Dummy

with Flowers for the Dead & Tarotplane

7pm/ all ages

Dummy — the Los Angeles band comprised of Alex Ewell, Emma Maatman, Nathan O’Dell, and Joe Trainor — announces its new album, Free Energy, out September 6th on Trouble In Mind Records, and shares the lead single/video, “Nullspace.” Pop has always been a big part of Dummy’s sound, but it manifests differently on Free Energy. Sometimes it’s quite literal (and funny), such as the bubbly synth sequence made with a Korg EM1 popping all over lead single “Nullspace,” which features a melody written by O’Dell and is the song the band calls the record’s “sonic mission statement and really influenced by Mark Van Hoen, especially the cut-up dreamy dance-pop he was making on the Locust record Morning Light.”

Dummy’s debut full-length Mandatory Enjoyment arrived in late 2021 and quickly became one of the year’s sleeper hits. Pitchfork, Bandcamp Daily, Stereogum, Aquarium Drunkard, and other publications praised Dummy’s mix of ambient and twinkly guitar pop, their deep musical references, and the intentionality with which they patchworked it all together. Fans bought copies of Mandatory so quickly that Trouble in Mind couldn’t keep it in stock. Sub Pop Records also invited the band to contribute to their legendary Singles Club series. Bands loved Dummy, too, and the group were asked to open for Horsegirl, Botch, Black Country, New Road, Luna, Spirit of the Beehive, Dehd, Snooper, Sweeping Promises, Snail Mail, and more.

Where Mandatory Enjoyment was cerebral and lo-fi, the product of a lot of time inside, Free Energy is all movement, presence, and physicality. A creatively restless band, Dummy felt like they had done the best version of motorik pop that they could do, and wanted to get harder, dancier, a little more psychedelic. Ewell and Trainor began experimenting with home recording, using DAW as kind of an instrument for composition rather than simply a tool. O’Dell dug deeper into instrumental/sample composition, in addition to contributing more guitar leads. Maatman also steps into the spotlight in a big way, her vocals noticeably foregrounded and confident, adding to the live performance feel that forms the foundation of Free Energy. The result is a record that celebrates music’s ability to move the body, whether that be through a teeth-rattling wall of MBV-esque noise, a sticky pop chorus, or a joyous drum machine—or, if you’re Dummy, maybe all of them in the same song.

Additionally, Free Energy features guest appearances by friends Dummy has played with on tour, including Oakland-based saxophonist and electroacoustic artist Cole Pulice and Jen Powers of Powers / Rolin Duo, along with a series of field recordings the band made while on tour: the rushing of water, the rumbling of the van, indistinct voices, chirping birds; the sounds of mundanity rising to cacophony before petering out, treated no differently than the ecstatic rhythms, explosive hooks, and blissful ambient stretches that came before. If there is any key to understanding what makes Dummy such a compelling band, perhaps it is this: it’s all music to them.

28 years of Ottobar!

Angel Du$t

with Division of Mind, Crush Your Soul & Gasket 

doors at 7pm / show 8pm

all ages

Justice Tripp lives in the future. For nearly two decades, the musician has consistently been ahead of the curve: first with Trapped Under Ice, where he led the way for a new wave of heavy hardcore, and then as the mastermind behind Angel Du$t, where he blazed the trail for the current generation of aggressive musicians to branch out into unabashedly melodic territory. Tripp’s work is marked by an ever-evolving creativity that’s made him highly influential, but which has often put him a number of steps ahead of the very trends that he’s helped to inspire. Now Angel Du$t are back with their new album, Brand New Soul: a fearless and open-hearted tribute to all things rock, offering listeners a chance to be right there with them on the cutting edge. Tripp might forever be keeping an eye on the future, but Angel Du$t’s time is now.

Mary Lattimore

with Elias Rønnenfelt

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada, the new LP from American harpist and composer Mary Lattimore, speaks not just for its beloved namesake — a hotel in Croatia facing renovation — but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephemeral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore’s decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slowing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements.

“When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you’re away, not realizing how ephemeral experiences are until they don’t happen anymore, fear for a planet we’re losing because of greed, an ode to art and music that’s really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency.”

Memories, scenes, and split-second impressions have long filled Lattimore’s musical universe. As one of today’s preeminent instrumental storytellers, she has “the uncanny ability to pluck a string in a way that will instantly make someone remember the taste of their fifth birthday cake,” writes Pitchfork’s Jemima Skala. Lattimore’s impulse to record life as it happens matches her drive to travel and perform, as profiled by Grayson Haver Currin for The New York Times: “Lattimore recognized that being in motion shook loose strands of inspiration, moods she wanted to express with melody. She needed, then, to remain on the go.” That sense of fluidity has also made her a prolific collaborator outside of solo work. 2020’s Silver Ladders, recorded with Slowdive’s Neil Halstead, opened the door for Lattimore to widen the vision of her primary project as well, and its proper follow-up is the natural next scale. “All of these people I asked to contribute have deeply affected and inspired my life.”

For the title and inspiration, Lattimore’s mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water’s edge. “There’s a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to ‘say goodbye to Hotel Arkada, it might not be here when you get back’ and I heard soon after that it was actually going to be renovated in a very crisp, modern way.” Lattimore became fixated on the ingredients that make a place special — for Hotel Arkada, the patinaed chandeliers, the patternedbedspreads, the echoes of its intangible charm — and how when those leave this world, as they inevitably always will, it feels important to memorialize them, “to bottle it for a brief second.”

Momma 'Welcome To My Blue Sky Tour'

with villagerrr

Momma is the musical project of Allegra Weingarten and Etta Friedman. After moving to New York from Los Angeles, the two brought on bassist and producer Aron Kobayashi Ritch, and drummer Preston Fulks, to flesh out their sound. Produced by Kobayashi Ritch, Momma's new album, Welcome to My Blue Sky, lays bare all of the precious and all of the ugly experiences of falling in and out of love, and the art of keeping secrets. Welcome to My Blue Sky comes out April 4th, 2025. 

Momma ‘Welcome To My Blue Sky Tour’

with villagerrr

NIGHT 2!

Momma is the musical project of Allegra Weingarten and Etta Friedman. After moving to New York from Los Angeles, the two brought on bassist and producer Aron Kobayashi Ritch, and drummer Preston Fulks, to flesh out their sound. Produced by Kobayashi Ritch, Momma’s new album, Welcome to My Blue Sky, lays bare all of the precious and all of the ugly experiences of falling in and out of love, and the art of keeping secrets. Welcome to My Blue Sky comes out April 4th, 2025. 

The Tubs

with guests TBA

The Tubs’ second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territory while continuing to hone their highly addictive brand of songcraft. It’s a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a ‘vast world of moods and muses’ and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process.

Minami Deutsch/南ドイツ was formed by Kyotaro Miula (guitar, vocals, synthesizer) in Tokyo in 2014. The band members being self-professed “repetition freaks” who heavily listen to minimal techno.

Lucretia Dalt with Vorhees at Current Space

Doots at 6pm, all ages

Born in Pereira, Colombia, Lucrecia Dalt has carved out a distinctive space in contemporary music. Her trajectory from civil engineer to sound artist began while working at a geotechnical company in Medellín, where she discovered computer-based music production—a revelation that completely redirected her life and creative focus.

After her first recordings appeared through Colombian collective Series, Dalt contributed to Monika Enterprise’s 4 Women No Cry compilation in 2008, marking her entrance into the international music scene. Following moves from Medellín to Barcelona and finally to Berlin, her sound evolved through increasingly abstract territories. 

With RVNG Intl., Dalt released a trilogy of works—Anticlines (2018), No era sólida (2020), and ¡Ay! (2022)—each expanding her sonic palette and conceptual depth. ¡Ay! particularly connected with critics and listeners, earning recognition from The Wire magazine as album of the year and top ten inclusions in Pitchfork, New York Times, and NPR’s year’s best. During this period, Dalt also ventured into television film scoring, composing the original score for the HBO series The Baby (2022), and more recently the critically acclaimed On Becoming a Guinea Fowl (2024) and forthcoming psychological horror The Rabbit Hole (2025), bringing her distinctive sound design to narrative contexts.

Now Dalt returns with A Danger to Ourselves, her most personal and sonically ambitious work to date. While her past albums explored character-based narratives and outer world entanglements, this thirteen-track collection turns decisively inward. The album grew from fragmentary notes Dalt scribbled during tours and the early days of a new relationship—intimate thoughts later transformed into musical compositions in January 2024.

Working closely with percussionist Alex Lázaro, Dalt built pieces that generate musicality through the interplay of bass lines, beats, and textural details rather than conventional melodic structures. Songs like “divina” move fluidly between Spanish and English through elastic soundscapes and mesmerizing sound collage, while “hasta el final” takes a different approach with its more direct string arrangements. Throughout the album, Dalt pushes beyond her earlier lo-fi approaches toward a newfound clarity where both voice and instrument emerge with greater presence and detail. The album title comes from Sylvian’s lyrics in “cosa rara,” reflecting themes of life’s fragility, love’s oscillations, and the desire for liberation from everyday patterns toward more meaningful inner experiences. Mastered by Heba Kadry in NYC, A Danger to Ourselves represents both a culmination of Dalt’s previous work and a new direction—a space where her sonic explorations converge into something intimate yet expansive, personal yet universally resonant.

Beach Fossils

with Being Dead

Doors at 7pm, all ages

Throughout the last fifteen years, Beach Fossils have steadily earned their stature as one of the most definitive and enduring bands of the 2010s New York underground, consistently reaching new listeners as their sound has grown from the DIY solo project of Dustin Payseur to an influential four-piece dream pop band, self-produced and self-released.

Bunny (2023) continues the stunning evolution of Beach Fossils’ sound, pulling elements from the jangly melancholy of the self-titled debut Beach Fossils (2010) and What a Pleasure (2011), the gritty, post-punk inspired tracks from Clash the Truth (2013), and the lush arrangements of Somersault (2017). Throughout, Payseur is joined by core band members Tommy Davidson (guitar), Jack Doyle Smith (bass), and Anton Hochheim (drums).

Through tone and mood, Beach Fossils communicate a coming-of-age narrative of self-discovery. Payseur’s slice-of-life lyrics reflect on depression, love, adventure, loss, mistakes, New York City, friendships coming and going — a mélange of granular pieces in the process of continuing to find yourself.

@

with guests TBA

$15/$18

all ages

This is Current Space's final show of the season!

@ (pronounced “At”) is the folk-pop project of vocalist/guitarist Victoria Rose and multi-instrumentalist Stone Filipczak, who owe their musical bond to the power of text messages. Although the pair initially met years ago, it wasn’t until spring 2020 when they began sending each other music between their respective cities — Rose based in Philadelphia and Filipczak in Baltimore. A few exchanges down the line, Rose sent Filipczak an early recording of a song she’d written called “Star Game” asking him to contribute drums. She didn’t anticipate what he returned to her: “I didn’t like it at first. It felt jarring to hear my music so arranged,” she says. “I almost plotted to end the collaboration.” But it wasn’t long before she came around to the potential of what she and Filipczak could create together.

Filipczak’s version of “Star Game” wound up being the second track on @’s debut album Mind Palace Music, initially released in April 2021. Rose admits that she didn’t even think her bandmate would ever want to work with her in a formal capacity, given Filipczak’s niche background sharing bills with artists like Black Pus (Lightning Bolt drummer Brian Chippendale) and Guerrilla Toss. But with his keen, inventive ear for musicianship and Rose’s penchant for confessional lyrics and vibrant melodies, @ grew as an amalgam of their unique musical backgrounds and complementary strengths. In their review of the album, Pitchfork would go on to say “Mind Palace Music is an example of what happens when you take a poignant songwriter who’s careful about her chord progressions and introduce a fellow songwriter who knows the magic of no-frills arrangements.”

After the album’s release, @ received well-deserved recognition from Pitchfork, Stereogum, The Fader and many more and became an in-demand live act. Fortunately for fans, @ didn’t wait too long before working on new music. On January 12th, 2024, they released their new EP Are You There God? It’s Me, @. Diverting from their usual acoustic instrumentation, @ go soul-searching on a sonic side quest into more electronic music.

Militarie Gun

Liquid Mike

Public Opinion

all ages, doors at 7pm 

Militarie Gun are a truly uncategorizable band. Led by vocalist Ian Shelton, the band’s debut full-length, Life Under The Gun, is almost impossible to describe without bouncing between contradictions. Is it abnormally aggressive pop music or is it unusually catchy hardcore? Is it deeply intellectual or is it satisfyingly primal? Is it a vulnerable attempt to unpack lifelong cycles of hurt, or is it a collection of world-beating, absurdist punk anthems? In the end, the answer is obvious: it’s all of it. It’s Militarie Gun

We died when we started writing this album,” say Sorry, preparing to release COSPLAY, their third studio album, set for release on 7th November on Domino. But if Sorry did, indeed, die before a note had been recorded, before a single word had even been jotted down, who the hell are this bunch now masquerading as Sorry? Who has donned the Sorry outfits so convincingly? Who is it that has recorded COSPLAY, this album that first meticulously erases and then extravagantly redraws the perimeters of what a contemporary rock’n’roll band can achieve? Welcome to the world of COSPLAY, where anyone can be anyone, past or present, real or imaginary, dead or alive.

claire rousay presents a little death ++ AT 2640 SPACE ++

$20, all ages

this show is seated

claire rousay’s music cascades from a well of documented experience, reflections of the past that compose the present. A prolific multi-instrumentalist, producer, and composer, rousay gracefully crafts boundaryless music. From her frequent and acclaimed collaborations to her film scoring, from her own compositions to her solo pop work, rousay’s music is delicate yet powerful, carefully constructed with a casual intimacy. rousay collages a wealth of found sounds and field recordings with earthy strings, stately piano, and processed instrumentation, all of which trace the outlines of memories and distinct impressions and create a complex constellation of feeling. a little death illustrates rousay’s ability to sculpt sonic microcosms from disparate raw materials, worlds where sound and feeling are one in the same. Shaped around field recordings she captured at dusk, the album is an homage to the gentle drifts and lurking disquiet of twilight.

The process of composing a little death felt like a homecoming for rousay after the more pop-oriented song forms of 2024’s sentiment. “sentiment was a different way of working that helped refresh my music making habits and usual flow,” rousay notes. “This record is a return to what I see as my core solo practice, a re-dedication to those methods of working which I’ve found most align with what I envision my music or sound to be.” Intended as a part of a trilogy along with a heavenly touch and a softer focus, the pieces on a little death sprout from a wellspring of tactile samples and granularly processed sounds. The use of sounds recorded from her life outside of the studio remains a throughline in her work. While the previous two albums used field recordings as the primary sound source or central figure in the compositions, here they act more as springboards, timbrally intertwining with live instruments like additional voices in a chamber ensemble. Captured as daylight fades into memory, the sounds give a subtler diaristic impression, the recordings occupying a more elemental space which give moments of absolute clarity a shine in the dim gloaming.

shame

with tbd

$22 adv./ $25 dos

all ages

“Cutthroat is a joyride.
It’s for the inexperienced driver. The one who wants to go fast for no reason other than it’s fun.

It’s driven by hunger. Hunger for something better. For something you’ve been told you don’t deserve.

It’s primal. It’s raw. It’s unapologetic. It’s the person who turns up to the party uninvited.

’Cause when you’ve been pushed down, there’s nowhere to go but up. When you ain’t got nothing, you ain’t got nothing to lose.” - shame