BEGIN:VCALENDAR VERSION:2.0 PRODID:SoDel X-WR-CALNAME:The Wood Brothers & Guster BEGIN:VEVENT UID:144372022-06-10 DTSTART:20220610T223000Z SEQUENCE:0 TRANSP:OPAQUE DTEND:20220610T040000Z 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:38.465 810,-75.112030 GEO:38.465810;-75.112030 SUMMARY:The Wood Brothers & Guster CLASS:PUBLIC DESCRIPTION:Guster: \"Look Alive\" is our 8th album. The bulk of it was rec orded in\na vintage keyboard museum in Calgary AB\, during a January stret ch when\nthe temperature reached 30 degrees below zero. We ended up in Can ada\nbecause our British producer\, Leo Abrahams\, couldn’t turn around an\nAmerican work visa fast enough\, and we feel lucky to have discovered\ nStudio Bell at the last minute. Despite having access to room after\nroom of well-maintained analog keys\, Leo gravitated to a cheap Ensoniq\nMirag e synth from the 1980s that made Janet Jackson Rhythm Nation-era\nsounds f rom floppy disks. Leo spent countless hours poring over these\nfloppy disk s while the band gawked at the mellotrons\, harpsichords\,\nand other vint age equipment housed at Studio Bell. It was the\nbeginnings of a stylistic clash that would ultimately play out\nbeautifully. Our band had always gr avitated to “warm” sounds. Leo\nwould introduce us to “cold” sound s and the way they challenge us\nas listeners. He was the perfect compleme ntary piece for Guster. After\nworking with the late Richard Swift four ye ars ago and discovering a\nmore raw and vintage sound on Evermotion\, we fully embraced studio\nproduction with Leo this time around. The sheer amo unt of production\non Look Alive grew into its own statement. There is a lot to unpack.\nOne day in Calgary we arrived at the studio to discover t hat Leo had\nput in a few extra hours on our song “Summertime.” He’d built an\nentire new intro using the Ensoniq Mirage overnight and played it for\nus. The band reaction wasn’t too kind. Our beautiful song now ha d a\njarring\, harsh\, disruptive introduction\, instead of the soft mello tron\nflutes we’d known. After some days of light bickering about it\, L eo\nfinally shed his proper British diplomatic side and belted out\nthat  “the world doesn’t need another fucking Beatles pastiche!”\nThis wou ld eventually become a rallying cry for the album as we strove\nto make so mething new and powerful together. Title track “Look\nAlive” is an omi nous\, processed sonic collage with haunting words\nabout waking up and be coming active in the midst of hollow words and\nfake heroes. “Hard Times \,” written in the studio\, came out more\nlike the dark pop of Peter Ga briel / Depeche Mode / Tears for Fears\nthan what people might think of Gu ster. “Overexcited” felt like\nclassic Brit-pop and so Ryan sang it wi th a British accent over an\nEnsoniq marimba. Some of Guster's critics wil l say “but you can’t\ndo that” — and that’s something we’ve he ard our entire career.\nWe don’t subscribe to the same musical ideology they do and never\nhave. Writing songs for the second straight record with \nmulti-instrumentalist Luke Reynolds (who joined the band in 2010) has\nb een a key to our evolution. Working with artists like Leo Abrahams\,\nJohn Congleton\, and Collin DuPuis proved to be inspiring and adds to a\n“br ain trust” that bolsters the songs. With Look Alive the plan\nis simpl e. Grow our musical community. Write better and better songs.\nKeep our mi nds open. Never repeat ourselves and create a legacy of\nmusic that is und eniable. — Brian Rosenworcel\, drummer of Guster The\nWood Brothers: The Wood Brothers didn’t know they were making a\nrecord. Looking back\, th ey’re grateful for that. “If\nwe had known\, we probably would have been too self-conscious to play\nwhat we played\,” reflects bassist/voca list Chris Wood. “At the\ntime\, we just thought we were jamming to brea k in our new studio\, so\nwe felt free to explore all these different ways of performing\ntogether without worrying about form or structure. It was\ nliberating.” Recorded live to tape\, those freewheeling\, improvised\ns essions became a vast pool of source material from which The Wood\nBrother s would go on to draw ‘Kingdom In My Mind\,’ their seventh\nstudio rel ease and most spontaneous and experimental collection yet.\nWhile on past records\, the band—Chris\, guitarist/vocalist Oliver\nWood\, and drummer /keyboardist Jano Rix—would write a large batch of\nsongs and then recor d them all at once\, ‘Kingdom’ found them\nretroactively carving tunes out of sprawling instrumental jam sessions\nlike sculptors chipping away at blocks of marble. A testament to the\nlimitless creativity of the unhar nessed mind\, the record explores the\npower of our external surroundings to shape our internal worlds (and\nvice versa)\, reckoning with time\, mor tality\, and human nature. The\nsongs here find strength in accepting what lies beyond our control\,\nthoughtfully honing in on the bittersweet beau ty that underlies doubt\nand pain and sadness with vivid character studies and unflinching\nself-examination. Deep as the lyrics dig\, the arrangeme nts always\nmanage to remain buoyant and light\, though\, drawing from acr oss a\nbroad sonic spectrum to create a transportive\, effervescent blend that\nreflects the trio’s unique place in the modern musical landscape.\ n“My brother came to this band from the blues and gospel world\, and\nmy history was all over the map with jazz and R&B\,” says Chris\, who\nfir st rose to fame with the pioneering trio Medeski Martin & Wood.\n“The id ea for this group has always been to marry our backgrounds\,\nto imagine w hat might happen if Robert Johnson and Charles Mingus had\nstarted a band together.” ‘Kingdom In My Mind’ follows The Wood\nBrothers’ most r ecent studio release\, 2018’s ‘One Drop Of\nTruth\,’ which hit #1 on the Billboard Heatseekers Chart and\ngarnered the band their first GRAM MY nomination for Best Americana\nAlbum. NPR praised the record’s “u nexpected changes and\nkaleidoscopic array of influences\,” while Uncut  hailed its\n“virtuosic performances and subtly evocative lyrics\,”\n and Blurt proclaimed it “a career-defining album.” Tracks from\nthe record racked up roughly 8 million streams on Spotify alone\, and\nthe ban d took the album on the road for extensive tour dates in the US\nand Europ e\, including their first-ever headline performance at Red\nRocks\, two ni ghts at San Francisco’s legendary Fillmore (captured on\ntheir 2019 rele ase\, ‘Live At The Fillmore’)\, and festival\nappearances everywhere f rom Bonnaroo to XPoNential. Venue: Freeman\nArts Pavilion. Presenter: Josh ua M. Freeman Foundation. X-ALT-DESC;FMTTYPE=text/html:Guster: \"Look Alive\" is our 8th album. The b ulk of it was recorded in a vintage keyboard museum in Calgary AB\, during a January stretch when the temperature reached 30 degrees below zero. We ended up in Canada because our British producer\, Leo Abrahams\, couldn’ t turn around an American work visa fast enough\, and we feel lucky to hav e discovered Studio Bell at the last minute. Despite having access to room after room of well-maintained analog keys\, Leo gravitated to a cheap Ens oniq Mirage synth from the 1980s that made Janet Jackson Rhythm Nation-era sounds from floppy disks. Leo spent countless hours poring over these flo ppy disks while the band gawked at the mellotrons\, harpsichords\, and oth er vintage equipment housed at Studio Bell. It was the beginnings of a sty listic clash that would ultimately play out beautifully. Our band had alwa ys gravitated to “warm” sounds. Leo would introduce us to “cold” s ounds and the way they challenge us as listeners. He was the perfect compl ementary piece for Guster. After working with the late Richard Swift four years ago and discovering a more raw and vintage sound on Evermotion\, we fully embraced studio production with Leo this time around. The sheer amo unt of production on Look Alive grew into its own statement. There is a lot to unpack. One day in Calgary we arrived at the studio to discover tha t Leo had put in a few extra hours on our song “Summertime.” He’d bu ilt an entire new intro using the Ensoniq Mirage overnight and played it f or us. The band reaction wasn’t too kind. Our beautiful song now had a j arring\, harsh\, disruptive introduction\, instead of the soft mellotron f lutes we’d known. After some days of light bickering about it\, Leo fina lly shed his proper British diplomatic side and belted out that “the wo rld doesn’t need another fucking Beatles pastiche!” This would eventua lly become a rallying cry for the album as we strove to make something new and powerful together. Title track “Look Alive” is an ominous\, proce ssed sonic collage with haunting words about waking up and becoming active in the midst of hollow words and fake heroes. “Hard Times\,” written in the studio\, came out more like the dark pop of Peter Gabriel / Depeche Mode / Tears for Fears than what people might think of Guster. “Overexc ited” felt like classic Brit-pop and so Ryan sang it with a British acce nt over an Ensoniq marimba. Some of Guster's critics will say “but you c an’t do that” — and that’s something we’ve heard our entire care er. We don’t subscribe to the same musical ideology they do and never ha ve. Writing songs for the second straight record with multi-instrumentalis t Luke Reynolds (who joined the band in 2010) has been a key to our evolut ion. Working with artists like Leo Abrahams\, John Congleton\, and Collin DuPuis proved to be inspiring and adds to a “brain trust” that bolster s the songs. With Look Alive the plan is simple. Grow our musical commun ity. Write better and better songs. Keep our minds open. Never repeat ours elves and create a legacy of music that is undeniable. — Brian Rosenworc el\, drummer of Guster The Wood Brothers: The Wood Brothers didn’t know they were making a record. Looking back\, they’re grateful for that. “ If we had known\, we probably would have been too self-conscious to play what we played\,” reflects bassist/vocalist Chris Wood. “At the time\ , we just thought we were jamming to break in our new studio\, so we felt free to explore all these different ways of performing together without wo rrying about form or structure. It was liberating.” Recorded live to tap e\, those freewheeling\, improvised sessions became a vast pool of source material from which The Wood Brothers would go on to draw ‘Kingdom In My Mind\,’ their seventh studio release and most spontaneous and experimen tal collection yet. While on past records\, the band—Chris\, guitarist/v ocalist Oliver Wood\, and drummer/keyboardist Jano Rix—would write a lar ge batch of songs and then record them all at once\, ‘Kingdom’ found t hem retroactively carving tunes out of sprawling instrumental jam sessions like sculptors chipping away at blocks of marble. A testament to the limi tless creativity of the unharnessed mind\, the record explores the power o f our external surroundings to shape our internal worlds (and vice versa)\ , reckoning with time\, mortality\, and human nature. The songs here find strength in accepting what lies beyond our control\, thoughtfully honing i n on the bittersweet beauty that underlies doubt and pain and sadness with vivid character studies and unflinching self-examination. Deep as the lyr ics dig\, the arrangements always manage to remain buoyant and light\, tho ugh\, drawing from across a broad sonic spectrum to create a transportive\ , effervescent blend that reflects the trio’s unique place in the modern musical landscape. “My brother came to this band from the blues and gos pel world\, and my history was all over the map with jazz and R&B\,” say s Chris\, who first rose to fame with the pioneering trio Medeski Martin & Wood. “The idea for this group has always been to marry our backgrounds \, to imagine what might happen if Robert Johnson and Charles Mingus had s tarted a band together.” ‘Kingdom In My Mind’ follows The Wood Broth ers’ most recent studio release\, 2018’s ‘One Drop Of Truth\,’ whi ch hit #1 on the Billboard Heatseekers Chart and garnered the band their first GRAMMY nomination for Best Americana Album. NPR praised the recor d’s “unexpected changes and kaleidoscopic array of influences\,” whi le Uncut hailed its “virtuosic performances and subtly evocative lyric s\,” and Blurt proclaimed it “a career-defining album.” Tracks fro m the record racked up roughly 8 million streams on Spotify alone\, and th e band took the album on the road for extensive tour dates in the US and E urope\, including their first-ever headline performance at Red Rocks\, two nights at San Francisco’s legendary Fillmore (captured on their 2019 re lease\, ‘Live At The Fillmore’)\, and festival appearances everywhere from Bonnaroo to XPoNential. Venue: Freeman Arts Pavilion. Presenter: Josh ua M. Freeman Foundation. DTSTAMP:20261029T204748Z END:VEVENT END:VCALENDAR