The Other Side of Life is proud to present:
Saturday, April 18th
at The New Vintage
2126 S. Preston
Doors open at 9 PM
$10, ALL AGES!
Advance tickets available here: http://www.ticketfly.com/event/814873-ativin-anwar-sadat-louisville/
Facebook invitation here: https://www.facebook.com/events/1556175367975281/
Recommended If You Like: Slint, Shellac, Mission of Burma, Swans
ATIVIN formed in Bloomington, Indiana in the winter of 1994 after Chris Carothers (guitar) and Rory Leitch (drums) met at Indiana University. Guitarist Dan Burton joined the group the following spring, cementing the band’s loud, instrumental rock sound. Steve Albini and Carl Saff recorded the band’s debut EP, Pills vs. Planes, which was released in December 1996. The spring of 1997 saw the release of the “Modern Gang Reader”/”Larkin” single, the first of several releases for Secretly Canadian Records. The band worked with Andy Bryant at King Size on German Water, its debut album for Secretly Canadian, releasing it in March 1998. A return to Albini’s Chicago studio, Electrical Audio, yielded the four-song EP Summing the Approach, which was released in the fall of 1998. Taking a break while Carothers moved out west and Burton worked in the band Early Day Miners, ATIVIN reconvened in 2001 with drummer Kevin Duneman, to record Interiors, which added sparse, minimalist vocals to their sound; it was released in early 2002 to critical acclaim. Continuing on in the same vein, ATIVIN recorded their last release Night Mute in both Bloomington and Portland, using drummers Mark Rice (John Wilkes Booze) and Joey Ficken (The Swords Project) in early 2004. After a lengthy hiatus, ATIVIN are now playing select shows when and if they feel it’s right.
ANWAR SADAT “sound totally Boston circa 1982: aggressively shouted vocals, aggressive rhythms, jaggedly distorted guitars and just enough melody above the noise to make them catchy as hell.” – New York Music Daily. ANWAR SADAT has released two albums and an EP, and is currently working on their third album.
Louisville, Kentucky’s KARASS uses live loops, chimey guitars, interstellar electronics, driving bass, pulsing synths, thunderous drums, and weepy cello to create sprawling soundscapes that drive forward towards an epic climax in a quirky, odd-metered fashion.