Yonder Mountain String Band

Greenhouse Productions Presents:

Yonder Mountain String Band

Dangermuffin

Thursday, April 4 2019

Doors: 7:00 pm / Show: 8:00 pm

$27.50 - $33.50

Tickets at the Door

This event is all ages

Yonder Mountain String Band
Yonder Mountain String Band
Yonder Mountain String Band's first new album in two years, LOVE. AIN'T LOVE is undeniably the Colorado-based progressive bluegrass outfit's most surprising, creative, and yes, energetic studio excursion to date. Songs like "Chasing My Tail" and "Alison" are rooted in tradition but as current as tomorrow, animated by electrifying performance, vivid production, and the modernist power that has made Yonder one of the most popular live bands of their generation. Melding sophisticated songcraft, irrepressible spirit, and remarkable instrumental ability, LOVE. AIN'T LOVE is a testament to Yonder Mountain String Band's organic, dynamic, and intensely personal brand of contemporary bluegrass-fueled Americana.

"I think this is our best album yet," says Adam Aijala, guitarist.

Yonder founding members Aijala, banjo player Dave Johnston, and bassist Ben Kaufmann reconfigured Yonder Mountain String Band as a traditional bluegrass instrumental five-piece in 2014 with the recruitment of new players Allie Kral (violin) and Jacob Jolliff (mandolin). The reconstituted group debuted with 2015's acclaimed BLACK SHEEP, but truly gelled as they toured, the new players' personalities seamlessly blending and elevating the intrinsically tight Yonder sound. Yonder made certain to show off the current roster's growing strength with the 2017 release of MOUNTAIN TRACKS: VOLUME 6, the first installment in their hugely popular live recording series since 2008.

"This lineup just keeps getting better," Aijala says. "The more gigs you get under your belt, the better you get. Obviously. But the confidence I have in these individual musicians, I'm amazed at some of the places we go together on stage."

LOVE. AIN'T LOVE is produced by Yonder Mountain String Band and longtime collaborator John McVey, with the majority of the album recorded at Coupe Studios in Yonder's home base of Boulder, CO. Aijala and McVey handled all of the album's mix and engineering at their respective home studios and while Yonder was on the road -- the second time a Yonder member has taken on the technical task.

"John taught me a lot when we worked together on our last album," Aijala says. "So this time around, I felt a lot more confident."

Like virtually all aspects of Yonder Mountain String Band's unlikely artistic methodology, LOVE. AIN'T LOVE is a fully collaborative effort, its original songs credited to the core founding trio of Aijala, Johnston, and Kaufmann, regardless of combination or specific input.

"I think it removes the jockeying for songs on a record," says Aijala. "We're all of the mind that even if one of us wrote a great song, if not for Yonder, would anyone get a chance to hear it? It works better this way. All three of us grew up playing team sports so we're team players -- everyone wants what's best for the band."

Laced with interstitial dialogue, music, sound effects, and other overlapping ephemera, LOVE. AIN'T LOVE is by design Yonder's most ingenious studio collection thus far. Songs like "Take A Chance On Me" and the heavy metal-inspired breakdown, "Fall Outta Line," see the quintet touching upon FM pop, country rock, funk, world music, and so much more; adopting traditional sonic and lyrical idioms to mask deeper and darker personal truths.

"It's a little more eclectic," Aijala says. "None of us grew up with bluegrass so there are always other influences in there. I think this record is a bit more reminiscent of our live show, with different genres and different types of songs."

Indeed, "Last of the Railroad Men" plays like a lost narrative country classic while the unprecedented "Groovin' Away" closes LOVE. AIN'T LOVE with a summery sense of joyous optimism. Yonder's first-ever original reggae song, the track stands out as yet another shining example of the band's lifelong commitment to anything-goes artistic freedom.

"There are no limits to what we do" says Aijala. "We'll try anything, if it feels good, we'll try it again."

In addition to the founding trio's songwriting efforts, Jolliff -- who arrived to play on BLACK SHEEP sessions and never left -- contributed a pair of fiery instrumentals and also lends vocals to a delightful cover of King Harvest's eternal "Dancing In The Moonlight."

"Allie sang a song that we wrote on BLACK SHEEP," Aijala says, "so we wanted to showcase Jake's vocals on this album. We've been playing 'Dancing in the Moonlight' in our live shows and whenever we play it people just light up. We always enjoy playing it, the harmonies are really good and Jake sings the hell out of it so we thought, why not put it on the record?"

2017 will see Yonder continue its seemingly endless touring, leading towards next year's 20th anniversary of their initial coming together, an irrefutably momentous occasion.

"When we were first starting, our creativity was rooted in rebelliousness. Now, there's a greater conscious awareness and attention to detail that we're bringing to our writing and recording. Our nature and instincts remain progressive. We're just doing it in a way that's sharper, more musical, and way more satisfying," says Ben Kaufmann.

With its melodic flair, expert technique, and forward-thinking fervor, LOVE. AIN'T LOVE is a strikingly assured and well-crafted manifestation of Yonder's matchless musical vision. Nearly two decades in, Yonder Mountain String Band is still utterly unto themselves, a one-of-a-kind, once-in-a-lifetime combo whose inventiveness, versatility, and sheer imagination shows no sign of winding down.

"We've talked about this," Aijala says, "and we all feel like we could play in Yonder until we can't play anymore. As long we still have new ideas, as long as we're still creating something that's fresh to us, I don't see any reason to stop."
Dangermuffin
Dangermuffin
On Kindred Sun, the antepenultimate track off of Dangermuffin’s critically acclaimed 2017 album, Heritage, Dan Lotti sings: The path ahead unfolds. The map lays out in front of you. Push pins into the souls of the lands that inspire you. Part exhortation, part personal mantra, the words reflect the band’s own musical course, always heading somewhere but following their hearts and trusting the universe’s energies to guide them.

In 2007, those energies first aligned to connect Lotti and Mike Sivilli and form the genesis of the band now known as Dangermuffin. Lotti, already an award-winning songwriter, and Sivilli, a prodigious and fast-rising guitarist on the Charleston, South Carolina music scene, quickly spotted a unique musical synergy. To Lotti’s profound lyricism and moving vocal delivery, Sivilli added an equally expressive six-string “voice,” creating distinct sonic textures and phrasing that both punctuated and enriched Lotti’s lush and oftentimes reflective musical storylines. Indeed, the roots of the Dangermuffin sound had started to take form, and the two artists would collaborate that year (with Jim Donnelly on drums) to record the band’s inaugural and widely acclaimed album, Beermuda.

Less than a year later, in 2008, the universe would again intervene, introducing Steven Sandifer to the band. Sandifer, a highly sought-after drummer and percussionist on the Charleston music scene, had caught the ears and interest of Lotti and Sivilli, and the three began to play out locally, discovering a powerful musical symmetry and an equally strong personal connection. If 2007 planted the roots of a Dangermuffin sound, 2008 would see those roots firmly take hold, establishing the foundation for the band’s early studio recordings and exhilarating live performances.

Whether in the studio or on stage, Dangermuffin’s sound has always been conspicuously greater than the sum of its parts, and to witness the band live is to question everything you know about the dynamics of sound. While your eyes perceive a trio, your ears challenge that perception, registering a much broader, fuller, and complex soundstage. In part, this is due to Lotti’s clever technique of using the bass strings of his guitar to mimic the low end of an actual bass while concurrently playing rhythm, but it’s as much due to Sivilli’s fluent, poignant, often soaring riffs, and Sandifer’s creative, jazzy, and lively skins. Nowadays, the band alternates between trio and quartet, but this phenomenon was particularly evident in the early days, when the band played exclusively as a threesome.