DBUK (Slim Cessna’s Auto Club) & Norman Westberg (Swans) in the Haymarket Lounge- 3/28/19Thursday, March 28 2019 6:00pm Doors / 7:30pm Start
DBUK (Slim Cessna’s Auto Club) & Norman Westberg (Swans) in the Haymarket Lounge- 3/28/19
at The Haymarket Louge
TICKETS ARE $20.00 IN ADVANCE & $22.00 AT THE DOOR.
Onward comes DBUK, emerging with the follow up to their first release (Songs One Through Eight). Songs Nine Through Sixteen releases on their label, SCACUNINC on Friday, January 25th on CD and LP. In Europe, Glitterhouse will release the music from both releases on a double CD and gatefold double LP on Monday, November 12th. For the sadly uninitiated, DBUK consists of the four core members of Denver’s Slim Cessna’s Auto Club, Munly J Munly, Slim Cessna, Lord Dwight Pentacost and Rebecca Vera. SCAC have spent the last two decades honing a lethal mix of country blues, gospel shouting, rock & roll and folk, becoming one of the best-known, critically acclaimed bands to rise from the musical community that brought us 16 Horsepower and Wovenhand.
DBUK exists on it’s own musical plane. Haunting, warped murder ballads come with a louche, anti-spiritual cast. Limerence and longing co-exist with casual cruelty in compositions that feature a remarkable amount of detail of the natural world; they often begin sparingly, building into an ecstatic reverberation of instruments and voices. Reverb and shake rattles abound, lending a spaghetti western vibe on songs written by Munly J Munly, whose dark humor fills the record lest anyone mistake the menace for malice.
On the first single, “In San Francisco Bay", melodica unwinds a tango melody combined with four-part vocals, hopscotched by truly demented chants. The arrangements on Songs Nine Through Sixteen are complex, layered, menacing and gorgeous. Standouts include “From the Estate of John Denver”, “Bonnie Clyde the Big Bull Hen of the Women’s Prison”, “Deerslayer” and “The Misrepresentation of the Thompson Gun”; the latter wouldn’t have been out of place on the standout Nick Cave album Murder Ballads
transcendence. His guitar, as a singular source, becomes transformed through a web of outboard processes. He transforms vibrating strings completely, taking a singular gesture and reshapes it through webs of delay, reverb and other treatments. To me, these works echo many of the concerns of American minimalism and sprawl outward towards the work of bands such as Stars Of The Lid. Norman has created a very dense and powerful statement of intent with [his] recordings and I couldn’t be more pleased to have some small part in helping to share them”