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BEGIN:VEVENT
UID:126fe15d-f962-4eee-ba90-edd07b95933a@360exp.net
SEQUENCE:29843051
DTSTAMP:20260928T170841Z
LAST-MODIFIED:20260928T081126Z
DTSTART:20261116T010000Z
DTEND:20261116T040000Z
SUMMARY:Protomartyr
LOCATION:Eulogy
DESCRIPTION:Eulogy Presents: Protomartyr w/ J.R.C.G\n\nSun\, November 15th
 \, 2026\n\nEulogy - 10 Buxton Ave. Asheville\, NC 28801\n\nDoors 7PM || Sh
 ow 8PM\n\n**Protomartyr**\n\nSince their 2012 debut No Passion All Techniq
 ue\, the Detroit post-punk band Protomartyr have mastered the art of evoki
 ng place: the grinding Midwest humility of their hometown\, as well as the
  x-rayed elucidation of America that comes with their vantage. Protomartyr
 —vocalist Joe Casey\, guitarist Greg Ahee\, drummer Alex Leonard\, and b
 assist Scott Davidson—have become synonymous with caustic\, impressionis
 tic assemblages of politics and poetry\, the literal and oblique.\n\nThe g
 roup’s sixth album\, recorded at Sonic Ranch in Tornillo\, Texas\, is ca
 lled Formal Growth In The Desert. And though frontman Joe Casey did have a
  humbling experience staring at awe-inspiring Sonoran rock formations and 
 reckoning with his own smallness in the scheme of things – as recounted 
 in the single “Elimination Dances” - the title is not necessarily a no
 d to the sandy expanses of the southwest. Detroit\, too\, is like a desert
 . “The desert is more of a metaphor or symbol\,” Casey says\, “of em
 otional deserts\, or a place or time that seems to lack life.” The deser
 t brings an existential awareness that is ultimately internal.\n\nThe “g
 rowth” came from a period of colossal transition for Casey\, including t
 he death of his mother. Now 45\, Casey had lived in the family home in nor
 thwest Detroit all his life until 2021\, when a surge of break-ins signale
 d that it was time to move out. As with all touring artists\, the pandemic
  years also brought on other inner quandaries about the purpose and feasib
 ility of a musician’s life.\n\nBut life does go on\, and Casey describes
  the great theme of Formal Growth In The Desert as an embrace and acknowle
 dgment of that fact: a 12-song testament to “getting on with life\,” e
 ven when it feels impossibly hard. “I was trying to find a way forward a
 fter some pretty heavy things\, without lyrically resorting to\, Oh my god
 \, my life sucks\,” Casey says. “I was trying to see what was beyond t
 he trouble.” The titles of the two opening songs—the moody “Make Way
 ” followed by the charging ennui of “For Tomorrow”—complete that t
 hought.\n\nThe band’s music—more spacious and dynamic than ever—pull
 ed him up\, too. Guitarist Greg Ahee\, who co-produced Formal Growth In Th
 e Desert alongside Jake Aron (Snail Mail\, L’Rain)\, knew what Casey was
  going through. Conceptualizing the music\, he considered how to make it a
 ll “like a narrative film.” Having recently scored a pair of short fil
 ms\, Ahee found himself immersed in the cinematic Spaghetti Western music 
 of Ennio Morricone. “I started to write at home on a piano and on a keyb
 oard and then play along to short films\, and watch how you can affect and
  heighten moods as you play\,” Ahee explains.\n\nThe filmic sensibility 
 is manifest in Casey’s storytelling\, too\, whether he’s critiquing om
 inous techno-capitalism or processing aging\, the future\, and the possibi
 lity of love. Casey calls the centerpiece\, “Graft Vs. Host\,” written
  in the immediate wake of his mother’s death\, the heaviest song on the 
 record\, but it is also among Protomartyr’s most beautiful. It opens wit
 h an ominous sprawl before Casey’s sweet\, coiling melody buoys the subj
 ect matter: “Sadness running through my mind/She wouldn’t want to see 
 me live this way\,” he sings\, an earnest inquiry into how grief manages
  to eventually make way for other emotions. “My mom wouldn’t want me t
 o be depressed about her passing for the rest of my life\,” Casey explai
 ns. “Everybody wants to be happy\, but how do you get there? Is it just 
 a surgery that you have\, and one day you are allowed? After someone dies
 \, you don’t want to necessarily associate their life with their death.
 ” It was the first Formal Growth In The Desert song that came together f
 or the band in a room—an emblem of “trying to put sadness behind me\, 
 to see if I can let love into my life.” It culminates on a pummeling loo
 p\, which for Casey felt fitting: “I really like that idea: the band kee
 ps going.”\n\nBoletos: https://dice.fm/event/6d8n37-protomartyr-15th-nov
 -eulogy-asheville-tickets
URL;VALUE=URI:https://360exp.net/events/126fe15d-f962-4eee-ba90-edd07b95933
 a
STATUS:CONFIRMED
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