Overlake, Debra Devi, J Hacha De Zola, Alex Tea, Drum and a Tantrum, 50 Ft. Furies, Dontique BMR, Tab Jones and Cloy of Green Village

Debra Devi and White Eagle Hall Present JC Rocks White Eagle Hall II

Overlake

Debra Devi

J Hacha De Zola

Alex Tea

Drum and a Tantrum

50 Ft. Furies

Dontique BMR

Tab Jones and Cloy of Green Village

Sat · September 29, 2018

Doors: 7:00 pm / Show: 7:30 pm

$12.00

This event is 18 and over

Overlake
Overlake
Overlake is a three-piece band from Jersey City, comprised of Tom Barrett (voice, guitar), Lysa Opfer (Bass, voice), and Nick D’Amore (drums).

When they’re not incessantly waxing philosophical about the musical merits of both MBV and GBV, or working to contribute new innovations to vegan cuisine, or proofreading poorly-written articles in pharmaceutical catalogs on their own time, Overlake is busy honing their own unique brand of noisy dreampop, drawing from such stalwart influences as Dinosaur Jr, Slowdive, and Hoboken’s own Yo La Tengo, a Bar/None alumnus!

They formed in the winter of 2012 while Tom and Lysa were playing in local five-piece hard-rock outfit, WJ and the Sweet Sacrifice. During practices, while the rest of the band would take smoke breaks (neither Tom or Lysa smoke), they would stay behind and play on whatever various instruments were set up and lying around, all the while discovering a musical kinship together. Serendipity struck when they met drummer Nick D’Amore at a mutual friend’s birthday party in Downtown JC in early 2015, only after enduring a seemingly endless Spinal Tap-like run of both hopeful permanents and fill-ins.

Overlake’s sound can only be described as massive, with Barrett’s delay-drenched guitar and whispery, laconic voice backed by the solid coupling of Opfer’s driving basslines and angelic backing vocals, along with D’Amore’s propulsive drum work. They’ve spent the last few years touring throughout the U.S., delighting audiences with their all-enveloping wall of sound, most of the time with their amplifiers draped in netted Christmas lights.

Their new record, Fall, was recorded and co-produced by Cheap Trick-obsessive Tom Beaujour (Nada Surf, Jennifer O’Connor). Unlike previous recordings, where Barrett would play all the drums, they went into the studio a well-oiled apparatus. What they left with was a more expansive collection of songs, their trademark sonics augmented by appearances of sparse piano and elegiac, mournful violin, courtesy of the incomparable Claudia Chopek.

Notes bend, shimmer, and boomerang all throughout the course of Fall, as do the lyrical sentiments. Loving glances turn into sources of pain, which mutate into some form of cautious optimism. Intimacy is fraught, its beauty fleeting. A period makes way for a question mark, which becomes an ellipsis. What Fall greatly captures is how these supposed stages don’t always occur in any logical order, and can make reoccurring appearances.

After all, an ellipsis is comprised of three periods…
Debra Devi
Debra Devi
Since producing the first JC Rocks WEH concert, Debra Devi has released her new Wild Little Girl EP, which Urban Politco says “radiates infectious joy, putting us in mind of The Black Crowes, Prince and Little Feet.” Devi’s ‘70s rock-meets-Americana sound has led to opening slots for Marshall Crenshaw, Devon Allman and Ana Popovic.
J Hacha De Zola
J Hacha De Zola
When Rahway, New Jersey’s J Hacha de Zola released Picaro Obscuro, the second of his two “urban junkyard” albums of 2016, he insinuated that he might not continue on to make a third, and if he did, his plan was to “lighten up” the sound that he has variously, previously (ominously?) described as “boozegaze.” Turns out maybe he was overthinking things, which isn’t so surprising for a scientist turned auteur.

Indeed, there was a time when J Hacha de Zola was very close to becoming Dr. J Hacha de Zola.

“I am a scientist because of my father,” he says.

And now he is a musician because of him, as well. A year deep into a PhD program after receiving his Master’s in Biochemistry from Seton Hall, Hacha de Zola’s father passed. Hacha de Zola had to quit school to support his mother and the rest of his family, but the situation presented another life change that pushed him into pursuing what was most important to him personally: making music. While selflessness and self-preservation may have motivated the first move, it’s the other side of the coin, the rogue life of an artist, that Hacha de Zola’s mother was seeing when she referred to her son as “antipatico.”

Translation: “wicked.”

Antipatico (out October 6th, 2017) is the third album from J Hacha de Zola in just over two years and throughout that time, listeners have had the opportunity to hear an artist consistently gaining ground on his own vision and voice. Some artists change immeasurably over the course of three records, whereas Hacha de Zola is actually becoming who he set out to be.

“It is been an interesting exercise making the last two records (Jan., 2016’s Escape from Fat Kat City and Aug., 2016’s Picaro Obscuro),” Hacha de Zola says. “I wasn’t sure what I’d end up with or how I’d feel about what I’d done. It took time for me to become a ‘believer’ in what I’ve been doing, but with this record it’s become something that I feel is truly a reflection of my voice.”

As with his previous albums, Hacha de Zola (and his gaggle of cohorts and underground legends) is practicing his “reductive synthesis” method of, as he elegantly says, “shooting the arrow and painting the bullseye around it.”

Hacha de Zola explains, “I never go to the studio with songs written. I allow the musicians to be themselves and throw all they got at it. Then I’ll go and peel back the various layers to fashion a song from it all. It’s a pretty risky way of making an album because when it’s all done, you may have something that isn’t agreeable to you. Other times, you arrive at something truly magical and the songs take on a life of their own. There’s a certain kind of voodoo there that could not be planned.”

One example of this magical voodoo is the album’s lead single “No Situation,” about which Hacha de Zola says, “I write creepy songs or songs for creeps, but this one is a bit more light-hearted.” Truly, the song is a more accessible turn, though its subject matter is in a familiar lane. “It’s about the joy of forbidden fruit,” he says. “Of finding yourself in the arms of someone you know is completely wrong for you but being thoroughly intoxicated by their charms.”

The dark romanticism continues throughout Antipatico, reflecting the artist’s admitted newfound focus on a more personal side of his work.

“This time, it’s more Lee Hazelwood and Leonard Cohen than Tom Waits, Frank Zappa, or Captain Beefheart,” he explains. Other influences on Antipatico include Nick Cave, Perez Prado, Herman Hesse, HP Lovecraft, and Los Lobos, but Hacha de Zola reiterates that the songs of Hazelwood and Cohen were foremost on his mind, “especially due to their own darkly romantic songs and baritone voices,” he explains.

Even with many disparate influences, the sounds heard on Antipatico will be familiar to fans of Hacha de Zola’s short but prolific career. Returning is legendary sax man Ralph Carney, who is best known for his work with Tom Waits.

“Ralph has become a friend and ally who is always there for me when I need some that ‘something’ to take a tune to a higher place,” Hacha de Zola says.

Hacha de Zola is also joined on Antipatico by one of his heroes, Dana Colley, a founding member of Morphine.

“I grew up listening to Morphine and to have the man on my record is truly an honor. They reaffirmed the idea that it is important to be yourself artistically and to defy convention.” Actually, it is Colley who we first hear on Antipatico, as his horns open the album. “When I first heard it back, I immediately thought “Holy shit!,” Hacha de Zola exclaims.

Also on hand is Frank London of The Klezmatics on trumpet.

“I became familiar with Frank’s work a bit later in life when exploring Klezmer music. I have yet to hear a more ferocious trumpet player in that genre and his playing brought these tunes up a quantum level,” Hacha de Zola says.

Additional parts of the Antipatico crew include another Tom Waits collaborator, David Coulter (Percussion, Jaw Harp), Stefan Zeniuk (Woodwinds) and Joe Exley (Tuba), both of Gato Loco, Hank Yaghooti (Drums, Percussion), Jerry Ramos (Bass, Synths, Drums, Percussion), Lubomir Smilenov (Beatbox Kaval, Gadulka, MPC, Programming), Matt Dallow (Accordion) of Sunny Side Social Club, Ariel Guidry (Vocals), Diego Piccardo (Piano, Keys, Synths), Dane Johnson (Lead Guitar), Geoff Gibbs (Bass), and Gary Lappier (Guitar.)

“It’s quite a cast of players that have helped me make this record,” Hacha de Zola acknowledges. “I am very lucky to be able to take their efforts and apply my name to it, but I was never alone in making this happen and likely never will be!”

It’s that kind of enthusiasm that leads to the belief in the eventual existence of a fourth J Hacha de Zola album. For now, Antipatico, the artist’s third, arrives on October 6th, 2017, preceded by the lead single “No Situation,” streaming now.
Alex Tea
Alex Tea
Alex Tea is a composer, multi-instrumentalist, producer, and artist living in Jersey City. In addition to various original musical projects, he has done backup vocal arrangement and recording with producers Curumin, Victor Rice, Klaus Sena, Jim the Boss, and Esteban Descalzo, and appeared on records by Saulo Duarte e a Unidade, Paula Cavalciuk, and Kika (Brazil), in addition to many others.

His current musical endeavors include Sananga, a continuation of the roots reggae project, Kiwi, which he co-founded and led from 2003-2016; NeonSine, a conceptual project fusing elements of electro-pop, soul, folk, funk, and roots; and Orquestra Raiz, an international collaboration with São Paulo-based producer Klaus Sena. In addition to his main projects, he writes, produces, and records in a variety of genres and formats. He was an active contributor at Hoboken Hi-Fi and founding member of the house band. In the nearly two decades since he dedicated himself to composing, he has amassed an original catalog of over 150 songs, soundscapes, and jingles.
Drum and a Tantrum
Drum and a Tantrum
Drum and a Tantrum a cinematic Americana piano and drum duo from Jersey City.
50 Ft. Furies
50 Ft. Furies
Bad ass punk rock metal fighting patriarchy one riff at a time.
Dontique BMR
Dontique BMR
Dontique BMR, the hip hop collective led by sharply observant rapper Dontique Mangual that includes Junestar Blackman and DJBrown13, will be keeping the crowd at JC Rocks II hyped during changeovers!
Tab Jones and Cloy of Green Village
Stick around for the afterparty, led by Tab Jones & Cloy of Green Village, the musical sister project to art collective Green Villain, known for producing some of the most jaw-dropping murals in Jersey City. Green Village co-founder Cloy and long-time resident Tab Jones will be spinning a collection of dance floor classics to close out the night.
Venue Information:
White Eagle Hall
337 Newark Ave.
Jersey City, NJ, 07302
https://www.whiteeaglehalljc.com/