Future Islands, Explosions in the Sky – Tickets – Cal Coast Credit Union Open Air Theatre at SDSU – San Diego, CA – September 17th, 2017

Future Islands, Explosions in the Sky

Casbah/LiveNation present

Future Islands

Explosions in the Sky


Sun, September 17, 2017

Doors: 6:30 pm / Show: 7:00 pm

Cal Coast Credit Union Open Air Theatre at SDSU

San Diego, CA


This event is all ages

Future Islands
Future Islands
Future Islands believe in true love, you can tell that because their songs speak through our lives. It's as if their music has always been with us, soundtracking every great hope, dawning realization and broken promise. Every fond embrace, each leap of faith. Over the last eight years Baltimore's most quixotic and emotionally involving trio have maintained an admirable level of skill and pace, never slowing down for the corners. It's vocalist Samuel T. Herring, William Cashion (bass, guitars), and Gerrit Welmers (keyboards, programming, guitars) who find themselves responsible. Their sound is at once beguiling and irresistible. It's one part melancholic, one part euphoric; full of animated bass lines, robust drum machines and questing keyboards, all set off by Sam's remarkably distinct, soaring vocal.

Future Islands came to life after all three members had served their tenure in the overtly conceptual Art Lord & The Self-Portraits, a waggish band as comical as it was tender. With Art Lord they found themselves in a world of borrowed gear and frenzied house parties, spending endless hours booking tours in notebooks, burning CDRs in the van, xeroxing sleeves. It's the same DIY spirit that informs Future Islands to this day. Having toured tirelessly since the band's inception in Greenville, NC back in 2006, Future Islands have now played in excess of 800 shows, often touring with their friends, most notably Dan Deacon, Ed Schrader's Music Beat and Talk Normal. Sam, William and Gerrit all hail from small towns so they've made it their aim on tour to play as many off-the-radar places as possible. It's this dedicated groundwork that sets Future Islands apart from most, they've kept things traditional, converting people on the road, putting the time in, making friends first then fans. With each landmark album, they've been growing, loving, losing and leaving us wanting more.

Returning with their new album Singles, Future Islands have refined their unique sound further still. Having worked with Thrill Jockey and Upset The Rhythm previously, Singles marks the start of their new relationship with legendary label 4AD, a more fitting home is hard to imagine. Chris Coady (known for his enduring work with Beach House, TV On The Radio, Grizzly Bear) mixed and produced the album, leaving his luminous fingerprint across the album's radiant collection of pulse-grabbers and slow-burners. Packing an ever harder punch, it makes for a deeply resonant listen; an affectionate hand on the shoulder. Singles, the band's fourth full length, is a decidedly polished sounding album, it's glossy like unapologetic pop, silken and lustrous, but check it's pockets for the stockpile of realism.

"Seasons (Waiting On You)" kicks off the record in a decidedly jubilant yet soulful manner, typical of the band's most recent 7"s. It's got all the passionate delivery and exuberance you've come to expect from Future Islands, only there's a new found relaxed distance and maturity at play. "People change, but some people never do" Sam wistfully calls out, fighting the corner for each nagging doubt and irrepressible desire that won't back down. Whilst the song ebbs into hushed violin flurries and we're left considering the grave of love, "Spirit" leaps up, tumbling us over before chasing its descant deeper into the album. Future Islands are perfectionists at teaming up some suitably yearning subject matter with an upbeat musical response and "Spirit", much like "Doves" and "Light House", is a good case in point.

"Back In The Tall Grass" is a propulsive tour de force of plucky bass and blushing synths, testing the heaviest hearts into a united sway. "We're a long way from home, how did we get here?" questions Sam languidly, his voice never before sounding so absorbed and lost in thought, really lost, "four steps back and I'm gone" lost. "A Song For Our Grandfathers" parades with a self-assured splendour. "They said that if I stared the abyss would stare back at me and so I did," confesses Sam with the larynx of a lonesome lion. Meanwhile, William's bass roots you to the spot, allowing the vivid touches of guitar and Gerrit's efflorescent keyboard waves to soak you through. It also seems like a particularly poignant lyric for Sam as he confronts personal ghosts and memories of feeling safe alike.

Singles is a bold album of wandering reflections and haunted wonder, Sam's wounded howl on "Fall From Grace" makes sure that much is clear. It's an album that keeps running from the off and keeps running from a restlessness that threatens to consume. As the record concludes in cascading delight with "A Dream Of You And Me" your preconceptions of Future Islands being a romantic band fade. Suddenly you realize they're more enthralled by the notions of romanticism and idealism that never fail to lead all hearts astray. Future Islands have always been there, on the outside looking in. With Singles they step inside us and start looking out and it's a joy to finally join them.

— Christopher Tipton
Explosions in the Sky
Explosions in the Sky
what takes us so long between albums? it's a fair question.

one of us got married. one of us has had two kids since the last album. one of us has panic attacks. one of us was obsessed with this new album having 17 shorter songs. one was obsessed with the album sounding like a dream.

we had a weekend shut-in sleepover at one of our houses, in which we wrote music and watched movies and threw around ideas. we made at least 50 demos, and that's probably a conservative estimate. and ended up with six songs. at one point during these four years we got pretty frustrated and took a hiatus from music.

all four of us kept wondering if this was the album we should make. is it different enough, is it similar enough. is this the music we wanted to make when one of us put up the flier in the record shop, and three of us answered it? that was over eleven years ago now. then we made four albums and did a lot of touring. a fifth album seemed like the logical next step.

when 2010 showed up, with the sabbatical safely behind us, we looked around at all the demos, all the instruments, and tried to see some sort of sense, or theme, or anything in it all. and slowly, we found it was already there. one part became two parts, a new guitar line made one part come alive, an added tambourine made another sing. things started to fit together in ways we couldn't have planned. one song was finished, and less than a week or two later another song was finished. the rest followed over the next six months. all of the songs came from the demos that we had worked on in the previous three years, demos that we had gone away from, and then come back to, and then expanded. we are pretty ecstatic with how it turned out. the album is called "take care, take care, take care." and even though that title sounds like a sign-off from us, it is far from it.
FR/BLCK/PR is an evolving leftist platform supported by writer/producer Regan Farquhar and producer Fumitake Tamura. Through the group’s irregularly occurring talk show, the free black press radio, they’ve established their commitment to reboot the language of moral outrage by divorcing discourse from our political theatre and cultural marketplace; seating a crystal clear probe into the largest ills of our time at the helm of music maelstroms born from post-hip-hop, jazz and oratory/writing disciplines.

Rules melt away as quickly as they are established in this world within a world.

For the free black press radio, ideas at play are unapologetic, raw and act like a license for metaphor that is used to demystify social mores of the digital age to specifically unveil the truths that lie at the root of black worlds locked under capitalism’s control. Leaning of swirling soundscapes and intricate sound design, every piece/episode by the group is a suite of madness framed by an over-arching theme, such as: The Future of Language, The KKK and the Origin of Whiteness, The Fall of the Black Internationalist and The Southern Strategy.

FR/BLCK/PR is the first grouping of its sort to join Brainfeeder and has been prepping a multi-faceted debut work like none other that the label has released. Regan Farquhar also contributes writing to and co-stars in Brainfeeder films’ first release, Kuso, directed by steve(Flying Lotus) and is currently working on multiple collaborations with the artists of Brainfeeder.

Catch FR/BLCK/PR on tour with Future Islands this Fall
Venue Information:
Cal Coast Credit Union Open Air Theatre at SDSU
5500 Campanile Dr.
San Diego, CA, 92182