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Wednesday, December 12, 2018

94/7fm Presents

Death Cab for Cutie

6:30 p.m. Doors, 8 p.m. Show

$62.50 advance, $62.50 day of show

All ages welcome

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Death Cab for Cutie

Death Cab for Cutie

Death Cab for Cutie knew immediately that Kintsugi would fit perfectly as the title of their eighth studio album. A philosophy derived from the Japanese art of repairing cracked ceramics with gold to highlight flaws instead of hiding them, Kintsugi speaks to the way an object's history is part of its aesthetic value. “Considering what we were going through internally, and with what a lot of the lyrics are about, it had a great deal of resonance for us – the idea of figuring out how to repair breaks and make them a thing of beauty,” says bassist Nick Harmer, who suggested the name to singer-guitarist Ben Gibbard and drummer Jason McGerr. “Philosophically, spiritually, emotionally, it seems perfect for this group of songs.”

Long before they gave the album its name, the band embarked on a process that forced them to do things differently than they ever had before. For instance, in the course of making their seven previous albums, the Seattle band hadn't written much in the studio together. They had always preferred to hone their arrangements separately, or with just two or three of them playing at once. But when it came time to record Kintsugi, Death Cab for Cutie went into the studio with the openest of minds. Their willingness to try anything – including a twenty-minute exploration that evolved into one of the album's finest tracks, “The Ghosts Of Beverly Drive” – yields Death Cab's most compelling new work in years: an album that packs as much sonic as it does emotional wallop.

Kintsugi is the band's first time recording with a producer other than their own Chris Walla, the guitarist and multi-instrumentalist whose talents behind the board had helped shape Death Cab's sound since Gibbard released the You Can Play These Songs With Chords cassette in 1997. For Kintsugi, they worked with Rich Costey (whose production credits include albums by Franz Ferdinand, Muse, and Interpol), recording at his Los Angeles studio Eldorado over the course of twelve weeks in the first half of 2014. "He was all in in a way that I don't think a lot of producers are nowadays," says Gibbard. "We couldn't have landed on a better collaborator for this record. He accomplished what we've always attempted, which is to make Death Cab sound on a record how we sound live. And we're a rock band live. The difficulty now for the live show is making them rock as hard as they rock on the record. That's a new quagmire for this band."

Work on Kintsugi began back in early 2013, as all Death Cab LPs have, with Gibbard writing and demoing the songs on his own before arranging and recording them with his band mates. They initially convened in fall of 2013 at Walla's Hall Of Justice studio in Seattle. Ten days into recording, Chris decided to step down as producer. Says Gibbard. "Nothing dramatic, he just said, 'I don't think I'm the right guy to do this album and we should find someone else.'" The band all felt that they needed to shake things up a bit. "We challenged each other more and left no stone unturned. That was as gratifying as it was frustrating at times, but I couldn't be happier with the end product," says McGerr. Walla has since decided to leave the band but participated in the recording process as fully and vitally as he had on their previous albums. In fact, Costey didn't even know Walla was leaving the band until after Kintsugi was finished. Chris played his final show with the band in September at Rifflandia Festival in British Columbia.

When they started recording, there weren't any rules at all. They'd work on a song for a while and then regroup with Costey to figure out elements to expand or elaborate. "These guys have a chemistry that's existed for a long time, and that chemistry can't be ignored," says Costey. "When you have a band that can play as well as they can play with each other, having them jam together in real time can actually be the quickest way to try a bunch of ideas and get them on tape." Songs such as the instantly memorable "Good Help (Is So Hard To Find)," the warm and vulnerable "Little Wanderer" and the brooding lead single "Black Sun" were all tracked with the four members of the band playing together in a room, reacting to each other in real time, adding layers - and later subtracting some. "All four of us being on the floor together in the studio was something that hadn't happened in years, because Chris was always behind the glass or in the control room," says McGerr. "But this was more like when we're onstage, where everyone has their eyes closed and we're playing in the moment. With 'The Ghosts Of Beverly Drive,' it turned into a twenty-minute thing they captured in the control room on a two-track. We had started it in Seattle months prior and it just wasn't getting there. Rich brought us into the control room and was like, 'This is our song.'"

Costey credits another element of their production set-up with helping achieve the perfect balance of their classic approach and the new one: "My studio has one big live recording space and two control rooms," he says. "Once we got basic tracks together, Chris would work on them in the other control room. And he would end up doing completely different versions of the songs. For 'Black Sun,' Chris did all this super old school sequenced synth stuff that we used on the final track, and it really brought that song to another level."

"Black Sun" is also a perfect example of Gibbard's customarily honest, fearless approach to writing about affairs of the heart. "'Black Sun' is about divorce and the ugliness and conflicting emotions that come with that: anger, sadness, finger-pointing, acceptance, forgiveness, understanding. To me, the idea of a black sun has multiple meanings: The black sun could be an eclipse, where one thing eclipses another. The sun is supposed to be a radiating light on the world but in this instance it is blacked out. We've all been that at some point in our life when we're supposed to be shining upon someone giving them support, but for some reason are unable to do that. I am the black sun, and the song is as much an indictment of myself as anything."

Although, in the case of "Black Sun," Gibbard says he's willing to elaborate on the elements of the song that are autobiographical, he's never been one to reveal the precise meaning behind his lyrics. "I know that people will assume these songs are about certain things, and in some instances they are going to be correct," he says. "But I'm not going to give people a road map."

Gibbard acknowledges that, early on in the process of writing this group of songs, as he was still trying to make sense of the major changes happening in his life, he had to remind himself not to change his creative process. "If there's a reason people can relate to my songwriting, maybe it's they feel like they're getting an honest, fearless approach to writing about affairs of the heart. I'm certainly not going to censor that just because people think they know something about my personal life. I would be cowardly as a songwriter and not be true to what I've always done if I shy away from these events in my life because I was in relationship with a public figure.

"I know the lyrics aren't 100% fiction and they're not 100% nonfiction, and only Ben knows what that blend is," says Harmer. "But with this group of songs, I do think he is writing from a genuinely vulnerable and honest place and I'm proud of him for putting himself out there and being fearless about it."

One of the songs on Kintsugi that Gibbard says he holds closest to his heart is "Little Wanderer," where he sings, "You sent a photo out of your window of Paris of what you wished that I could see. But someone's gotta be the lighthouse and that someone's gotta be me." He explains: "There are innumerable songs about, like, 'The road ain't no place to start a family.' 'Home Sweet Home' by Motley Crue, 'Gone Til November,' by Wyclef Jean, and so on. But nobody ever writes a song about sitting at home, waiting for someone to come back. And for so much of my life, I've been the one off somewhere in the world trying to maintain a connection through digital portals. Now, being with someone who travels pretty much all the time, I feel like I've gotten a taste of my own medicine. All the songs are personal, but that one is personal in a way that is very tender to me."

Here, too, "The Ghosts of Beverly Drive" encapsulates important elements of the album's larger theme - embracing flaws and being open to change. "If only you had known me before the accident," it begins, "for with that grand collision came a grave consequence." Says Gibbard: "There's this charade you play with someone when you start seeing each other, that no one has ever made you feel this way before," says Gibbard. "'The Ghosts Of Beverly Drive' is about when you say to the person you're with, 'Let's just acknowledge that we are not the first people to feel this way. Let's be honest with each other that we've been in love before or that we've fallen out of love with people before, and that's OK.'"

 

Website:
http://www.deathcabforcutie.com/

Events

The Crystal Ballroom

1332 W. Burnside
Portland OR 97209

(503) 225-0047
Contact us

Where On Any Night, Anything Can Happen!!

In these walls...

The historic Crystal Ballroom -- now over a century old -- is one of those rare concert halls that can point to a proud, diverse history while also laying claim to an ongoing musical legacy. Every time you enter this majestic ballroom, let your imagination sense the tremors resonating from a century's worth of gatherings, and realize that you are joining a thriving, generations-long procession of show-goers. Welcome!

Looking for your Crystal Ballroom Passport Stamps?

Crystal Ballroom, Lola’s Room & Crystal Brewery Tour occurs daily at 2 p.m. - meet at Ringlers Pub (street level below the Crystal Ballroom.) The tour takes about half an hour to complete. Any questions may be directed to the Crystal box office, 503-225-0047.

Stamps for the Crystal Ballroom and Lola’s Room are also available when you see a show – ticketed or free – in either venue.

Please note: Due to private events, concert setup needs and brewers’ schedules, not all spaces are guaranteed to be available to tour daily, but our staff will give it our best shot and show you the spaces that we can.

Tech Specs

Floor and stage plan
PDF download

Lighting diagram 
PDF download

Sound manifest
Crystal:
PDF download
Lola's Room: 
PDF download

Technical and logistical packet
For Crystal Ballroom & Lola's Room
PDF download

Ballroom height and beam-to-beam dimensions
16' 11" from beam to floor
19' 11" from floor to ceiling
14' 6" in between beams

Promoter Info

Rental Expenses To Outside Promoters

RENT VARIES, PLEASE CONTACT A BOOKING COORDINATOR
$900  SOUND & LIGHTS
$365  PRODUCTION MANAGER ($54.75/hr OT)
$255  STAGE MANAGER ($38.32/hr OT)
$255  FOH TECHNICIAN ($38.32/hr OT)
$255  MONITOR ENGINEER ($38.32/hr OT)
$255  LIGHTING DIRECTOR ($38.32/hr OT)
$150  HOSPITALITY ($20/hr OT) [mileage is 33 cents per mile]
$1,000*  SECURITY ($100/hr OT)
$100  BOX OFFICE STAFF ($20/hr OT)
$200  ADMINISTRATION FEE
$ ----  PARKING HOODS
$ ----  CHAIR RENTAL ($2 per chair)
$ ----  ADVERTISING
$500  PIPE AND DRAPE/BARRICADE
$175  STAGEHANDS
$ ----  BOX OFFICE CREDIT CARD FEE (3% of Box Credit Card Sales)

* Security cost is an estimate. Additional security may be required depending on the nature of the event. 

Overtime: All expenses incurred by the Crystal Ballroom for Catering, Advertising, requested stagehands, overtime (anything over 10 hours), backline, barricade, risers, etc. will be added to total rental rate.

Deposits: A non-refundable 50% room deposit and a $2,500 'untenured promoter fee' (UPF) is due immediately in order to secure the room. If ticket sales exceed 500 the 'UPF' will be refunded; if ticket sales are below 500 the room keeps the entire $2,500 to make up for less than 1/3 capacity and corresponding lack of sales. The 'UPF' will not be refunded if the event cancels within 60 days of the event.

Settlement: Venue will pay renter with a company check at the immediate conclusion of door sales. Venue will not provide any cash at settlement.

Late Night Fee: There is a $1,000/hour additional fee for any events after 3 a.m. We may also require additional security for events of that nature.

Merchandise: Merch rate is 20% they sell. We can provide a seller with advance notice and will keep 30% of sales. The outside promoter will receive no revenue from the merchandise as that is the prerogative of the house. House keeps a percentage of all transactions.

Tickets: All tickets must be placed through the venue onto the Cascade Tickets system. All comps, label buys, and holds must be approved by the venue. There is a $2/ticket venue fee at the Box Office.

Refunds: All refunds will be directed to the outside promoter. In the absence of an outside promoter representative, the venue shall use its own discretion regarding refunds and all refunds shall be deducted from settlement.

Insurance and Licenses: Renter must provide liability insurance not less than $1,000,000 for any single occurrence naming McMenamins Inc. d.b.a. Crystal Ballroom as additionally insured. Tickets will not be placed on sale until binder is received. Promoter is responsible for all ASCAP, BMI, and SESAC fees.

Production Advance: Performers or their representative must contact venue's production manager 5 days prior to the event in order to advance production needs, otherwise runner will arrive at 6 p.m. and all rider items/requests will be greatly limited if provided at all.

Layout: The Crystal Ballroom is located on the 3rd floor. The first floor is Ringlers Restaurant and the 2nd floor is Lola's Room, both of which may have a public or private event simultaneously with the Crystal.

Cancellation/Postponement: The contract covers the specified event for the specified date. No substitution will be accepted for a cancellation. If the event is postponed the room deposit will be transferred to the date of the new event but the $2,500 'UPF' will be applied toward the date of the originally scheduled show and an additional $2,500 will be required in order to reschedule.

Capacity: The venue's capacity is 1500*. All artist and promoter guests and comps will be deducted from sellable. Comp and guest space must be reserved in advance. House is entitled to 20 guests. House guests will not effect sellable. Promoter must have guest list to house no later than 2 hours prior to doors. VIP cap is 25.

* Seated capacity is 850. Seated shows must be 21 and over. There is a $2/chair rental fee.

Venue and corporate sponsor banners may be present during event.

Marketing your event at the Crystal Ballroom

Please contact Mike Walker for information about marketing your event through McMenamins resources.

Box Office

Please note! Both the Crystal Ballroom and Lola's Room specialize in open-floor shows with a very limited amount of seats. The rare seated events will be clearly denoted as such, within the event description on our schedule page.

Box Office Information

Tickets for all McMenamins shows are ticketed by Cascade Tickets, and may be purchased at the Crystal box office (located under the Crystal's awning) and McMenamins Edgefield, by phone at 1-855-CAS-TIXX, or by clicking the "Buy Tickets" link located at the event listing on our schedules.

Tickets bought directly at the Crystal box office or any of our four ticket outlets will only incur a $1 facility charge. (Please note! Tickets to Edgefield Concerts on the Lawn will incur additional service fees.)

Crystal Ballroom Box Office Hours 
Daily, 11:30 a.m. to 6 p.m.
The box office is open later on nights when there is a performance.

The box office accepts cash, VISA, MasterCard, American Express and DiscoverCard.

Will Call

Will call is located at the box office.

Refunds

All ticket purchases are non-refundable.

Parking

There are three pay lots nearby, and street parking is available.

Accessibility

Those with disabilities may call (503 225 0047) or email in advance to arrange early admittance.

There is an elevator located in the lobby.

Hold your Private Event at Crystal Ballroom

Weddings  Meetings  Social Events

The Crystal Ballroom is a truly awe-inspiring venue with its vaulted ceilings, grand chandeliers, giant wallscapes and famous "floating" dance floor. Accommodating groups from 100 to 1000 people, this 7,500-square-foot space includes access to the Ballroom's classic corner stage, floor-to-ceiling windows, swooping balcony, and full bar service.

Tucked in the Crystal’s second story is Lola’s Room accommodating events of up to 200 guests.  Lola’s comes with a handsome fully stocked bar, original artwork, and a floating dance floor all it’s own.

For overnight accommodations, our Crystal Hotel is just a block away!

Contact our sales team to inquire or book your event.
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Art

Artwork plays an important role in the character of McMenamins locations throughout Oregon and Washington. We believe art makes life richer and more enjoyable. So, you'll often find paintings covering our walls, ceilings doors, overhead pipes, and equipment -- works as diverse and entertaining as our places for family and friends. Many artists have contributed to this vast variety of delightful eye candy. Jump in and enjoy some now!

History

 

 

Explore the Crystal Blocks

Our Crystal Hotel and legendary Crystal Ballroom are just across the street from each other, each offering their own unique spaces for live music, Northwest style fare and McMenamins hand crafted beverages.  Explore these properties and all they have to offer. 

Crystal Ballroom Property

Crystal Ballroom  Lola's Room  Ringlers Pub  Crystal Brewery

Crystal Hotel Property

Crystal Hotel  Al's Den  Ringlers Annex  Zeus Cafe

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