Mercy Music, Divided Heaven, DJ Fish
Friday, November 17th, 2017
7:00 pmBrooklyn Bowl Las Vegas
$10.00 - $15.00+
This event is 18 and over
$10.00 General Admission, $15.00 General Admission (day of show)
All guests must have a valid government/state issued ID for entry to the venue. No refunds.
TICKETS PURCHASED IN PERSON AT THE BOX OFFICE ARE SUBJECT TO A $2 TICKETING FEE.
All general admission tickets are standing room only.
ALL TICKET PRICES INCLUDE NEVADA'S 9% LIVE ENTERTAINMENT TAX
Brooklyn Bowl Las Vegas is excited to offer special room discounts via Caesars Hotels & Resorts for traveling fans. For hotel rooms use promo code: BRB15 at www.caesars.com applicable for rooms at The LINQ Hotel and the Flamingo.
*Advertised times are for doors -- show time not available*
"When this whole thing started it was like, 'Alright, i'm going to get to hear my sappy little songs played loud and interact with other human beings again,' the admittedly shy Alex says looking back on Beach Slang's existence. "Then one day this really sweet explosion happened and Beach Slang became a thing that mattered to people." As anyone who has seen Beach Slang live can attest, it matters to people a lot including the group's peers like Cursive who hand-selected Beach Slang to open for them on their upcoming headlining tour. "I used to skate with this really sweet girl who would refer to the way I spoke as 'beach slang' and I've never shaken that off," Alex continues. "The really soft parts of your childhood, I suppose, have a way of sticking around. I like that."
That feeling of youth and vulnerability also lie at the core of Beach Slang's music, which is part punk, part pop and all catharsis. It references the ghosts of The Replacements but keeps one foot firmly rooted in the present. It's fun and it's serious. It's sad but it isn't. It's Beach Slang. Enjoy it and look out for the band's debut full-length later this year because they're still just getting started.
Mercy Music’s tenure in the Vegas music scene has roots dating all the way back to the early 2000's, when frontmanBrendan Scholz first revealed his guitar prowess leading punk rock band Absent Minded. Scholz and Mercy Music bassist Jarred Cooper then worked together under the name Lydia Vance from 2006-2011, a musical partnership that saw the band sign a developmental deal with Atlantic Records. After Lydia Vance broke up in 2011, Scholz and Cooper played under the name Deadhand for a year before Scholz founded Mercy Music in 2012.
Inspired by the likes of Paul Westerberg, Jesse Malin and Joe Strummer, fellow punk musicians who went solo,Mercy Music began as an acoustic project for Scholz. Thisresulted in a split release with singer/songwriter No Red Alice and a joint west coast tour between the two. Of the split, writer Jarret Keene of Vegas Seven said “Scholz puts his power-pop talents on full display with up-tempo, Squeeze-like “Repeat,” full of knotty chord changes and vocal harmonies, plus a stinging guitar solo.”
Missing the creative energy that comes from fronting a band, Scholz recruited Cooper on bass in 2014, and drummer Rye Martin later rounded things out on drums. As a trio, Mercy Music has landed major gigs opening for punk rock legends Bob Mould (Husker Du) and The Offspring, toured the west coast with Useless ID frontmanYotam Ben Horin, played the Punk Rock Bowling Festival supporting Frank Turner and Against Me! (2015), the Neon Reverb Festival supporting Beach Slang and Bash and Pop (2015 and 2016) and the mainstage of the Life is Beautiful Festival (2015).
The band released their first full length, When I Die, I’m Taking You With Me, in 2014 as part of a joint venture between Tighten It Up Entertainment and SquidHatRecords. The album was met with much acclaim, with Max Plenke of the Las Vegas Weekly calling it “a collection of songs both thoughtful and rockin’, as unprecedentedly personal as they are devoid of vanilla.” When I Die... was ranked high in the listing of best albums of 2014 on PunksInVegas.com based on a cumulative poll of Las Vegas musicians, promoters and music journalists, with PunksInVegas.com’s Ashleigh Matview saying that it “surpasses great, and delves into some pretty magical rock territory.”
On March 6th, 2011, I received a birthday gift from my friends, Rachel & Thu. It was a journal, beautifully decorated with vintage Cold War-era Berlin street maps & German descriptions of the Berlin Wall pasted to the front and back covers. They knew I had lived in Berlin previously and that my time there studying was coupled with time writing songs. The decorations were meant to inspire me again much like I had been inspired in Berlin; to write with no pressure and no expectations.
At this point, I was living in Los Angeles, working full-time at a museum and part-time at a restaurant while also working to get Divided Heaven off the ground. I was lost in a new city trying to make new friends, trying to crack into a new scene, all while balancing the difficulties of a long-term relationship and a non-profit career. I had just finished recording the debut Divided Heaven album, A Rival City. I had other fledgling bands and was feeling dull and uninspired by the doldrums of a 9-to-5 life. Music was not my main focus for the first time in a long time and it weighed heavily on me everyday as I sat on the crowded city buses, in horrible LA traffic, to and from work. That time felt like a burden until I put that journal to good use.
It’s odd how blank paper can be so intimidating. Something that can provide its user with nearly unlimited possibilities and can capture your imagination in countless ways, can also feel unbelievably daunting. I started slow and began to write again. The songs were about my new experiences: topics such as office politics, marriage pressure, surfing, adapting to Los Angeles, living thousands of miles from where I grew up, looking into my thirties, seeing my friends climb the ladders of success while I just sat there on that number 7 bus crawling down Pico Boulevard wondering what the hell I was doing with my life…. I just kept writing songs and I haven’t stopped. That journal, in many ways, became my best friend, my sanctuary and my weapon.
Some of the songs written in that time period went to other bands, some faded into obscurity, some went into the vault never to be heard again and some landed on the Divided Heaven album, Youngblood. The songs on this record, Pacific Avenue, were written in that time period as well. We later recorded the songs, (mostly) live in the studio.
When I hear these songs I hear a different side of Divided Heaven: I hear the buses, I hear the doldrums, I hear the evening waves crashing on the beach, I hear my vibrant Venice neighborhood, I hear Ben and I working through ideas in his shoebox apartment, I hear myself wading through the complications of adulthood, I hear myself struggling to love and be loved, and I hear a part of myself that was longing for more and achin’ to be. I hear myself trying to be friends with Los Angeles and feeling nothing but indifference in return, and yet these songs could’ve only come to be in Los Angeles.
Sometimes you simply have to write for yourself and let the imperfections and brutal honesty thrive. In doing so, I found what I was looking for. Thank you for listening, I hope you enjoy and please know: the best is yet to come.
Brooklyn Bowl Las Vegas
3545 Las Vegas Blvd. South
Las Vegas, NV, 89109