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Nite Nite, Sick of Sarah, Hunter Valentine, Vanity Theft, and Brandon Jazz & His Armed Forces

Presented by The End at The End

August 24, 2011

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Harkening back to the days when labels like 4AD had an identity, Nashville’s nite nite is a neo dream pop band with garage-infused sonic intensity and a touch of tasteful theatrics Think of nite nite as a punk-informed version of an Edward Gorey illustration, an early Blondie on acid, or a macabre pop group that takes inventive cues from Sioxsie Souix, This Mortal Coil, and Public Image Ltd.

Enter... songwriting maestro Davis and classically-trained Sarah-Brooks Levine, both alums of MTSU and armed with icy chops, preternatural style sensibilities, and a love for The Cure and Siouxsie Sioux. Bassist Matthew Gibson Brown rounds out this triumphant trio informed by Warhol’s Factory sound, new wave, and complex pop rhythms sure to pique the interest of Dresden Dolls fans. Their dynamic, synth-heavy melodies, intricate song structures, danceable rhythm, ethereal vocals, and crooning, tongue-firmly-in-cheek glam rock flavor have not only added a fresh and delightfully morbid dimension to The Music City’s scene, but have also earned the gals and guy opening slots for Mates of State, The Pink Spiders, and The Faint.

Their cavernous dance parties have spooked (in the best of senses) writers at Deli Magazine, Nashville Scene, and more. Now the group is aiming to spread the grisly gospel elsewhere on various nationwide jaunts in support of How to Touch the Moon. Every nite nite show transplants the audience into La Hacienda and Batcave, while also adding a bit of Nashville flair to keep things distinct. The album is great, but it is here where nite nite’s natural habitat lies.

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