Nothing

3939 N. Mississippi Ave,Portland OR 97227

06 November, 2021

Description

Nothing 21+ Nothing Frankie Rose Frankie Rose ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS. MOSTLY STANDING / LIMITED BALCONY SEATING DOORS 8PM / SHOW 9PM $20 ADV & $22 DOS THIS EVENT IS 21+ VALID U.S. ID OR PASSPORT REQUIRED FOR ENTRY ________________________________________________________________________ Nothing FACEBOOK Last year, astronomers revealed the first-ever photograph of a black hole. The image resembled an eye with an ominous dark center surrounded by a lopsided ring of red. The strength of a black hole is so overpowering that nothing—not even light—can escape it. When the black hole photograph was published on the front page of The New York Times, NOTHING founder Domenic Palermo bought a copy at a newsstand, framed it, and hung it above the desk where he writes. The image of a black hole might be menacing to some, but for Palermo, it fits perfectly in line with the themes he draws from. A swirling void ready to destroy anything in its path seemed like a perfect metaphor for humanity itself. One day, sitting at his desk, Palermo had an idea for a new album, and he wrote down a single line: “Existence hurts existence.” The Great Dismal, NOTHING’s new full-length album explores existentialist themes of isolation, extinction, and human behavior in the face of 2020’s vast wasteland. Closing in on the band’s ten-year mark, Palermo finds himself stringing together songs of misanthropic tales of Philadelphia with a refined and refreshed take on NOTHING’s classic sound. “The Great Dismal refers to a swamp, a brilliant natural trap where survival is custom fit to its inhabitants,” Palermo states. “The nature of its beautiful, but taxing environment and harsh conditions can’t ever really be shaken or forgotten too easily.” Frankie Rose FACEBOOK After spending years as a major presence in Brooklyn’s thriving music scene, Frankie Rose relocated to her familial home of Los Angeles for 18 months. Frankie’s intent was to establish yet another moment in her storied indie rock métier. Gradually, she found herself short on sleep, funds, and optimism. “I moved to L.A., drama ensued and I ended up on a catering truck. I was like, how can this be my life after being a touring musician and living off of music. I had really lost my way and I thought I was totally done.” Through sleepless nights of listening to broadcaster Art Bell’s paranormal-themed archives, Frankie’s thoughts had turned to “who am I, I’m not cut out for this business, it’s not for me.” She continues, “I was literally in my room in L.A., not knowing how I was going to get out. But out of it all, I just decided to keep making music, because it is what I love and what I do – regardless of the outcome.” Towards the end of her time spent in Los Angeles, Frankie reached out to Jorge Elbrecht (Tamaryn, Gang Gang Dance, Violens) and began sketching what became the basic outline of what felt like a new album. Then, rather fortuitously, Frankie ended up back in Brooklyn with the realization that “in the end, I’m on my own. I have to do these things on my own.” The months that ensued meant basically working with no budget and finding ways to record in-between days. This time enabled Frankie to experiment musically with a variety of people that ultimately changed the way she worked. “I got a lot of input from people like Dave Harrington (Darkside), who was helpfully reconstructing the songs, adding dynamics and changing up the rhythms.” The result of this existential odyssey is Cage Tropical, Frankie’s 4th album. It is awash with vintage synths, painterly effects pedals, upside down atmosphere and reverberating vocals. It evokes a new wave paranormality of sorts that drifts beyond the songs themselves. “My references aren’t just music,” says Frankie, “I love old sci-fi. They Live is one of my favorite movies ever, same with Suspiria. 80’s sci-fi movies with a John Carpenter soundtrack, with silly synths – that makes it into my file, to the point that I’ll write lyrics incorporating that kind of stuff. It’s in there.” Beginning with the shimmery, cinematic and percussive sparkling of the album’s opening track “Love in Rockets,” the song’s refrain of “a wheel, a wheel of wasting my life; a wheel, a wheel of wasting my time” immediately alludes to those darker circumstances that led to the creative origins of Cage Tropical. “It’s all essentially based on what happened to me in Los Angeles and then a return to Brooklyn,” says Frankie. “Misery turned into something good. The whole record to me is a redemption record and it is the most positive one I’ve made” “I feel like I am finally free from worrying about an outcome. I don’t care. I already lost everything. I already had the worst-case scenario. When that happens, you do become free. In the end, it’s about me rescuing myself via having this record.” Nothing Frankie Rose