Friday March 8, 2013 | 8:00PM
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FREAKIN WEEKEND IV Friday Feat. The Black Lips, White Fence, Ex-Cult, D. Watusi & JARG
This is the 4th year of Nashville's premier garage/punk/psyche/freakout party! Friday's headliners are The Black Lips, White Fence, Ex-Cult, & D. Watusi

Event Schedule


9:00 PM

White Fence

9:30 PM


10:00 PM

D. Watusi

10:45 PM

Black Lips

11:30 PM

Ticket Prices

General Admission


Ticket sales ended Mar 8, 2013 7:00 PM. Additional tickets may be available at the box office.

JARG | 9:00 PM
White Fence | 9:30 PM
Tim Presley’s creative juices flow like the Colorado River after a storm. Which can be both a blessing and a curse.

“My social life and relationships have suffered but [making music] is all I do,” he says.

Presley isn’t exaggerating: He’s the guitarist for garage rockers The Strange Boys, and the founder of the psych-rock outfit Darker My Love. But the consummate musician’s flow reached torrential velocities when his neo-psych, solo alter ego was born a little more than a year ago. In 2012, Presley released no fewer than four albums under the White Fence moniker, a self-titled debut, Is Growing Faith, Hair (a collaboration with Bay Area punk rocker Ty Segall) and a limited edition double vinyl set, Family Perfume Vol. 1 & 2.

Is Presley overdoing it? He’s the first to admit that he’s a workaholic but doesn’t observe an alternative.

“I’m able to release what I need to release from inside me – art as well – but at the same time, I may have lost touch with reality,” he says. “It’s kind of like a painter trying to outdo their last painting: You learn from the previous painting and apply it to the new one.”

White Fence began as something Presley was doing for fun in between his other projects. He never intended to release any of the recordings.

“Some people make model trains in their garage,” he says. “It was kind of like that.”

While quality can suffer when music comes out in quantity, that’s not true with Presley. The self-titled debut was a tad rough – Presley had just begun learning how to record while he was laying down the tracks – but Is Growing Faith lights up a cohesive and ambitious molotov cocktail of garage, folk, punk and even a little classic West Coast hip-hop (“The Mexican Twins/Life is… Too $Hort”).

With Family Perfume Vol. 1, White Fence’s growth continues. “It Will Never Be” is a blend of mid-’60s Beatles and The Byrds held together by Strawberry Alarm Clock-era tambourine shakes – until about three minutes into the track, when the floodgates open to an acid test hosted by Frank Zappa and Syd Barret in Willy Wonka’s Chocolate Factory.

In typical Presley fashion, he’s currently finishing up the artwork for his next White Fence record Cyclops Reap, which will be released in a couple months on Castle Face, the label from John Dweyer of Thee Oh Sees.

“I sent 30 home recordings [to Dweyer] and said, ‘Pick out what you like for the new album,’” he says.

He’s also in the early stages of planning a follow-up to Hair with Ty Segall, to be released later in the year.

With the amount of material Presley puts out it’s a small miracle he has the time to perform any of the songs live. Lucky for us, he’s making the time on Saturday when he visits the Golden State Theatre. Soda Gardoki opens. more >>>
Ex-Cult | 10:00 PM
Earlier this year, the Memphis quintet Sex Cult played SXSW and impressed the hell out of DIY punk busybody Ty Segall, who agreed to produce their debut album.
They also changed their name: Faced with a cease-and-desist letter from a New York label, Sex Cult converted to Ex-Cult.

There is plenty of Mid-South grit to complement their occasional bursts of West Coast melodicism, which may ultimately have less to do with Segall’s production and more to do with the fact that Ex-Cult claims several members in common with Memphis indie-popsters Magic Kids. For all its urgency, Ex-Cult rarely slows down enough to let those component sounds combine and sink in. It’s almost too intense for its own good, with one jittery punk attack after another. But the twin guitars, courtesy of J.B. Horrell and Alec McIntyre, always find some new texture to explore or some new perpetual-motion machine riff to lock in on, and Chris Shaw, formerly of Memphis hardcore act Vile Nation, shows a volatile charisma that occasionally sounds constrained in this studio setting. more >>>
D. Watusi | 10:45 PM
Rock & roll band from the Great Nashville Country
DARK PARTY LP out now on Nashville's Dead more >>>
Black Lips | 11:30 PM
Atlanta's beloved sons the Black Lips entered last year through a screaming cloud of sweat, smoke, blood, and beer mist, in front of a dangerously packed hall in New Orleans' French Quarter. If a band's bipolarity runs on a touring vs. recording-an-album spectrum, then the previous year was the mother of all manic spells.

After a spring and summer running the usual festival circuit in North America and Europe, the Lips embarked on a two-month fall tour of the Middle East. They were tailed by Georgia rock-doc royalty Bill Cody, of Athens, GA - Inside/Out fame, who filmed the band playing for kids in Tunis and Cairo who had just overthrown their government, kids in Iraq who barely have a government, and kids in Dubai whose government is richer than God (and might control a genie).

As Cody assembled his footage into the feature Kids Like You and Me, the band returned home from the New Year's maelstrom and began settling into album mode. Songs had piled up in the two years since 2011's Arabia Mountain. "We went into the studio with about 80% of the record written," says bassist Jared Swilley. "which is a little more than usual for us. Joe (Bradley, drums) usually puts together all the parts for his songs on his own, and Ian (St. Pe, guitar) writes a lot of his music. I like to make mine a little more collaborative, like Cole (Alexander, also guitar)."

Recording for Underneath the Rainbow ("We were going to call it The Dark Side of the Rainbow, then we googled it and realized that's what they call that thing where you watch The Wizard of Oz while listening to Pink Floyd and it syncs up") was split between New York with Thomas Brenneck, who was recommended by Arabia Mountain producer Mark Ronson, and Nashville with the the Black Keys' Patrick Carney, who offered to help produce in a Mexico city hotel room just before dawn. "It was one of those super-late-night/super-early-morning drunktalk sort of situations, so we weren't sure if he meant it," explains Jared. "People do that all the time."

Early internet conjecture, based around on the album's lead single ("Boys in the Woods"), Carney's choice of a country studio in Nashville, and an offhand reference to "roots music," pegged Underneath the Rainbow's sound as a blend of southern rock with throwback C&W and blues. Which is a weird description for a record containing the first Black Lips' song with a prominent synth ("Funny"), and even less apt for an overall album that owes just as much to the kiwi pop of New Zealand's South Island and the Chicago South Side's Crucial Conflict as it does the standard American South. "They got it all wrong," says Jared, "they were asking 'Is there a "radical departure" or "new direction" on this album?' so I said, no it's still roots music, which is what we've been doing from the start and which all rock and pop music derives from."

"Although ["Funny"] is a new direction as far as it having more of a commercial sound," adds Cole.

"Honestly, that synth getting in there was a fluke." more >>>