Zero Mile Presents:

Mipso, The Brothers Comatose, The Lil Smokies

Thursday, November 16
8:00PM doors / 9:00PM show
18 and Over
  • Price$17.00 - $20.00
TICKETS

Mipso

Chapel Hill quartet Mipso return with new a new album, Coming Down The Mountain (April 7, 2017) -- ten songs of love and loss and forward motion, with words that sear and salve in turn, and music that invites you in to stay a while. Mipso ventures further than ever from their string-band pedigree to discover a broader Americana where classic folk-rock and modern alt-country mingle easily with Appalachian tradition. It's an album aptly named, not only because the band finds purchase in a more pastoral sound, but also because of the stories they tell. These are songs about going somewhere or coming back, about our changing relationship to the idea of home, and about being pushed or pulled by forces bigger than us. These North Carolinians cross a threshold too, adding drums for the first time in three LPs, and more electric instruments than ever to their four-part harmonies and powerful acoustic meld. The resulting album is a thing of wistful beauty, hopeful undercurrents, and panoramic soundscapes that impart intimacy. Looking in from outside, Mipso didn't need to change much at all. Their 2015 album, Old Time Reverie, debuted at No. 1 on the Billboard bluegrass chart despite including sounds far afield from a Flatt and Scruggs record. Just a couple years before, guitarist Joseph Terrell, fiddler Libby Rodenbough, mandolin player Jacob Sharp, and bassist Wood Robinson were in college together at UNC-Chapel Hill, where they met for the first time even with being NC natives every one. Now, it seems as if Mipso has been bringing their music to hungry audiences daily since, touring constantly, doing countless festivals, and even playing the odd nationally televised event (2015's Macy's Thanksgiving Day Parade) or political bash (2017's inaugural ball for their governor Roy Cooper). Libby admits that all that movement takes a toll. "We hit a crazed state of being either hysterically happy or annoyed with each other. Food helps. We all agree on tacos," she says. "But travel becomes the lens we use to view everything." Last summer, though their heads were full of songs about movement, Mipso decided to slow the world down. "Rather than put pedal to metal till we have a new album, we huddled," says Joseph. They stocked up on snacks and cases of La Croix, and set up for a week in a friend's barn on acreage usually used for growing garlic and, oddly, training dogs. First they played each other the music they'd been listening to lately, and some inspirations stuck: the Band's singular sound, the openness of '70s Laurel Canyon fare, Whiskeytown's Gram Parsons-inspired '90s rock experiments, and how Gillian Welch's Soul Journey perfectly bridged acoustic to electric. "We talked about adding drums and electric guitar like it was a huge symbolic shift," Joseph continues, "We joked about people yelling 'Judas!' from the crowd.” But they plugged in all the same, discovered that the change in sound wasn't so much of a departure after all, work-shopped demos occasionally interrupted by packs of dogs chasing birds past the big windows, and ultimately took that looseness with them to the studio. If it seems like the twin influences of tour angst and homey ease would be at odds, Coming Down The Mountain's titular opener puts that lie to rest. It's melancholic and lush, with pedal steel and a subtle bass groove framing Libby's lines about returning to a flawed society after a period of isolation, weary but driven. On "Spin Me Round," the fiddle sighs and soars while Jacob sings of a similar duality in love, concluding that the relationship's troubles are actually what keep it interesting. Meanwhile, the rambler "Talking in My Sleep" with hints of Heart of Gold-era Neil Young era juxtaposes the comfort of home's dependability with the feeling of, as Joseph says, wanting to "kick a chair over, slam the door, and beat out of town." And though the spare duet "Cry Like Somebody" plays like a scathing dig at a ex, it's self-directed, as Libby explains, "to give myself a kick for crying for reasons other than real hardship—you only think as romantically as I do if you grew up with food on the table." Internal conflict is a powerful engine. While there are joyful tunes like coming-of-age clod-kicker "Hurts So Good," Coming Down The Mountain is all the more memorable for what it does with loss—take the delicate folk fable "My Burden with Me," or funeral lament "Monterey County" with mournful pedal steel by Eric Heywood (Son Volt, Tift Merritt). The dirge-like closer "Water Runs Red" was inspired partly by Flint's water crisis, and Jacob's lilting "Hallelujah" by the 2016 Orlando tragedy. "Music is my religion these days," he says. "I find the most hope in songs and the communities that love them." Mipso are well supported on album too, of course, with Megafaun's Brad Cook producing and a cast of North Carolina’s finest pitching in. In fact, if there's a guiding force here, it's the mercurial, imperfect nature of the very state that made Mipso. “North Carolina’s complicated. But I wouldn’t want to live in L.A, where it’s 70 degrees every day and everyone agrees with me," says Joseph. But Mipso thrive in the difference. That's why they needed change. That's why we need them. Mipso is: Joseph Terrell (guitar, vocals) Wood Robinson (bass, vocals) Libby Rodenbough (fiddle, vocals) Jacob Sharp (mandolin, vocals) ### MANAGEMENT Hatchery 17 303.872.5905 mipso@hatchery17.com www.hatchery17.com PUBLICITY LiveLoud Media publicity@liveloudmedia.com 303.413.8308 www.liveloudmedia.com BOOKING Monterey International 312.640.7500 brian@montereyinternational.com www.montereyinternational.com www.mipsomusic.com

The Brothers Comatose

The Short Bio: Literal brothers, Alex (banjo and vocals) and Ben Morrison (guitar and vocals) of The Brothers Comatose grew up in a house that was known for its music parties. “The Morrison house was a gathering place for local musicians – everyone would bring an instrument, call out tunes, call out changes, and just play for hours” says Brothers Comatose bassist and Morrison music party goer, Gio Benedetti. “I learned more in that living room than in any class I ever took.” The brothers took this generous, inclusive and rowdy attitude and brought it to stages all over San Francisco. With the addition of members Philip Brezina (fiddle) and Ryan Avellone (mandolin) the string quintet brings their original string music and the feel of an intimate music party to audiences all across the United States. The environment the band creates with their music and their live shows isn't the exclusive band vs. crowd world of rock and pop, but rather the sing-along, stomp-along, inclusive world that gave birth to string band music. The band – while playing festivals like Hardly Strictly Bluegrass, Strawberry, High Sierra, Outside Lands, Kate Wolf, and SXSW, - has not lost sight of their roots, their fans and the relationships that have brought them where they are. Despite their name, the band is anything but Comatose. They toss alligators (inflatable) into the crowd, they hand out chopsticks for audience-percussion-participation, and are known to jump down and play acoustic encores in the middle of the crowd at the end of a set. It's just one, big, extended Morrison music party. Only now, the living room travels via Chevy G20 Conversion Van from state to state. The Long Bio / Respect The Van Press Release: “The good thing about a string band, is that things tend to culminate with dancing rather than elbows flying in a mosh-pit,” says Gio Benedetti of the Brothers Comatose. The original members of the quintet with brothers Alex and Ben Morrison, bonded at the Morrison family acoustic music parties before taking a youthful foray into punk and rock bands *and ultimately* before circling back to the music they learned in that living room. They credit both beginnings for the attitude of their current music. and As a testament to their skillful energy; they have already played the major festivals including the esteemed Hardly Strictly Bluegrass Festival, The Strawberry Festival and High Sierra. On the new album, Respect The Van out May 22, their music is not a wavering mélange of assorted styles, but decided and strong bluegrass-influenced folk rock. With the addition of members Philip Brezina (fiddle) and Ryan Avellone (mandolin) the band aims “to offer a damn good time, with a no-bullshit style that we found in those original living room parties and our live shows,” says Ben. “We tracked everything for the album live in one big room – treating the studio like a stage,” he explains. As for the name, only a brother could pick it out by observing his sibling. Guitarist *and vocalist* Ben said when brother Alex Morrison *(banjo and vocals) * goes into a trance-like state while playing his banjo, “his eyes roll back in his head like he’s in a coma.” It’s certainly not indicative of their music, which doesn’t have any of the indulgent noodling breaks characterized by other string based bands – though the musicianship is solidly there, it’s given with a communal and inclusive spirit to sing and dance along to. Now, at live shows, the San Francisco band is known for handing out chopsticks to the audience for participatory percussion on whatever surface is closest. And while the music is strong and clear, there are some serious themes as in the lead track “Modern Day Sinners,” a Guthrie inspired populist sing-along with shades of 50's R&B and doo-wop in the harmonies and feel. “I wanted to call ‘bullshit’ of the type of politician or fat radio host that’s giving advice while living a terrible and shameful life,” says *bassist and* vocalist and banjoist Gio. “Scout” was written by Ben as part of “The 52 week club,” a songwriting group that sends out theme a week as a writing prompt. “It my first contribution. I wrote it from an autobiographical perspective of a young boy scout hanging out with his grandpa,” shares Ben. “My grandpa was a nice man some of the time, but could also just be bitter and I always wondered what he was so angry about. This song is about the young scout hanging onto his youth and and hoping to keep that spirit at the end.” “120 East” is a harmonic ode to the brotherhood of a band, written about The Brothers Comatose's journey to and from The Strawberry Music Festival. “I wanted to capture the sense of being with your best friends, of being willing to trust them and follow them anywhere,” says Gio. The band wrote a raucous, fiddle tune ode to their 1988 Chevy G20 tour van and called it, fittingly, “The Van Song.” “Phil wrote all the instrumental melodies and it didn't have any official lyrics for a long time,” says Gio. “It saw two rowdy live performances where we all just made up verses on the spot. We finally wrote some real lyrics, and had to record it - we love our van in a way that is border-line obsessive.” “Morning Time” is Ben’s folk-country duet with breakout artist Nicki Bluhm. “It tells of the ever present struggles between man and woman – the guy wants to maintain his life in the big city with all of its late nights, bustle and craziness and the woman is ready for a mellower life. It’s a compromise and ultimately setting aside some quality time in the morning to spend together,” shares Ben “Feels Like The Devil” is a drop-tuned, resonator-driven shit-kicker that would be at home on any bluegrass stage, while “Pennies are Money Too” is an old-timey instrumental that well illustrates the band’s musicianship. Despite their name, the band is anything but Comatose. “It's just one, big, extended Morrison music party,” they say. The Brothers Comatose will be playing all spring and summer including April dates in Boise, Portland, Eugene, Washington State, North Carolina and all thru California, including appearances at the Banjo-B-Cue festival, and the Kate Wolf Festival. More dates and new videos will be announced soon.

The Lil Smokies

With their roots submerged in the thick buttery mud of traditional bluegrass, The Lil Smokies have sonically blossomed into a leading player in the progressive acoustic sphere, creating a new and wholly unique, melody driven sound of their own. The quintet, from Missoula, MT, has been hard at work, writing, touring and playing to an ever-growing fan base for the past 6 years. The fruits of their labor recently culminating with wins at the 2016 International Bluegrass Music Association (IBMA) Momentum Award for Best Band and at the 2015 Telluride Bluegrass Festival band competition. In 2013 the band also won The Northwest String Summit Band Competition. With a unique blend of traditional bluegrass, newgrass, innumerable unique originals, sheer raw energy, and exquisite musicianship, The Lil Smokies weave seamlessly through genres, leaving behind melodies you’ll be singing to yourself for days and a jaw you’ll have to pick up off the floor. This five-piece bluegrass ensemble features Andy Dunnigan (dobro), Scott Parker (upright bass), Matt Cornette (banjo), Jake Simpson (fiddle) and Matt Rieger (guitar).