Notes on Seating: The Jack London provides two options for ticket purchasers. Reserved Seating is purchased on a table-by-table basis in the central part of the venue and is only available for select shows. Seating in the General Admission section is limited, first come first served, and may be standing room only.If youve been waiting for a fusion of Duke Ellington and My Bloody Valentine, here it is. The Timesas deeply indebted to Miles Davis Quintet eras as it is Flying LotusBest Albums of 2022 So Far, Yardbarkerrich influences, from Fela Kuti to My Bloody Valentine, between jazz and shoegaze.Rolling Stone (France)Were a bunch of outsiders who refused to be kept out, says High Pulp drummer Bobby Granfelt...
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Notes on Seating: The Jack London provides two options for ticket purchasers. Reserved Seating is purchased on a table-by-table basis in the central part of the venue and is only available for select shows. Seating in the General Admission section is limited, first come first served, and may be standing room only.If youve been waiting for a fusion of Duke Ellington and My Bloody Valentine, here it is. The Timesas deeply indebted to Miles Davis Quintet eras as it is Flying LotusBest Albums of 2022 So Far, Yardbarkerrich influences, from Fela Kuti to My Bloody Valentine, between jazz and shoegaze.Rolling Stone (France)Were a bunch of outsiders who refused to be kept out, says High Pulp drummer Bobby Granfelt. Weve never had an academic approach to jazzmost of us grew up playing in DIY bandsso it was the rawness and the energy and the absolute freedom of the music that called to us in the first place.Indeed, theres something defiant, something utterly liberating about High Pulps remarkable ANTI- Records debut, Pursuit of Ends. Drawing on punk rock, shoegaze, hip-hop, and electronic music, the bands brand of experimental jazz 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 here 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 thats as unpredictable as it is engrossing, an urgent, exhilarating instrumental album that manages to speak to the moment without uttering a single word. We were trying to distill how it felt to exist in the midst of all the chaos and confusion unfolding around us with these songs, reflects Granfelt. The music was our medicine.Music has been more than just medicine for High Pulp these past few years; its also been a source of community and meaning. Born out of a loose, weekly jam session hosted at Seattles historic Royal Room, the band came together the way a good heist crew might.
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