SHAKEY GRAVES

Fri. May 6, 2022 at 8:00pm MDT
All Ages
106 days away
All Ages
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106 days away
All Ages
Event Description

Wtih Special Guests BEGONIA


Due to COVID and provincial health requirements to operate we are participating in the Alberta Restrictions Exemption Program which will require attendees to wear a mask, provide proof of full double vaccination via the scannable Alberta Government QR Code which must be readable/verified by the AB Covid Records Verifier. Further details can be found on our website here: https://www.machallconcerts.com/restrictions/


 


The prehistory of Shakey Graves exists in two overstuffed folders. Inside them, artifacts document an immense era of anonymous DIY creativity, from 2007 through 2010 - the three years before Roll The Bones came out and changed his life.
 
There are stencils, lyrics, drawings, prototypes for concert posters, and even a zine. The latter, which Graves - aka Alejandro Rose-Garcia - wrote and illustrated, tells the tale of a once-courageous, now retired mouse who must journey to the moon to save his sweetheart. At the time, he envisioned the photocopied storybook as a potential vessel for releasing his music.
 
Thus Roll the Bones was by no means a Big Bang creation story, rather a years long process of metamorphosis where literally hundreds of tracks were winnowed down into ten. As the album took shape, he began manufacturing one-off editions of the CD, stapled to self-destruct in brown paper, with black and white photographs glued upon them, and an ink pen marking of the artist's enduring logo: a skull struck by an arrow.
 
Roll the Bones was released on the first day of 2011 without a lick of promotion advancing it. It was simply thrust into the world as a decapod of perplexingly memorable, narrative-wrapped songs with a mysterious cover and no information about the artist… only available on the relatively new platform of Bandcamp.
 
That year, an editor at Bandcamp made it a featured album for a month and from there it stayed in the website’s top selling folk albums evermore. The record has since seen well over 100,000 units sold - even while being available for free download. In the “Supported By” section of the Roll the Bones Bandcamp page, you can endlessly click “more” and squares of avatars will keep showing up until you grow tired and stop.



Now fans can obtain Roll the Bones as their own physical artifact. Through Dualtone Records, Shakey Graves will release a Ten Year Special Edition double LP with a black and gold foil re-arting of the taxidermied cow head cover. Separate iterations, hitting record collections on April 2, offer the 180g vinyl in a black and gold combination or two marbled “galaxy gold” discs. The lovingly assembled packaging includes handwritten deep explanations of every song, offset with original photography.
 
Along with its deluxe vinyl emergence, Roll the Bones today becomes available through all digital service providers - Spotify, Apple Music, YouTube, et all. For the last decade, the songs have lived exclusively on Bandcamp. This full-spectrum digital release arrives concurrent with Shakey Graves Day, which was minted on February 9, 2012 by Austin Mayor Steve Adler.
 
Accompanying Roll the Bones anniversary pressing are 15 additional tracks comprising an Odds + Ends LP, which stands as an essential document of Grave’s early era. Highlights include the mandolin imbued “Chinatown,” which sounds like it could be dubbed off a 1930’s silver screen soundtrack, and “Saving Face” - a seminal version of what would become Roll the Bones title cut. The crown jewel, however, may be a the first ever proper recording of the trifling love song “Late July,” a version that’s drastically different than the live rendition that’s racked 14 million views on YouTube.
 
Prepping Roll the Bones thoughtful 2021 edition gave Rose-Garcia an opportunity to take a new look at the person.
 
“I hear someone who felt really trapped,” he reveals. “In a lot of ways it was a breakup record. My first serious relationship had fallen apart and I was wanting to break up with my life - run away, be transient, and figure out who I was in the world. I can hear myself blaming the girl and trying to support myself, like maybe it’s okay to be dirty and crazy and have blinders on. Then, at the end, everything’s zooming back in and I’m saying ‘I guess I just got hurt and I’m in a bit of pain and, you know, it’s going to be okay.’”
 
Claiming he’s “further confused” listeners with each release, Rose-Garcia believes this purge of early output will provide some needed framing for his discography. It’s his genesis story, before he had the studio time to make the shiny And the War Came or the full-band cohesion to make the painstakingly dense Can’t Wake Up. To him, it’s a scrappy effort, but the most intentional work he’s ever produced - and, a decade later, he wouldn’t change a thing.
 
“It’s a record that sounds like my years of exploration and influence, funneled through my abilities at the time - and it all became something bigger,” he muses. “If you would’ve offered to me: ‘Let's do exactly what you want, right now” Roll the Bones wouldn’t have come out like this… and I’m happy that’s the case. Total control is an unhealthy myth, it leaves out the emotional side of how all the accidents come together. This record’s a period of time smashed into a single product and, in my own heart, it’s a moral compass: to always get back to feeling like this about the songs I make.”

Shakey Graves

Alejandro Rose-Garcia (aka Shakey Graves) announced his newest album 'Can't Wake Up' (out now on Dualtone) with a simple message to his fans - “Next album. New sound. Sell your suspenders." 

That tongue-in-cheek statement, though, was a genuine attempt to prepare his followers for a major sonic shift for the Texas songwriter, who got his start performing as a one-man band, culminating with an Americana Music Awards win for "Emerging Artist of the Year" behind his breakout full-length album, 'And The War Came.' 

Now armed with a full band, Rose-Garcia leaves behind much of that stripped-down, folk-y sound. 'Can't Wake Up' takes his songwriting in a "decidedly bigger direction" full of "lush indie compositions" (Consequence of Sound), drawing on another set of his musical influences, ranging from the Beatles and Harry Nilsson to Elliott Smith, Broken Social Scene, Built to Spill and other '90s indie rock bands.

Sitting down with Thrasher Magazine, Rose-Garcia explained what sparked the change in creative direction. "To get your head above water, you have to have an identity. I wore a cowboy hat and played a suitcase drum. There are tons of people who still imagine me as that guy, because that's the only thing they've seen," he admits. But on this album, he says, "I made something that I want to listen to." 

The response so far proves that it was a worthwhile risk. As NPR Music writer Nina Corcoran put it, he "gambles with the very formula that brought him fame," adding that "he pulls it off in large part due to his storytelling prowess; these songs would be welcoming, even enthralling, in any style."

Billboard was struck by Rose-Garcia's knack for storytelling, calling the album "a lyrical powder keg," while Brooklyn Vegan said it "ditches the roots rock vibe he’s been known for in favor of something weirder," adding "it's not the Shakey Graves you’re used to at all, and it’s very worth a listen." 

With a road-tested group of musicians and a hand-built stage set up complete with psychedelic lighting and props, Shakey Graves' live show has grown into something much bigger, too. "After smashing his mold on 'Can't Wake Up,' Shakey Graves also revolutionized his live show," said the Austin Chronicle, describing a recent hometown set as "a seamless and compelling home run of a performance."

"Shakey Graves' latest reinvention is also his best," said the Dallas Observer. "[He's] never sounded freer, weirder or more in touch with his skill set."

More press for 'Can't Wake Up':

"Sublime, spooky...radical dreampop...portrait of an inner fantasy life." - UNCUT (UK)

"A rewarding left-turn...thoroughly enjoyable. Despite reports to the contrary, the rock genre is not only not on its last legs in 2018, it’s thriving quite nicely." - UPROXX

"Exceptional...subverts presumptions." - PopMatters

"Rose-Garcia takes listeners deep on a trip inside his psyche...genre-melding." - CBC Radio (Canada)

Begonia

Begonia (Alexa Dirks) has a timbre that recalls the golden age of soul, proud and courageous. And yet, it still returns to the ground, finding a quietness, a hesitant intimacy. NPR Music called this space “the place where where synth-pop meets old soul and scrappy meets sexy,” while CBC Music dubbed this fusion “her own brand of gospel.”

Dirks was joined in studio by producers Matt Schellenberg (Royal Canoe) and Matt Peters (Royal Canoe, Close Talker), to record her debut, Lady In Mind, which the Globe & Mail claimed to be "an audacious adventure in modern soul, with gospel inspirations and updated takes on finger-snapping Motown pop and late 20th-century R&B." Penned on the road or during brief stops at home in Winnipeg the songs on Lady In Mind have already earned Begonia Western Canadian Music Award nominations for both Songwriter Of The Year and Breakout Artist Of The Year. While the song 'Juniper' jumped to the #1 spot on CBC Radio 2’s Top 20 last September.

The layering of acoustic instruments with modern synths, and the duality found in both her songwriting and the name Begonia are very much informed by the way in which Dirks finds herself in everyday life. Bridging the gap between old and new, between fire and ice. Somewhere in the middle we find Begonia. Begonia’s follow up full length album is in the works and expected later in 2018!

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MacEwan Hall 402 Collegiate Boulevard Northwest
Calgary, AB T2N 1N4
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