in their car stereo and it would fuse\nin and never come out. They 'd tell me\, 'You're lucky I like this\nrecord because it's the last one I 'll ever be able to listen to in my\ncar.'\" In the shadows self-doubt tha t surrounds any artists first\nrecord\, Rose-Garcia had a fantasy: he rele ases ?Roll the Bones?\, only\nten people hear it\, it's rediscovered a dec ade later by Numero Group\,\nhailed as before-its-time\, and finds an audi ence as a lost treasure.\nHe still plays that scenario through his mind li ke an alternative\nreality. Of course\, that's far from what actually mate rialized. ?Roll\nthe Bones? was released on the first day of 2011 without a lick of\npromotion advancing it. It was simply thrust into the world as a\ndecapod of perplexingly memorable\, narrative-wrapped songs with a\nmys terious cover and no information about the artist... only available\non th e relatively new platform of Bandcamp. That year\, an editor at\nBandcamp made it a featured album for a month and from there it stayed\nin the webs ite's top selling folk albums evermore. The record has\nsince seen well ov er 100\,000 units sold -- even while being available\nfor free download. I n the \"Supported By\" section of the ?Roll the\nBones? Bandcamp page\, yo u can endlessly click \"more\" and squares of\navatars will keep showing u p until you grow tired and stop. \"If you\ndiscover something for yourself \, it will always hold more water\nbecause it's tied to memory and coincid ence\,\" Rose-Garcia reasons as\nto why he never pushed ?Roll the Bones? o nto a wider marketplace. \"It\ngives you a sense of ownership as a listene r.\" Now fans can obtain\n?Roll the Bones? as their own physical artifact. Through Dualtone\nRecords\, Shakey Graves will release a ?Ten Year Specia l Edition?\ndouble LP with a black and gold foil re-arting of the taxiderm ied cow\nhead cover. Separate iterations\, hitting record collections on A pril\n2\, offer the 180g vinyl in a black and gold combination or two marb led\n\"galaxy gold\" discs. The lovingly assembled packaging includes\nhan dwritten deep explanations of every song\, offset with original\nphotograp hy. Along with its deluxe vinyl emergence\, ?Roll the Bones?\ntoday become s available through all digital service providers --\nSpotify\, Apple Musi c\, YouTube\, et all. For the last decade\, the songs\nhave lived exclusiv ely on Bandcamp. This full-spectrum digital release\narrives concurrent wi th Shakey Graves Day\, which was minted on\nFebruary 9\, 2012 by Austin Ma yor Steve Adler. Year one\, Rose-Garcia\nspent what he calls his \"alter e go's birthday\,\" as an excuse to go\nplay laser tag. Ever since\, he's us ed it as an occasion to stage\nintimate pop-up shows and open up the attic s of his discography --\nmaking all of his albums\, plus hundreds of unhea rd songs temporarily\navailable for free. \"I've used Shakey Graves Day as a challenge to\nmyself\,\" he assesses. \"I make so many random songs thr oughout the year\nthat I either forget about or I'm too nervous to put on an album and\nit becomes a clearinghouse for that. It surprises me when pe ople tell\nme that something released that day is their favorite of my stu ff. In\na larger sense\, it builds off what I initially did with ?Roll the \nBones -? which is give it away for free.\" Accompanying ?Roll the\nBones ? anniversary pressing are 15 additional tracks comprising an\n?Odds + End s? LP\, which stands as an essential document of Grave's\nearly era. Highl ights include the mandolin imbued \"Chinatown\,\" which\nsounds like it co uld be dubbed off a 1930's silver screen soundtrack\,\nand \"Saving Face\" -- a seminal version of what would become ?Roll the\nBones? title cut. Th e crown jewel\, however\, may be a the first ever\nproper recording of the trifling love song \"Late July\,\" a version\nthat's drastically differen t than the live rendition that's racked 14\nmillion views on YouTube. Prep ping ?Roll the Bones? thoughtful 2021\nedition gave Rose-Garcia an opportu nity to take a new look at the\nperson. \"I hear someone who felt really t rapped\,\" he reveals. \"In a\nlot of ways it was a breakup record. My fir st serious relationship had\nfallen apart and I was wanting to break up wi th my life -- run away\,\nbe transient\, and figure out who I was in the w orld. I can hear myself\nblaming the girl and trying to support myself\, l ike maybe it's okay to\nbe dirty and crazy and have blinders on. Then\, at the end\,\neverything's zooming back in and I'm saying 'I guess I just go t hurt\nand I'm in a bit of pain and\, you know\, it's going to be okay.'\ "\nClaiming he's \"further confused\" listeners with each release\,\nRose- Garcia believes this purge of early output will provide some\nneeded frami ng for his discography. It's his genesis story\, before he\nhad the studio time to make the shiny ?And the War Came? or the\nfull-band cohesion to m ake the painstakingly dense ?Can't Wake Up. To\nhim\, it's a scrappy effor t\, but the most intentional work he's ever\nproduced -- and\, a decade la ter\, he wouldn't change a thing. \"It's a\nrecord that sounds like my yea rs of exploration and influence\,\nfunneled through my abilities at the ti me -- and it all became\nsomething bigger\,\" he muses. \"If you would've offered to me: 'Let's do\n?exactly? what you want\, right now\" ?Roll the Bones? wouldn't have\ncome out like this... and I'm happy that's the case. Total control is\nan unhealthy myth\, it leaves out the emotional side of how all the\naccidents come together. This record's a period of time smas hed into a\nsingle product and\, in my own heart\, it's a moral compass: t o always\nget back to feeling like this about the songs I make.\" Acclaime d\nindie-pop band Lucius has been turning heads since the start\, thanks\n to their irrepressibly catchy songs and bold aesthetic. Formed by Jess\nWo lfe and Holly Laessig\, the Los Angeles group got rolling with their\n2013 debut album Wildewoman\, which Rolling Stone hailed for \"an\nupdated ’ 60s girl-group sound at once fresh and thrilling\". Lucius\nshifted the fo cus on 2016’s Good Grief with moodier songs\, before\ntaking a break fro m the studio to join Roger Waters on his Us + Them\nTour in 2017-18. Luciu s returned in 2022 with the dance-ready\ncollection Second Nature\, which features singles “Next to Normal\"\,\none of NPR Music’s top songs o f the year and “Dance Around It\"\nthe pulsing song with Sheryl Crow a nd Brandi Carlile. In addition to\ntheir own work\, the GRAMMY-nominated W olfe and Laessig are singers in\ndemand: their voices have graced songs by a host of other artists\,\nincluding Carlile\, The War on Drugs\, John Le gend\, Harry Styles\, Jeff\nTweedy and Ozzy Osbourne. Venue: Freeman Arts Pavilion. Presenter:\nJoshua M. Freeman Foundation. X-ALT-DESC;FMTTYPE=text/html:The prehistory of Shakey Graves exists in two overstuffed folders. Inside them\, artifacts document an immense era of an onymous DIY creativity\, from 2007 through 2010 \"” the three years befo re ?Roll The Bones? came out and changed his life. There are stencils\, ly rics\, drawings\, prototypes for concert posters\, and even a zine. The la tter\, which Graves \"” aka Alejandro Rose-Garcia \"” wrote and illust rated\, tells the tale of a once-courageous\, now retired mouse who must j ourney to the moon to save his sweetheart. At the time\, he envisioned the photocopied storybook as a potential vessel for releasing his music. \"Th ere was a lot of conceptualizing going on -- trying to figure out what I w anted stuff to look like\, sound like\, and be like\,\" Rose-Garcia recall s\, shuffling through the physical files on his second-story deck in South Austin. \"And\, honestly\, a lot of trying to keep myself from going craz y.\" In this lode of unreleased ephemera\, CD-Rs are the most bountiful el ement. There are dozens of burned discs with widely varying track lists\, loosely resembling what would become the Austin native's 2011 breakout deb ut ?Roll the Bones?. For Rose-Garcia\, who's long loved the incongruous ar t form of sequencing strange mixtapes for friends\, his own record was sub ject to change every time he burned a disc for somebody. Consistency didn' t matter\, he asserts\, because there was no demand or expectations. Thus ?Roll the Bones? was by no means a Big Bang creation story\, rather a year s long process of metamorphosis where literally hundreds of tracks were wi nnowed down into ten. As the album took shape\, he began manufacturing one -off editions of the CD\, stapled to self-destruct in brown paper\, with b lack and white photographs glued upon them\, and an ink pen marking of the artist's enduring logo: a skull struck by an arrow. \"I liked that if the y were opened\, you couldn't close them again\,\" he smiles. \"Sometimes I 'd spray paint the CD so they looked good and people would stick them in t heir car stereo and it would fuse in and never come out. They'd tell me\, 'You're lucky I like this record because it's the last one I'll ever be ab le to listen to in my car.'\" In the shadows self-doubt that surrounds any artists first record\, Rose-Garcia had a fantasy: he releases ?Roll the B ones?\, only ten people hear it\, it's rediscovered a decade later by Nume ro Group\, hailed as before-its-time\, and finds an audience as a lost tre asure. He still plays that scenario through his mind like an alternative r eality. Of course\, that's far from what actually materialized. ?Roll the Bones? was released on the first day of 2011 without a lick of promotion a dvancing it. It was simply thrust into the world as a decapod of perplexin gly memorable\, narrative-wrapped songs with a mysterious cover and no inf ormation about the artist... only available on the relatively new platform of Bandcamp. That year\, an editor at Bandcamp made it a featured album f or a month and from there it stayed in the website's top selling folk albu ms evermore. The record has since seen well over 100\,000 units sold -- ev en while being available for free download. In the \"Supported By\" sectio n of the ?Roll the Bones? Bandcamp page\, you can endlessly click \"more\" and squares of avatars will keep showing up until you grow tired and stop . \"If you discover something for yourself\, it will always hold more wate r because it's tied to memory and coincidence\,\" Rose-Garcia reasons as t o why he never pushed ?Roll the Bones? onto a wider marketplace. \"It give s you a sense of ownership as a listener.\" Now fans can obtain ?Roll the Bones? as their own physical artifact. Through Dualtone Records\, Shakey G raves will release a ?Ten Year Special Edition? double LP with a black and gold foil re-arting of the taxidermied cow head cover. Separate iteration s\, hitting record collections on April 2\, offer the 180g vinyl in a blac k and gold combination or two marbled \"galaxy gold\" discs. The lovingly assembled packaging includes handwritten deep explanations of every song\, offset with original photography. Along with its deluxe vinyl emergence\, ?Roll the Bones? today becomes available through all digital service prov iders -- Spotify\, Apple Music\, YouTube\, et all. For the last decade\, t he songs have lived exclusively on Bandcamp. This full-spectrum digital re lease arrives concurrent with Shakey Graves Day\, which was minted on Febr uary 9\, 2012 by Austin Mayor Steve Adler. Year one\, Rose-Garcia spent wh at he calls his \"alter ego's birthday\,\" as an excuse to go play laser t ag. Ever since\, he's used it as an occasion to stage intimate pop-up show s and open up the attics of his discography -- making all of his albums\, plus hundreds of unheard songs temporarily available for free. \"I've used Shakey Graves Day as a challenge to myself\,\" he assesses. \"I make so m any random songs throughout the year that I either forget about or I'm too nervous to put on an album and it becomes a clearinghouse for that. It su rprises me when people tell me that something released that day is their f avorite of my stuff. In a larger sense\, it builds off what I initially di d with ?Roll the Bones -? which is give it away for free.\" Accompanying ? Roll the Bones? anniversary pressing are 15 additional tracks comprising a n ?Odds + Ends? LP\, which stands as an essential document of Grave's earl y era. Highlights include the mandolin imbued \"Chinatown\,\" which sounds like it could be dubbed off a 1930's silver screen soundtrack\, and \"Sav ing Face\" -- a seminal version of what would become ?Roll the Bones? titl e cut. The crown jewel\, however\, may be a the first ever proper recordin g of the trifling love song \"Late July\,\" a version that's drastically d ifferent than the live rendition that's racked 14 million views on YouTube . Prepping ?Roll the Bones? thoughtful 2021 edition gave Rose-Garcia an op portunity to take a new look at the person. \"I hear someone who felt real ly trapped\,\" he reveals. \"In a lot of ways it was a breakup record. My first serious relationship had fallen apart and I was wanting to break up with my life -- run away\, be transient\, and figure out who I was in the world. I can hear myself blaming the girl and trying to support myself\, l ike maybe it's okay to be dirty and crazy and have blinders on. Then\, at the end\, everything's zooming back in and I'm saying 'I guess I just got hurt and I'm in a bit of pain and\, you know\, it's going to be okay.'\" C laiming he's \"further confused\" listeners with each release\, Rose-Garci a believes this purge of early output will provide some needed framing for his discography. It's his genesis story\, before he had the studio time t o make the shiny ?And the War Came? or the full-band cohesion to make the painstakingly dense ?Can't Wake Up. To him\, it's a scrappy effort\, but t he most intentional work he's ever produced -- and\, a decade later\, he w ouldn't change a thing. \"It's a record that sounds like my years of explo ration and influence\, funneled through my abilities at the time -- and it all became something bigger\,\" he muses. \"If you would've offered to me : 'Let's do ?exactly? what you want\, right now\" ?Roll the Bones? wouldn' t have come out like this... and I'm happy that's the case. Total control is an unhealthy myth\, it leaves out the emotional side of how all the acc idents come together. This record's a period of time smashed into a single product and\, in my own heart\, it's a moral compass: to always get back to feeling like this about the songs I make.\" Acclaimed indie-pop band Lu cius has been turning heads since the start\, thanks to their irrepressibl y catchy songs and bold aesthetic. Formed by Jess Wolfe and Holly Laessig\ , the Los Angeles group got rolling with their 2013 debut album Wildewoman \, which Rolling Stone hailed for \"an updated ’60s girl-group sound at once fresh and thrilling\". Lucius shifted the focus on 2016’s Good Grie f with moodier songs\, before taking a break from the studio to join Roger Waters on his Us + Them Tour in 2017-18. Lucius returned in 2022 with the dance-ready collection Second Nature\, which features singles “Next to Normal\"\, one of NPR Music’s top songs of the year and “Dance Aroun d It\" the pulsing song with Sheryl Crow and Brandi Carlile. In addition to their own work\, the GRAMMY-nominated Wolfe and Laessig are singers in demand: their voices have graced songs by a host of other artists\, inclu ding Carlile\, The War on Drugs\, John Legend\, Harry Styles\, Jeff Tweedy and Ozzy Osbourne. Venue: Freeman Arts Pavilion. Presenter: Joshua M. Fre eman Foundation. DTSTAMP:20261028T124126Z END:VEVENT END:VCALENDAR