Limelight & Channel 99 Present:
The Rich Hands
Islands & Tigers
DJ Proper Yarn
Tuesday, September 9th
2718 N. St. Mary’s
Doors 9PM 18+
Grape St. bio: Although Grape St. prompted the proposal in the Texas legislature to ban the acquisition of exotic pets, their efforts have been mildly halted, with Art and Freedom calling the opposition to private ownership naïve. Zoos currently lack the space and resources to accommodate such charmed-life animal; they say repopulating creature’s native habitats is an ineffective stab in the dark: a young man’s game. It’s wonderful to say “let’s get them back in the wild,” but between poaching and mankind’s encroachment, they are never going to thrive there again.
So began the journey of Grape St…they languidly held out their hands, took the flowers, carelessly sniffed at them and began twirling them in their fingers, looking upwards with thoughtful solemnity. Pop Sensibility and Under-lying Familiarity watched the Grape Streeters, her mournful eyes looking down upon them with such devotion, such adoring submission and love. She was afraid of the St. and did not dare to cry; its breath exhaled “misery,” lolling like a déjà vu, with magnanimous patience and condescension accepted by her adoration. The St. glared indignantly at her flushed face with a big broom, on which vanity, satisfied and satiated, showed through the affected, scornful indifference. Pop Sensibility and Under-lying Familiarity was so sweet at this instant; her whole soul was confidently and passionately laid bare before Grape St., full of longing and tenderness, while the St….the St. dropped the flowers in the grass, pulled out of the side pocket of a nice coat a round eyeglass set in a purple rim, and stuck in her eye. But, however much she tried to hold it wither her own eye problems, frowning brow, pursed cheek, and even nose, the eyeglass kept tumbling out and falling into her hand.
As the media treated the Grape St. band’s incident as the freak out of a deranged band, the fact is that virtually anyone is this country-of sound mind or not-can keep wild animal. The incident, the bad trips.
Federal law restricts the interstate sale and transport of certain big cats, “A-sides,” but no national law exists regarding the indulgent ownership of such exotic pets. That is left to the states, where laws vary widely. One of them, Texas, has virtually no laws regulating the possession of these animals, and though 49 states band the ownership of degenerate magazine subscriptions, mercury cougar coupes, mercury retrograde, gambling, new moon indifference, and most “non-human primates” (punk-rockers and slackers), the laws can be difficult to enforce, particularly in Austin and surrounding rural areas.
With one date. Introductory badz…boyz, a fresh breeze ran over the dropouts and sleeping teens on Austin. They opened their eyes: the morning was beginning. The dawn had not yet flushed the sky, but already light was breaking in the East. Everything had become visible, if only dimly. The Grape sky was growing light, cold and purple; the stars dimmed and disappeared; the earth was wet, the dirt covered with dew. From the distance came sounds of life and voices, a faint hung-over breeze went fluttering over the truth. Bodies responded to it, with slight, joyous shivering. They were all sleeping like a dead man around smoldering fire; only Grape St. half rose and gazed intently at the dropouts and sleeping teens, knowing you are only that because you know that. They threw it all away.
The Rich Hands bio: Growing up listening to ’60s and ’70s rock ‘n’ roll and surrounded by a serious scene in their hometown, singer and guitarist Cody Mauser, bassist Matt Gonzalex and drummer Nick Ivarra all found common ground in the camaraderie of good old rock and roll. Jamming together over those formidable years of high school, Ivarra describes the groups desire to, “bring back that raw, simple feeling of having a good time without the melodrama.” Developing that sound by feeding off each other’s addictive energy, The Rich Hands succeed in every aspect of that early creed, and Out of My Head is the unequivocal expression of pure joy.
The last few years have been a whirlwind for the band, recording and releasing a slew of singles leading up to last year’s Dreamers LP and touring across the country on four separate tours just in 2013 alone. Throughout it all, Mauser is a constant song-writing machine, with hardly a break between albums. The songs that make up Out of my Head are his best yet; fast, fun and second to none. The band’s first single off their new album, “Teenager,” ranks as one of the most quintessential tracks The Rich Hands have ever committed to tape. Ivarra calls it a “catchy, corny, bratty summery anthem. It just popped out at us, when you play a song once and it’s just done, it clicks.” This assertion could just as easily describe the album in whole; it just clicks.
There’s a lot of new, eclectic elements at play on the new LP as well, recorded in a cold Detroit week at High Bias Studios, and produced by Chris Koltay (Atlas Sound, Xiu Xiu, Tyvek). The band took full advantage of their new hi-fi surroundings, belting out the album on a variety of amps and axes they never previously could get their hands on. The result was a “huge change of pace,” according to Ivarra. “We got crazy tones and a better sound. I don’t think we’ll ever go back.” Out of My Head also features the group’s first foray into double tracking, Nashville tuning, and even organs and synths, lending just a hint of Southern bravado on tracks like the wholly surprising Dylan-inspired “No Harm Blues.” Buoyed by the quality of the new record, and backed by two supportive labels, The Rich Hands have a wide-open road ahead, and they’re determined to enjoy every last step they take.