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​8 PM DOORS
18+

HIGH PULP
JARED MATTSON
KING PARI
 

Jared Mattson

BIO:

“Hosono and Cornelius and Panda Bear had a love child and his name was Jared Mattson” is what new touring bandmate and collaborator Tony Peppers said of Jared Mattson’s demo tapes for his forthcoming 2022 solo release, Peanut. As the pandemic wrecking ball drama loomed over the music industry, amidst the covid lockdowns and consumed distance from his twin assemblage “Mattson 2,” Jared took to developing his own solo compositions in his casita in the hills of San Diego with drum machines, synths, a P-Bass, and his Stratocaster inspired by the newfound domestic solitude and necessity to keep busy at his work in order to stay alive. What resulted is a tape saturated, bizarre blend of psychedelic guitar, reggae induced city pop.

 

High Pulp

BIO:

Drawing on bebop, punk rock, shoegaze, hip-hop, and electronic music, experimental jazz act High Pulp are announcing ‘Pursuit of Ends,’ their first full-length album with Los Angeles’s ANTI- Records. The frenetic “All Roads Lead To Los Angeles” is the first song from the album they have shared, which hints at the breakbeats of Louis Cole as it reflects the constant barrage of stimuli that define our modern lives.

 


High Pulp’s music is both vintage and futuristic all at once, hinting at times to everything from Miles Davis and Duke Ellington to Aphex Twin and My Bloody Valentine. The songs on ‘Pursuit of Ends’ balance meticulous composition with visceral spontaneity, and the performances are nothing short of virtuosic, fueled by raw, ecstatic horn runs ducking and weaving their way around thick bass lines and dizzying percussion.

 

While the Seattle-based collective is centered around a crew of six core members, they also make judicious use of a broad network of collaborators on the album, wrangling special guests like sax star Jaleel Shaw (Roy Haynes, Mingus Big Band), harpist Brandee Younger (Ravi Coltrane, The Roots), GRAMMY-nominated trumpeter Theo Coker, and keyboardist Jacob Mann (Rufus Wainwright, Louis Cole) to help stretch the boundaries of their already-expansive sonic universe. The result is a lush, cinematic collection that’s as unpredictable as it is engrossing, an urgent, exhilarating instrumental album that manages to speak to the moment without uttering a single word.

 



Music has been more than just medicine for High Pulp these past few years; it’s also been a source of community and meaning. Born out of a loose, weekly jam session hosted at Seattle’s historic Royal Room, the band came together the way a good heist crew might. There was keyboardist Antoine Martel, a mad scientist with a wall of modular synthesizers and a passion for film scores and abstract soundscapes; keyboardist Rob Homan, whose innate ability to process, deconstruct, and reassemble material on the fly bordered on the scary; bassist Scott Rixon, a convert from the metal and hardcore world with impeccable pop sensibilities and a selfless ability to serve the song; tenor saxophonist Victory Ngyuen, a Pharoah Sanders acolyte with an ear for urgent, entrancing solos of the highest order; alto saxophonist Andrew Morrill, whose bold tones and fearless harmonic sensibilities earned him a reputation for pushing the old school into the 21st century; and last but not least, Granfelt, whose hip-hop- and bebop-inspired drumming laid the foundation for the entire project.
 

It’s unseasonably warm and you’re not hungover, like, at all. The public pool opens in ten minutes. The pool is packed and everyone’s playing that game where you grease up a watermelon and try to catch it. The beers are seven dollars but you’ve got two cold Red Stripes in your backpack. Some kid has a boombox and asks you what to put on. You already know exactly what you’re choosing. King Pari. 

 

King Pari is an almost accidental project. Cameron Kinghorn and DJ Stepmom didn’t even set out to start a band. When Joe (DJ Stepmom) texted Cameron some jams whipped up on his tape machine, Cameron hit him back with “what is this? I want in." Ten minutes before they first linked up, Joe built the loop for ‘Sunshine,’ which they then wrote on the spot in a flurry of collective inspiration. The rest of their ‘Mary EP’, released in August of 2021 on Acrophase Records & Peoples Potential Unlimited, grew from recording sessions in Joe’s northeast Minneapolis bedroom, a guest house in New Orleans and a cabin in rural Wisconsin. Minneapolis left an obvious mark — the influence of Prince and the Minneapolis sound, approached from a fresh psychedelic angle. It’s been called stonersoul, lo-fi r&b, and dub meets 80’s electro with a heavy dose of funk. The entire EP is accompanied by the stunning animations of Jake Huffcutt.