State Theatre Portland
El Ten Eleven

El Ten Eleven

Joan Of Arc

Fri, February 8, 2019

Doors: 8:00 pm / Show: 9:00 pm

Port City Music Hall

Portland, ME

$12 Advance / $15 Day of Show

This event is 18 and over

Buy tickets in person at the Port City Music Hall box office (504 Congress Street) Wednesday-Friday 10AM-5PM, charge by phone at 800-745-3000, or online right here. PCMH box office will open one hour before doors night of show.

El Ten Eleven
El Ten Eleven
Hello friends,

We are very excited to bring you our tenth record: Banker’s Hill. It’s a nine-song exploration into the challenge of living in the moment.

Our music has been described as “meditation in motion,” which seems apt. Banker’s Hill explores the paradox of beauty in anxiety, the importance and effect of family and the fleeting possibility of satisfaction.

For the first time in our career, we worked with a producer. We teamed up with Sonny DiPerri and moved into an incredible studio called Panoramic House on the beautiful Northern California coast. Working with such a talented producer really pulled out our strengths and cut away our weaknesses. We learned and grew more than we expected to and couldn’t be happier with the results.

Some people are running from the current moment, we’re running towards it. Come with us.

- Kristian and Tim

Armed with merely a double-neck bass/guitar, drums and a dizzying array of foot pedals, El Ten Eleven creates complex, deeply felt music, from scratch, onstage, with no help from laptops or additional musicians. Made up of Kristian Dunn (bass, guitar) and Tim Fogarty (Drums), they utilize multiple looping pedals to create songs that sound as though they are being played by at least six people. Most first-timers to an El Ten Eleven show are stunned that the band is a duo. It’s a refreshing site in this age of letting the computers do all the work.

Since the band’s inception in 2002, they have always been just two people who produce their own records. That attitude of self-reliance led to the band launching their own Fake Record Label, where they have self-released 6 full length albums over the past decade plus. For 2018’s Banker’s Hill, the band brought producer Sonny Diperri into the fold and moved up to the beautiful Panoramic House studios in Stinson Beach, CA for a month to create their 7th long-player. The decision to bring another collaborative force onboard has proven well worth the change of process.

“Sonny gave me everything I wanted from a producer. Not only is he a phenomenal engineer, but he helped us arrange and perform our songs in a way that we couldn’t have on our own.” - Dunn

Part of El Ten Eleven’s success has come from tasteful licensing to Film & TV. Their music has been used in everything from Lexus commercials to the MTV Video Music Awards but the most notoriety has come from licensing partnerships with Gary Hustwit’s award-winning design documentary trilogy, “Helvetica,” “Objectified” and “Urbanized.” Featuring both original music from El Ten Eleven and scores from Kristian Dunn, the films' beautiful precision are a perfect marriage for El Ten Eleven’s meticulously-layered sounds.
Joan Of Arc
Joan Of Arc
Twenty years now there’s been this thing, our band, Joan of Arc. Sometimes we forget about it and let it fizzle out for a year while we tend to our lives. Sometimes we cling to it for a year and wake up surprised and exhausted every day for months on end, given walking tours of old Italian towns, browsing dreary British pedestrian malls or barefooted organic grocers on the Pacific coast. We know how lucky we are.
The less we feel like a band—the more we can continue to be a band, but escape that feeling of doing all those shitty, corny things expected of bands—the truer to ourselves we feel. And you all know it, everyone knows it even if everyone has to bury it to get on with their day-to-day: the truer to ourselves we feel, the better everything gets. We have shifted shapes and modified our approaches quite a number of times in the course of twenty years. And we’ve done so always aiming to stay true to ourselves at that moment, by instinct and with conscious intent. This time, it took us a long time to figure out how to start back up. We threw away a lot of songs and started over, over and over.

But here’s the thing: We are getting better at being ourselves. So many of the postures of youth just fall away with time. Most bands break up by that point, or become caricatures of their younger selves. Because money is tricky, or I should say, it comes to be that energy is tricky to muster after all of it goes into the basics of sustaining yourself.

Every day, at some point, it occurs to me that Richard Brautigan killed himself at the age that I am now. But I got this community of weirdo collaborators to lean on that he never had.

We’ve never had an audience that gets any validation of its coolness through liking us. We’ve mangled, juxtaposed, and collaged too many elements for that social contract. But we trust each other.

This time, finally, we trusted each other enough to throw all the songs away, to even throw away every preconceived idea about which one of us should take position at which instrument. We hit Record and played, and our collective tastes emerged. And they, our tastes in the moment, were the only standards in all the expanse of the stupefying and beautiful unknown universe, that we regarded as relevant in the least.

- Tim Kinsella
Venue Information:
Port City Music Hall
504 Congress St
Portland, ME, 04101