BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Find Local//findlocal.community//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VEVENT UID:6b0251c7-66f9-4d0d-870a-47b146289dac@findlocal.community DTSTAMP:20261015T122141Z DTSTART;VALUE=DATE:20261016 DTEND;VALUE=DATE:20261017 SUMMARY:Dummy DESCRIPTION:All Ages 6:30pm/ 7:30pm There has long been an obsession with what the “future of music” looks like. How it will be constructed\, per ceived\, analyzed\, interacted with. So much brainpower is put into what ’s next\, because we always want to be one step ahead. Culturally presci ent\, enlightened\, on the cutting edge. But what if you sidestep all th at noise? What if a band\, freed from the rat race and trendiness\, embr aces insularity to the point it somehow becomes the future? With do you love the color of the sky?\, Dummy crafts the perfect anti-zeitgeist rec ord\, freezing you into their incorporeal moment of time. If 2024’s Free Energy (and its subsequent remix album\, Bubbelibrium DLC) evoked the s pirit of Madchester and the optimism of the rave\, then Dummy’s newest c ouches itself in a lyrical skepticism that recalls the best of post-rock and drone—think Seefeel\, Windy and Carl\, Laika\, or Disco Inferno—whi le playfully adorned in jubilant pop hues of early Björk\, The Sundays\, and Madonna's Ray of Light. With songs that touch on Earth’s climate de gradation (as heard on the propulsive album opener “April Limousine”)\, A.I. and the devaluation of art (on lead single “Full Spectrum Dominance ”)\, and how we’ve been conditioned into accepting the surveillance stat e (on the penultimate album track “N of 1”)\, do you love the color of t he sky? is their most politically trenchant record\, and yet their most inviting. Breakbeats and the captivating voice of keyboardist Emma Maatm an belie a sleight hand—as the listener becomes enveloped by Dummy’s uns hakable grooves\, they’ve subconsciously accrued a vision of a new radic al politic. As Maatman expresses\, “A.I. could not exist without the har vesting of our data and using all of humanity’s intellectual property an d collective work.” Don’t worry about the heavy themes though\; DYLTCOTS ? straight up rips. Guitarist Joe Trainor and drummer Alex Ewell are spe cific in their commitment to reverence for the form\, while the melodic toplines of Maatman\, Ewell\, and guitarist Nathan O’Dell stick to your brain without being rote or facile. When “Alluvial Fan” starts with its stretched chord\, it thrusts into an arrested mode of effortless cool a la A.R. Kane’s dream pop\, Goldie’s jungle (courtesy of O’Dell’s vocals) \, or “Squeaky Wheel\,” where sampled guitar feedback recalls Tricky’s M axiquaye in its assertion of intent\; this is what music\, according to Dummy\, can/should/will be. Despite all the allusions to futurism\, Dumm y are a classic band. Not in the retrofetishist\, nostalgia- trapping se nse\, but in their work ethic and commitment to the music. As Trainor re calls of their time since the release of Free Energy\, “We toured a lot\ , around 150 days\, and played approximately 113 shows\,” with numerous treks around the US and two trips to Europe\, “...and on larger stages t han ever before\,” adds Ewell. “Touring has had a huge impact on us and our music.” That is a staggering amount of touring and roadtripping\, a feat that can only be achieved if you truly believe in your art and the power of music itself. It stands to reason\, then\, that their latest re lease has also completely shucked the idea of being recreated cleanly in the live setting. Ewell acknowledges that performances might go “off th e rails” with the amount of samples\, loops\, delays\, and pedals strewn throughout do you love the color of the sky?\, but that they also “want to push the limits” of what’s achievable. As Trainor observes\, studio recordings and live performances are “different sides to the same Dummy coin\,” noting that while future touring will “involve more tech\,” thei r vehemently “anti-laptop on stage” stance celebrates precision and lett ing their frayed edges show. “Making music shouldn’t be fun.” It’s a hau ghty claim\, but when Dummy jokingly asserts this\, it comes from a sent iment of earnestness and true love for the game. Contributions that tour ing bassist-turned- full-time-member\, Lance Umble\, imprints onto album closer “Heaven’s What You Make of It” suggests a band culture of togeth erness and reciprocity\; inclusion for the sake of better art. The blood \, sweat\, and tears of ‘putting in the work’ is what propels do you lov e the color of the sky? to a triumph—a byproduct of shedding skins throu gh live performance. It’s not a vast departure from their discography\, unmistakably them\, and yet constitutes a creative leap forward which al most sounds effortless from the group. It’s a treat to witness a band th is creatively in-tune with themselves\, whose experiments and ideas alwa ys hit\, who\, when they describe a concept\, actually stick the landing . Maybe the future of music comes with the type of deep self-actualizati on Dummy possesses. What a time to be alive\, indeed.\n\nTickets: https: //www.colonialpresents.com/events/142461\n\nhttps://findlocal.community/ event/6b0251c7-66f9-4d0d-870a-47b146289dac LOCATION:Cafe Colonial\, Sacramento\, CA URL:https://findlocal.community/event/6b0251c7-66f9-4d0d-870a-47b146289da c STATUS:CONFIRMED SEQUENCE:0 END:VEVENT END:VCALENDAR