Water From Your Eyes w/ Friko & Cloudland Canyon at Growlers

Name: Water From Your Eyes w/ Friko & Cloudland Canyon at Growlers
Start: 2024-05-06T20:00:00-05:00
Location: 1911 Poplar Ave Memphis TN 38104

Schedule

Mon May 06 2024 at 08:00 pm

UTC-05:00

Location

1911 Poplar Ave Memphis TN 38104 | Memphis, TN

Monday May 6th, 2024
7PM DOORS / 8PM SHOW
$15
All Ages

Water From Your Eyes
Life is horribly dark right now. And yet, it is not unfunny.
That’s the sentiment that animates Water From Your Eyes on their new album, and first for Matador, Everyone’s Crushed. On the follow-up to the Brooklyn duo’s 2021 breakthrough, Structure, Rachel Brown (they/them) and Nate Amos (he/him) find silliness and fatalism dancing in a frantic lockstep, using heart palpitating rhythms and absurdist, deadpan lyrics to convey stories of personal and societal unease. Described by Brown as Water From Your Eyes’ most collaborative record ever – and, as such, a kind of reset for the pair, almost like a debut, despite technically being their sixth – it’s a swollen contusion of an album: experimental pop music that’s pretty and violent, raw and indelible.
The duo started making music together in 2016 while living in Chicago, after Amos played Brown some New Order and they decided they wanted to start a “sad dance band.” Both musicians in their own right, and a couple at the time, they made their self-titled debut EP in a week. Over the next few years, Water From Your Eyes’ music drifted toward rangier and less conventional sounds, incorporating serene industrial polyrhythms, ambient drone music, and contemporary composition.
Eventually, Amos and Brown broke up, moved to New York, and began working on Structure. That album found harmony between the duo’s pop and experimental impulses, the tracklist bookended by gossamer pop songs that were a testament to both their keen grasp of vintage hooks and their trollish sense of humor. Despite finding solace in the band, both describe 2021 as one of the worst years of their lives – Brown grappling with the malaise they felt upon seeing the way that capitalism and establishment politics were kicking back into overdrive as the pandemic entered its later months, and Amos working through substance abuse issues with Brown’s support.
As a result, Everyone’s Crushed is shot through with unresolved tension, its nine tracks skittishly refusing to seek out resolute endings or stick to traditional structures. Many songs were written using serialism and microtonalism, and at times evoke the futurist-pop moves of Japanese composer Haruomi Hosono and the brutalism of Glenn Branca. “Barley” is a dance-rock track sequenced in alien tonality, with Brown speaking garbled transmissions (“One two three/Counter/You’re a cool thing count mountains”) over a bed of hallucinatory guitars. “14” leans into contemporary classical, with curtains of overlapping de-tuned strings underscoring lyrics that Nate describes as something out of a “gross-out horror movie”: “I’m ready to throw you up.”
Water From Your Eyes still possess an off-kilter, shitposty quality. Everyone’s Crushed manages to reference classic rock twice – first, on “Barley,” when Brown accidentally invokes Sting with the lyric “walk in fields of gold,” and again on “True Life”, when they sing: “Neil let me sing your song/It’s been this way for so long/Give me another chance.” Those weren’t the song’s original lyrics – Brown and Amos initially wanted to interpolate the bridge to “Cinnamon Girl” – but this is a typically meta compromise for the pair, a way to turn “True Life” into a song about writing the song “True Life”.
Everyone’s Crushed maps the liminal space between humor and darkness, between cracking up and freaking out. In the album’s closing moments Brown speaks in direct terms, “Clap those hands/Buy my product/There are no happy endings/I’m spending/I’m spending.” It’s playful and totally serious, punky bordering on anarchic, and a resolution to the record’s opening sentiment - “I just wanted to pray for the rain/Wishful thinking for sunny days.”

FRIKO

Friko, a trio that’s cemented itself as a stalwart in the Chicago music scene, is frontman Niko Kapetan, and drummer Bailey Minzenberger. Their most recent release, “Crimson To Chrome,” is an anthemic offering, Kapetan’s vocals incendiary. It received glowing praise and attention from Pitchfork, Brooklyn Vegan, and Consequence, who wrote “Friko toggle between loud and quiet, thoughtful and self-deprecating, while never expressing anything less than the unbridled joy of noise.” FLOOD wrote the Chicago-based power-pop group is “ certain to stand out among the hundreds of acts gracing the various SXSW stages this year.” And that they did. The band took SXSW 2023 by storm, playing packed showcases over several days that made their Austin-debut a must-see occasion. Bolstered by the unwavering support from Chicago’s music scene, the buzz around new music, and the pure excitement witnessed at SXSW, the interest from labels is voracious and ever-increasing.

Over the band's time together, it has become clear they are comfortable embracing multiple musical extremes at once. Their debut self-released 2022 EP, Whenever, Forever, weaves “together heart-on-sleeve folk, tense, smoldering post punk, and soaring, melodramatic chamber pop rooted in 2000s indie” (Chicago Reader). Lyrically, Kapetan explores the possibility and risks of a life given over to music, interrogating what a life well-lived means to him. The duality rings out in the compositions, evoking rock and folk icons such as Leonard Cohen and Nick Drake. The EP found collective support amongst the local music community, championed by their peers Horsegirl, Lifeguard, Free Range, and more.

Friko’s music is complex and dynamic, flickering between explosive rock, chamber pop, and serene sonics. It becomes even more pronounced in their live performances, where a crowd frenzied by wailing guitars finds itself minutes later collectively holding its breath, enamored by hypnotic strings and Kapetan’s emotive vocals. As the band plays out sweeping melodies, held up by thrashing guitar and punchy beats, it feels as if Kapetan sings to you. Crooning about stories you know, memories you had but have somehow forgotten.