The Melting Point
295 E Dougherty Street
Athens, GA 30601
9:30 p.m. Friday, April 5, 2013
- 18+ Show -
The Modern Skirts have built a legacy for their act in Georgia and beyond. They have toured Europe, opened for national acts like R.E.M., and produced three gorgeous full length records. Each of these records, and the EP’s between them chart the career arc of a band that has sought to relentlessly innovate their sound. Unlike many successful bands, Modern Skirts have never been afraid to chop at their sonic foundations to provide material for growth. Gramahawk showed us just how much they cared about creative growth – attacking a complex and experimental sound with reckless abandon. From everyone at Foundry Entertainment, we welcome you with open arms to join us in celebrating their final 40 Watt Show, which brings us one step closer to their career-completing performance at AthFest 2013. "Credited mostly to Glasscrafts, these tracks are among the most goosebump-inducing, heavy indie-guitar tunes in recent Athens history. Trimmer's just a wellspring of songs right now, so go drink deep over at soundcloud.com/steventrimmer/tracks." - Flagpole Magazine more >>> Born of four hopeful rednecks and numerous misconceptions, Athens, GA's Modern Skirts crept onto the scene in 2005 with its piano-laden debut record, "Catalogue of Generous Men." The record was very well received, landing at #11 on Paste Magazines' 50 Best Albums of 2005. Pop Matters also praised the debut for its “impeccably structured, gorgeous pop”. After some marginal touring success around the South and several sold out shows at Athens’ legendary 40 Watt Club, Modern Skirts took to the road for two years. During that time, they gained a small but passionate following, while losing massive amounts of steam and developing a creeping ambivalence towards their initial musical output.
Fearful of being pigeonholed as a piano-pop band, Modern Skirts began working on songs for a follow-up to "Catalogue of Generous Men." While penning this new material, the band scored a string of European dates in the summer of 2008, opening for R.E.M. in Amsterdam and playing at Glastonbury, Rock Werchter, and London‘s O2 Wireless Festival. These massive shows would ultimately prove to be fruitless and forgettable, save for their inclusion here. Modern Skirts would soon return to the studio with David Lowery (Cracker) and Mike Mills (REM) handling production duties. "All of Us in Our Night" was the resulting effort that climbed its way to #22 on the CMJ charts. Darker and more electronic than its predecessor, "All of Us in Our Night" was lauded by Under the Radar as “one of the indie albums of 2009”. It was also heralded by Pitchfork as "bloodless, hermetic," and "not as good as the first one".
Still falling short of finding a truly unique and singular voice, the boys in Modern Skirts discovered something startlingly fresh in singer Jay Gulley’s bedroom recordings and immediately began work on their self-approached and self-produced third record, using these demos as a template. The band threw out the conventional procedures of recording they had encountered in previous sessions and began innovating their approach to capturing the songs on tape. The new material maintained the clever melodic and arrangement sensibilities of earlier recordings, but something more unique began to show itself as the songs actualized. After four decadent and dangerous weeks in New Orleans, "Gramahawk" was complete.
In the spirit of building excitement for the upcoming "Gramahawk," the band mastered and released a collection of the original bedroom recordings digitally and with limited hand pressings as the "Happy 81" EP on July 6th. Despite a significant shift in focus, the record was warmly received by fans and critics alike, "a spectacular display of lo-fi pop with a real raw power to entertain" as fensepost.com cheerfully proclaimed.
"Gramahawk" reintroduces Modern Skirts as a band honest to their musical tastes and to their desire to create and perform both intellectually crafted and inherently catchy songs. Perhaps the most striking aspect of the record, though, is the insight into Gulley's dark, imaginative and humorous brain. A song about Gulley's second DUI, an ode to 80's one hit wonder Jane Child, and a stomping, aggressive mantra about taking off his date's top while being serenaded by a Mariachi band are just the beginning. There is a gleeful and twisted pop evil afoot here. more >>>