Afterhours in LA this week

From the press release:

Afterhours, one of Italy’s most successful and respected alternative rock bands will be performing as part of “Hit Week Los Angeles”: a unique event where for the first time some of the most important artist representing the actual Italian rock scene perform in the United States. Afterhours will be joined by Negrita, Piero Pelù, Linea 77, Le Vibrazioni, The Niro, Calibro 35, among others. Afterhours will be giving several performances:

  • 10/13 – 8.00 pm Opening at the Italian Institute of Culture – Afterhours reading Ennio Flaiano (reading of an Italian contemporary writer, with Manuel reading/playing accompanied by the rest of the band)
  • 10/15 – 7.00 pm Acoustic set at The Standard Hollywood
  • 10/16 – from 7.00 pm Headline show at The Music Box @ Fonda Theatre

More information about the concerts and other (H)IT WEEK events below the fold.

(H)IT results from the union of the two words HIT, and ITalian. Accordingly, the event’s form revolves around the Italian Way of Life, in a singular union of excellence and absolute musical and organizational quality.

(H)IT WEEK is in no way your basic fair and/or market-place, but is rather the introduction of Italian vitality and creativity – as they are expressed through their most poignant vehicle: music.

Music will be the heart of Hit Week Los Angeles and is the main driven of the leading professionals team behind (H)it week that first of all are Music Lovers.

Music, Cinema, Fashion, Art and Design, Food and Travel: the Hit Week World.
Goal

(H)IT WEEK’s objective is to promote the Italian music scene abroad that is the heart of the italian way of life , in a unique exclusive context. Never before has there been an event in U.s. dedicated to Italian modern Music.

(H)IT WEEK is thus to be an ideal meeting ground for the classic Made in Italy – which solicits both dream and emotion – with the audience and crew of the nations involved.

We’re not only Mandolino and Operetta: we’re able to rock’n roll the world with a unique mix of cool music, vitality, creativity and artistic vibes.
When

The event, whose first installment will be held in 2009 in Los Angeles, will last six days: 13-18 October 2009.

After days of parties, exibitions, film screenings, and numerous other events in all over L.a. , The Hit Week climax will be Friday October 16th and Saturday October 17th 2009 at the Music Box @ The Fonda in Hollywood with the performances of some of Italy’s top music artists that will play live for an all over the world audience, media and record industry executives. A “decompression” event is scheduled on Sunday October 18th .

The Fonda Theatre General Admission 2 day Hit Week pass will be available exclusively on line from april 10th for $ 50 Usd here: http://www.inticketing.com/evinfo.php?eventid=32205

FREE ADMISSION “Student Only” oct.16th and 17th
Students 2 Days G.a. @ The Music Box for 89.9 Krcw Presents Oct.16th and 17th Live shows with more than 10 top Italian artists.
For FREE ADMISSION must reserve on line and Must show valid full-time student ID at the box office or pay full price.
The ticket is good for both days.
For 2 dyas performers and update running order go to:
http://eventful.com/users/Hitweek/events

Very Limited personal platinum pass for all the week events (Parties, Screenings, exibitions, Dj Set, and many surprises) including a two days emotional food experiences at the fonda will be available exclusive on line from april 10th for $ 150 Usd here: http://www.inticketing.com/evinfo.php?eventid=32205

The single day general admission will be sold (if available) only at the box office on event day at $ 40 Usd daily.

Aterhours’ eighth CD, I Milanesi Ammazzano il Sabato (“The Milanese Kill Saturdays”), charted in the Top Five in Italy and was followed by several triumphal Italian tours and a sting of headlining U.S. dates. The project is lead singer Manuel Agnelli’s ode to his hometown of Milan, a city often referred to as the New York of Italy due to a shared focus on business from finance to fashion. The sound is a potent mix of dark post-punk (ala Gun Club, Afghan Whigs, Joy Division) with elements of vintage Italian prog rock. The I Milanesi Ammazzano il Sabato project continues Manuel Agnelli and Afterhours’ creative collaboration with American cult rocker Greg Dulli that began when the Twilight Singers joined Afterhours to co-headline an Italian tour in 2004 – the genesis of a relationship which has seen the two bands contribute repeatedly to each others’ work. Dulli went on to produce Afterhours’ last effort 2005’s Ballate per piccole iene (“Ballads for Little Hyenas), an English language version of which was released in 2006 by the One Little Indian label in the US and UK. Critical response to the band in the U.S. has been excellent, to wit:

“…varied, openminded, creative, ambitious, and above all adventurous…” Rolling Stone

“…the band’s intense passion and artistic mind meld…make this album totally awesome.” PopMatters

“…espically rocking songs, edgy melodies and Agnelli’s distinctive and husky rasp of a voice…” Washington Post

Afterhours also served as the Italian backing band to Greg Dulli and Mark Lanegan’s Gutter Twins project and Agnelli co-wrote 2 songs with Dulli on the latest Twilight Singers album Powder Burns. Afterhours then shared the stage with the Twilight Singers for a 25 date North American tour in 2006, the most extensive by an Italian rock band. Other guests on I Milanesi Ammazzano Il Sabato are co-producer John Parish (PJ Harvey, Goldfrapp, Giant Sand), Stef Kamil Carlens (Deus, Zita Swoon) and Brian Ritchie (Violent Femmes).

The title of this eighth studio set is Agnelli’s play on the words of a similarly titled 1969 work by Italian crime novelist Giorgio Scerbaneco, the last before the author’s untimely death, whose work envisioned a Milan in which rampant consumerism would replace quiet family based communities. Called a “.brutal masterpiece.” by Italy’s La Repubblica, I Milanesi Ammazzano il Sabato is a set of Agnelli’s reflections on the evolution of Milan into an impersonal city where people come to work then leave. Saturdays, author Serbaneco proposes, is the only day of the week on which one could find the time and opportunity for a killing. Agnelli’s alternative vision conveys the existential loneliness of leisure time in the metropolis.

The story of Afterhours’ (who took their name from the Velvet Underground song) formative decade in 1990’s Milan shares a similar narrative with Manhattan’s gentrification of the era. After turning down an international deal with Interscope they set about building the infrastructure for an alternative rock scene in Italy. Much like their American indie counterparts, they booked themselves into now defunct clubs (Helter Skelter), put out DIY record releases through an indie store/label (VoxPop), and even self-funded a showcase jaunt to Gotham’s bygone New Music Seminar, all the while trying to keep together a lo-fi scene of like-minded musicians, writers and artists in a fast paced high-fashion metropolis. Nowadays they’ve become a national institution, headlining the large concert halls, sharing festival bills with the likes of Patti Smith and R.E.M., making one-off deals with the major record labels as they please but still striving to support the up and coming talents in their homeland.

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