This event is 21 and over
$18.00 – General Admission (Advance)
$20.00 – General Admission (Door)
*plus applicable service fees
Tickets available at The Independent box office (628 Divisadero, SF) with no service charge
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Daniel Norgren shouldn’t need an introduction. But for the uninitiated, before the music speaks louder than these words ever could, here’s his story:
The Swedish born musician began releasing albums on his own Superpuma Records in 2007, running the imprint with his producer, Pelle Nyhage, and his wife, Petra Wester-Norgren. Daniel’s records are supremely unique takes on the American tradition, evoking a rust-worn blues feel that pervades his sound, and at times, he captures this world better than many homegrown artists ever could.
But Norgren’s interests lie in more than music. His enterprise is a fully realized universe: Norgren makes his own videos, filming the world around him to match his aesthetic. In this regard, he reminds one of Sergio Leone, not in his filmic style, but in the way he spins American music unlike anyone born in the USA ever could. Our blind spots are too large, our notions too preconceived. Daniel Norgren illuminates the cracks and details of the Americana lineage we so often overlook. On the eve of his first ever North American tour, Norgren is gearing up to showcase what so many back home in Sweden have come to understand: Daniel Norgren is an otherworldly talent with an old soul. He made his name with a strong, slow build, quietly introducing his music to anyone willing to listen.
And if you’ve yet to do so, listen you must. Daniel Norgren’s US tour is to be a special, rare event, during which he’ll be offering live cuts from his catalog of releases: The Green Stone, Alabursy, Buck, Horrifying Deatheathing Bloodspider, and Outskirt, all of which will be available worldwide for the first time starting October 20.
Of course, Daniel would blush at all these words. His quiet humility has lent itself to a career slow-building but entirely earned. Every fan Daniel’s ever made, he’s won over on an individual basis. In an era of over-consumption and mass media digestion, this is perhaps his most impressive skill.
All these words aside, Daniel Norgren’s debut US tour is a moment that’s not to be missed. Now that we’re being officially introduced to a musician we should have known about long ago, all that’s left is to become a part of Daniel Norgren’s American origin story—even though he’s been crafting one for years. The tour starts September 22nd.
Modern Country is the fourth full-length album by guitarist and composer William Tyler and his first recorded outside of his hometown of Nashville, Tennessee. It features an ensemble backing group consisting of multi-instrumentalist Phil Cook (Hiss Golden Messenger, Blind Boys of Alabama), bassist Darin Gray (Tweedy, Jim O’Rourke), and percussionist Glenn Kotche (Wilco). The album was tracked at April Base Studios in Eau Claire, Wisconsin, and finished in Nashville, recorded and mixed by Jon Ashley, and produced by Tyler and Brad Cook.
While there is never a comfort zone in instrumental music, Tyler attempts to leave any perceived one behind with Modern Country. His first album for Merge, 2013’s Impossible Truth, found Tyler exploring the boundaries of composition for solo guitar in a manner that paid homage to everyone from Leo Kottke to Brian Wilson. It was an epic song cycle that veered from cathedral-like psychedelic hymns to pastoral folk melodies. In contrast, Modern Country finds Tyler exploring more focused melodic themes rather than ethereal wanderings. These aren’t pop songs, per se, but they are closer in spirit to Neu!, Penguin Cafe Orchestra, and Bill Frisell.
Primarily written while Tyler was on sabbatical in Oxford, Mississippi, where he stayed at the cabin of a family friend within a stone’s throw of William Faulkner’s house, Modern Country is a collection of songs about the vanishing America that still exists on back roads, in small towns, on AM radio stations. In an election year when so many certainties and assurances have vanished, Tyler doesn’t offer optimism or pessimism but rather a calm and measured commentary in our age of anxiety.