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The Van Pelt


Show 9:00pm
Doors 8:30pm

all ages

$12/adv $12/day of


The Van Pelt, led by songwriter Chris Leo (The Lapse), with drummer Neil O'Brien (Butterflies of Love), and a rotating cast, including bassist Toko Yasuda (Blonde Redhead/Enon), released their debut full-length, Stealing From Our Favorite Thieves, in 1996, followed by Sultans Of Sentiment, the following year, on the Gern Blandsten (Ted Leo, Liars, Rye Coalition, Weston, Chisel, Canyon, etc.) label, before parking the van in the garage, and calling it a day, moving on to other projects. But a funny thing has happened over the past two decades, with those two albums finding new ears with a new generation.

Post-Punk? Indie Rock? Post-Hardcore? The Van Pelt walked between all these worlds. Spoken/sung vocals, anthemic pop hooks, fiery guitars and a tightly wound rhythm section made them stand outs of the DIY basement scene they emerged from. The 1990's indie heroes have had a lasting power far greater than so many of the other once bigger bands of that era. The sort of interest that has neither waxed nor waned over the decades since they disbanded, yet just mysteriously continues on despite their discography being out of print since the end of the last millennium.

So what is it that sets them apart? Too soft to have ran with the AmRep or Touch & Go crowds, not hip enough to have made sense on Matador or Merge, earnest yet not histrionic enough to make it onto the "best emo bands" lists, not weird enough to be on bills with Arto Lindsay and Thurston Moore - in a sense, their outsider status comes not from the wings, but from the dead center eye of the storm. The '90s were happening all around them, they were witnesses thereof, yet they emerged transcendent of it all.

The Van Pelt re-emerged in 2014, with the release of Imaginary Third, a collection of singles and unreleased Van Pelt tracks, which were originally intended to have been the components of their third album, including the alt-famous "Speeding Train". They returned to the stage in the UK and Europe for select festival dates, including the failed ATP Jabberwocky Festival, the cancellation of which, led to two powerful London performances - first at the ACE Hotel with support from Ought, and additionally at the Shacklewell Arms, with Metz and Iceage

Positive No


Positive No started in a wood paneled living room in Richmond, Virginia during the winter of 2011 with Kenny Close and Tracy Wilson (Dahlia Seed). The intention was never to start a band but once the first demo was created, the songwriting chemistry snowballed into a series of new songs. The rhythm section has been a rotating cast of characters over the years, however, Willis Thompson (Thao & The Get Down Stay Down) & James Menefee (River City High / Fun Size / Long Arms) have been the backbone of their recorded material to date which includes their debut EP Via Florum and first full length Glossa; both recorded at the Magpie Cage with J Robbins (Jawbox / Burning Airlines / Office of Future Plans). The band spent much of the fall of 2015 touring to support Glossa which received praise from the likes of NPR, The AV Club, and Stereogum. Through the years, the band's infectious harmonies, abrasive instrumentation, and ability to move sinuously between the extremes with ease has found them a place on bills with bands such as Beach Fossils, Speedy Ortiz, Priests, and Pity Sex.