226 Broad St.
Nevada City, CA 95959
9:00 p.m. Saturday, May 18, 2013
Folk | Americana
We started Pipedown in the summer of 1997 in Grass Valley, CA. It initially consisted of myself, Jason Omundsen, and Josh White. Jason and I played guitar while Josh filled in on drums. After a month or so of working through various parts we found a bass player by the name of Shahn Riley. After about another month of playing the word got around that we were need of a singer, so our friend Adam Kline referred us to Ean Elliot, who had recently moved back to the area after living in Pismo Beach for a few years. This lineup worked on original material for a couple of months until Shahn left the band to pursue interests in school. We found another bass player named Jonah Nishihira, however after our short stint with him we found another bassist, Ryan Pfannenstein. After a year and a half of playing local shows and...recording/distributing our first couple demos, Josh left the band and was replaced by our current drummer Jack Jeffries. During the summer of 2000 Ryan left the band and was replaced by Doug Wellmon. In January of 2001 we recorded our first full-length album, "Enemies of Progress", at the Art of Ears studio with Andy Ernst (AFI, Rancid, Green Day, Swingin' Utters, Nerve Agents). Shortly after the completion of this recording we entered into a recording contract with A-F Records (run by the members of Anti-Flag) with plans to release "Enemies of Progress", as well as future recordings. The album was released in November of 2001 and a US tour with Anti-Flag, Against All Authority, Thrice and Virus Nine shortly followed. Currently we are planning a tour with Thought Riot and Virus Nine (both A-F Records recording artists), that will cover the entire West Coast from Seattle to San Diego, so keep checking back for updates on this tour as details develop. Plans for the rest of 2002 include touring as much as possible, working on new material, and towards the end of the year begin to piece together the next album. We look forward to the rest of this year, as we continue to support "Enemies of Progress" and continually grow as individuals, as well as a band. Thanks for your time and taking an interest in what we are doing. 47 Miles
47 Miles is a swirling mayhem of punk-metal sounds in an insatiable whirlwind of primal tension and midnight storms. Musically, the band is all about classy guitar leads, strong, driving rhythm, and deep grooving bass. Novak murders on the guitar with his twin Orange cabs and pedals of mass destruction, while at the same time he’s not ashamed to sound beautiful, like a sledgehammer is beautiful. In tandem, Cooper’s bass sound is from another aeon, a Viking aeon where his Ampeg warhammer grinds your soul to dust; and leaves you wanting more.The rhythms that exude from Robart’s kit smack your brain into the dirt as they set you hips on fire. The massive drum thrash collides with scorching vocals in a throng of urgent rawness. Vocally, Savage swings to the dark side, preaching murder, the apocalypse, and sweet, sweet lust. Prickling your emotions like sandpaper on your skin, she sends shivers down your spine. This new band is one to be watched, as they will supersede all your expectations, and take California by storm in the coming year. They have a seven song debut release available on itunes entitled The Hard Way. Brett Shady
Shady seems to have finally made himself at home in Southern California, but at the time he wrote these songs, his lack of connection became the locus of his songwriting. Like many lovelorn pop songwriters, he balances himself on the edge of self-pity and self-strength, wallowing in the darkness but mindful that the sun still shines on the other side of his drawn curtains. Shady follows in a long line of rock musicians whose later years led them away from the outward-bound excess of rock and punk to the introspective songwriting of folk and Americana. Dana Gumbiner's production nicely balances a minimum of studio decorations with Shady's simple combo of guitar, bass, drums, and banjo, leaving room for the lyrics to be heard and felt. Shady first latched onto music as a child, and looking back to acts from the '50s and early '60s in the craft of "Darling." He suggests the song is seeded in Ivory Joe Hunter's "Since I Met You Baby," which you can certainly hear in the piano figure, but the vocal seems more heavily influenced by doo-wop crooning. Winningly, the production gives the whole song an indie-pop feel, which makes the '50s influences play more like ghosts. Shady's country antecedents can be heard in the shuffle beat of "Red House Plea," but here again the song takes off in an original direction with strummed guitars, a meandering banjo and an imploring vocal whose high tone suggests Don McLean and the Avett Brothers. What's immediately apparent in listening to these performances is the difference between a band album and a songwriter's album with a band. There's a singleness of tone here that you don't often find in collaboratively written material. There's also a sensibility in the combination of disparate musical influences – waltzing country, folk strumming, pop melodies, 50s balladry, indie-pop – that could only come from a single head full music listening. It all tumbles out so seamlessly as to make it look simple; but making music that's both familiar and new – catchy to the ear on first spin but without feeling like a rehash of something you've heard before – is a nearly impossible trick, and one that Shady has managed on his first solo outing.