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Saturday, March 26th
Doors/Patio Grill Out 7pm, Show 8pm
$15: Tickets available NOW
We have a theory: It's impossible not to like Autolux. Because Carla Azar. Because of the soundtrack-of-the-otts symphony of their first two records. Because of their upcoming release PUSSY'S DEAD, which, judging by what we've heard, sounds more like the future than the score of TRON. Because two of the band's members met while composing the music for a Nobel-prize winner's play. Because Danger Mouse's 30th Century Records is their new label home (and we love us some Danger Mouse.) Because this. And this. And this.
Check out "Soft Scene," the first single off Autolux's new record, out April 1st, and get your tickets for their Blue Room performance, scheduled for Saturday March 26th and set to be recorded direct-to-acetate and released as — what's sure to be — one of our best live records to date as fast as humanly possible.
As a central figure of the bustling European modern art movement of the early 20th century, German-born Hans Richter left an enduring legacy in the realms of graphic design, surrealism, and abstract expressionism. And yet - despite being among the first to apply these techniques to the discipline of filmmaking - to the casual cineaste, his name may not reverberate with the gravity of many of his contemporaries (think Maya Deren, Jean Cocteau, Luis Buñuel.) Nevertheless, after emigrating to the US in the early 1940's, Richter directed a landmark of surrealist narrative cinema, DREAMS THAT MONEY CAN BUY - finally, a worthy American counterpart to tentpoles of the European avant-garde like UN CHIEN ANDELOU and BLOOD OF A POET. The hallucinatory narrative, concerning a man who sells dreams to meet the demands of a hastily signed lease, is the product of collaboration among a veritable honor-role of early-century creative minds: Marcel Duchamp, Max Ernst, Man Ray, John Cage to name a few...it was even produced by Peggy Guggenheim. As a testament to the film's enduring impact, look no further than to David Lynch, who often cites DREAMS THAT MONEY CAN BUY as one of the most acute influences on his work. Hip hop figurehead Drake even name-checked the film in 2011, lifting the title for a track promoting his Take Care album.
Join us in the Third Man Records Blue Room on March 17th, as The Light And Sound Machine presents a mini-retrospective of Richter's films on rarely-exhibited 16mm prints. In addition to DREAMS THAT MONEY CAN BUY, the night will begin with a suite of Richter's early silent shorts, accompanied by a live score performed by Nashville's pre-eminant psychedelic ensemble, The Paperhead.
Now that AUDIO SOCIAL DISSENT 2016 TOUR is in full swing it seems only right and natural to bookend such a savage offering with a crown jewel, a last hurrah and a splash champagne. The champagne of BEERS that is...at good ol' BEERLAND in sweet sweet Austin, TX. If you're not followin' what I'm layin' down, do me a favor, get the off the internet or--better yet--do yourself a favor. It's high time you Do SXSW Right™. So, please, join us on Thursday, March 17th, for our finest showcase yet on the carmine banks of the Red River and get prepped for a baptism in farewell tears and rocker puke while some corporate bigwig in the background 3D prints your mood and turns it into a SXSW keychain. Event specifics are below.
THURSDAY, MARCH 17th @ BEERLAND
7:45pm GUERILLA TOSS
10pm TIMMY'S ORGANISM
10:45pm SPRAY PAINT
11:45pm WOLF EYES
12:45pm THE SPITS
Jack White had some important business to tend to with his friend Kermit involving matters of the heart on The Muppets season finale TONIGHT. Jack's performance of Stevie Wonder's “You Are The Sunshine Of My Life” is now available for pre-order on vinyl 7” from Third Man Records, as well as digitally from iTunes and TIDAL! Watch the performance below and pre-order your copy of the single at thirdmanstore.com.
After a nearly 60-year career, Ennio Morricone took home the Oscar for Best Original Score for Quentin Tarantino's The Hateful Eight. Morricone was awarded an honorary Oscar in 2007, after his five previous nominations for “Days of Heaven,” “The Mission,” “The Untouchables,” “Bugsy” and “Malena.” We are so proud to have been a part of getting this officially Academy-approved soundtrack onto turntable's around the nation. If you don't already own The Hateful Eight Soundtrack on vinyl, pick it up on Double LP at thirdmanstore.com.
Congrats, Ennio and everyone involved!
As you well know by now, Third Man Records Nashville is devoted to bringing A+ art and entertainment to our Nashville Blue Room. We're so devoted, that we're about to up the ante and, despite our doctors' recommendations, TRIPLE the number of live events that take place in our space. Call it march madness. Call it over-achieving. Call it spring fever. Whatever you call it, you can place the blame solely on our insatiable artistic appetites. Do you ever discover something that makes your eyes a little wider, your brain spin inside your skull, and your heart explode with the feeling that something truly beautiful — in the broadest sense of the word — is happening? Inspiration. We feel that every damn day around here, and how would it be fair of us to keep all these revelatory treasures to ourselves? Well, it wouldn't. So, behold, the events of the first two weeks (and some change) of March:
March 1st: Peripheral Visions 01 (8pm, 7pm doors): The first screening of an ongoing cult-film series, taking place on the first Tuesday of every month, co-sponsored by the much-missed Belcourt Theatre. The inaugural movie to set the tone for monthly programming is The Dion Bothers AKA The Gravy Train. One of the top-requested titles by cult-movie fans at the Belcourt over the years, this film was "A favorite of Quentin Tarantino (who showed it at one of his QT fests at Austin's Alamo Drafthouse) and David Gordon Green (who told The AV Club it was "the funniest movie ever made"), it's a 1974 buddy caper movie starring Stacy Keach and Frederic Forrest as coal miners turned inept armed robbers." (Jim Ridley, Nashville Scene) $10. Tickets, more info, and trailer available HERE.
March 4th: Juan Wauters with Tall Juan and The Funs (+ a pre-show in-store with Ornament) (7pm, 6pm doors): Many of you will recognize the voice of Uruguayan Juan Wauters as the singer of the Beets, described by Pitchfork as "a bratty, separatist band whose songs were anchored by declarations so simple they sounded like Zen aphorism." We truly can't imagine that Wauters' unscrubbed solo work is anything besides Universally likable, and if there was ever a better soundtrack to the world awakening from Winter doldrums to bask in the simple delights of Springtime, well, we haven't heard it. $8. Tickets, more info, samples of Juan doing his thing HERE.
March 5th: Why the Mountains are Black Release Party (5-7pm): Why The Mountains Are Black is one of the most visceral and compelling releases Third Man Records has ever dared press to wax, and it bums us out that there is no way for the musicians it features to grace our Blue Room stage, being that the music was all recorded pre-1960. So, how can we celebrate the weird and wonderful world of Primeval Greek Village Music? A party, of course! Master producer, curator, sound-engineer, and writer, CHRISTOPHER KING, will join us to play us selections from his extensive personal 78 collection, discuss the fieldwork that went into this incredible compilation, and toast this record's existence in the world, never to go out of press as long as Third Man Records has anything to do with it. Free and open to the public. No ticket necessary. Learn more about Why The Mountains Are Black HERE.
March 11th: Third Man Books Birthday Party (7pm): HAPPY BIRTHDAY THIRD MAN BOOKS! Prepare your ear-holes, eye-scopes, and in-sides. We're celebrating the first anniversary of Third Man Books with poets Sampson Starkweather, Ana Božičević, Adia Victoria, a short film by best-selling and grammy-winning writer/filmmaker Robert Gordon, and a RARE solo performance of original music by Jack Lawrence (Dead Weather, Raconteurs, Greenhornes). Tickets, more info, very convincing samples of artistic offerings, HERE.
March 12th Freakin' Weekend After Party PORTAL (11:30-4am): Happy Holidays, Nashville. It's that time of year again! If partying all week with SheerMagDowntownBoysBrothersShadraqBullyTwinPeaks BlankRangeLeeBainsStudyHallSlammersExCultWhiteReaperGuerillaTossCFMDiarrheaPlanet NotsBigUpsGrowwingPainsSavoyMotel and the formidable media magnates of Nashville's Dead leaves you still standing and begging for more, join us for witching hour mayhem set to PORTAL's jackin' old school house selections. $5. Tickets and more info available HERE.
March 16th: Blitzen Trapper with Lauris Vidal (8pm): Under the stewardship of Sub Pop and Vagrant Records, Oregon's Blitzen Trapper is 8 studio albums deep into the a successful career as a modern folk-rock band, led by Eric Earley, dubbed by Paste as the "Tommy Petty of the Northwest." Earley's songs read like stories you couldn't sworn you've heard before, and his band's straightforward and every-so-slightly anthemic landscapes make for nearly Universal likability — a real feat in these days of niche tastes and fragmented genres. Blitzen Trapper brings their (quite welcome!) Pacific Northwestern sensibilities, along with swampy and distinctly Floridian opener Lauris Vidal to whet our collective whistle, to the Blue Room Stage on March 16th. More information and tickets available HERE.
Stay tuned for our next batch of events, coming at you in the next week. The second half of March will be just doctor-not-recommended as the first half. And, April? Don't even get us started on April...