Space Ballroom Weekly Round up: 5 shows announced, Mystic Dead returns
Space Ballroom announced Orange 9MM, Mystic Dead, Earth, Pet Needs and The Besnard Lakes this week. Tickets are on sale now via spaceballroom.com
Orange 9MM
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
October 19, 2025
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Orange 9MM
Mystic Dead
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
October 31, 2025
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Mystic Dead
Earth
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
November 6, 2025
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Earth
Over the course of their thirty trips around the sun, Earth has remained diligent in their commitment to monolithic minimalism. The sonic vocabulary may have changed—from their early years churning out seismic drone metal on albums like Earth 2 (1993) to the dusty Morricone-tinged comeback album Hex; Or Printing in the Infernal Method (2005) to the meditative rock approach of Primitive and Deadly (2014)—but the underlying principle of austerity and restraint remains a constant. With their latest album Full Upon Her Burning Lips, Earth purges the layers of auxiliary instrumentation that embellished some of their previous records and deconstructed their dynamic to the core duo of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion. In the process, they tapped into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world.
Full Upon Her Burning Lips opens with “Datura’s Crimson Veils”, a twelve-minute opus that adheres to Earth’s 21st century approach with Carlson’s sepia-toned Bakersfield Sound guitars lurching across a barren landscape while Davies punctuates the melodies with death knell drums. It’s a sound that harkens back to the riff-constructed vistas of their Angels of Darkness, Demons of Light albums, but stripped of their ornateness. “It was definitely a very organically developed record,” Carlson says of the process. “I limited the number of effects I used. I always like the limiting of materials to force oneself to employ them more creatively. Previous Earth records were quite lush sounding, and I wanted a more upfront and drier sound, using very few studio effects.” In less capable hands, these kinds of limitations might diminish the aural scope of the compositions, but Carlson and Davies have always thrived on reductive methods.
The stripped down approach had another advantage. “I really wanted the drums to be present,” Carlson says. “I felt with previous Earth records that other instrumentation took up so much of the sonic space that the drums were kind of pushed to the side.” This tactic helps highlight Davies’ ability to elevate the drum kit beyond its mere metronomic functions and allows it to serve as an expressive, nuanced, and tonally rich component to Earth’s arsenal of sound.
In addition to scaling back on their ranks, Earth altered their previous trajectory by entering into Full Upon Her Burning Lips without a conceptual arc to guide the process, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed. “In the past I’ve usually had a strong framework for an album,” Carlson says. “This one developed over the course of writing and recording. It just felt like ‘Earth’—like just the two players doing their best work at playing, serving the music.” The absence of a pre-existing narrative guiding the compositions meant that the songs were more open and intuitive, often resulting in more terse musical vignettes like the richly harmonic “Exaltation of Larks” or the dreamily itinerant “Maidens Catafalque”. Yet subconscious impulses gradually created their own subtext for the album. “I wanted this to be a ‘sexy’ record, a record acknowledging the ‘witchy’ and ‘sensual’ aspects in the music… sort of a ‘witch’s garden’ kind of theme, with references to mind altering plants and animals that people have always held superstitious beliefs towards. A conjuror or root doctor’s herbarium of songs, as it were.”
The ten tracks on Full Upon Her Burning Lips came together in bits and pieces. Songs like “Cats on the Briar” and “Mandrake’s Hymn” stemmed from a handful of musical phrases and repeating patterns concocted in moments of downtime during their 2017 tour schedule. “Descending Belladonna” came from a live soundtrack project. Other songs came from rehearsals in the months leading up to recording or in moments of divine inspiration in the studio. The record was engineered, mixed, and mastered by longtime associate Mell Dettmer at Studio Soli. Knowing their process and their sound, Dettmer helped harness, shape, and document the songs in a manner that highlights the depth of Earth’s sparse components, capturing hidden dimensions much like the veiled images residing in the Magic Eye prints from the ‘90s. For the patient listener, the cyclical nature of the songs “She Rides an Air of Malevolence” or “An Unnatural Carousel” reveal new forms with repeated listens, with the subtle variations between passes creating a kaleidoscope of auditory activity.
“I feel like this is the fullest expression and purest distillation of what Earth does since I re-started the band,” Carlson says in reflection of Full Upon Her Burning Lips. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies. Sargent House is proud to offer up the album to the world on May 24th, 2019 on 2xLP / CD / digital formats.
Pet Needs w/ Skuff Micksun
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
November 11, 2025
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Pet Needs
Founded by brothers Johnny and George Marriott, PET NEEDS’ career has been sky-rocketing ever since the release of their acclaimed debut ‘Fractured Party Music’ back in 2021. From getting signed to Xtra Mile Recordings, to sold out shows, rave reviews to rabid fans, and embarking on extensive global tours; demand for these four lads from Essex has been on a trajectory with the stratosphere. Joined by Jules (drums) and Ryan (bass), the band released their third studio album, ‘Intermittent Fast Living’ in February 2024 which entered the Oicial Album Chart at Number 17.
Having attracted attention with their relentless live shows, PET NEEDS have toured extensively across the UK, US and Europe supporting Frank Turner, The Lottery Winners, The Bouncing Souls, Flogging Molly, Skinny Lister, The Hives, Art Brut and Laura Jane Grace. Their own headline tours in the UK have previously sold out and the fourth instalment of their annual Fractured Party Festival takes place in May 2025 with two acoustic shows at The Old Church in Stoke Newington and a full- on electric show at The Garage in London. They’ve played the Main Stage at Beautiful Days and Bearded Theory Festivals and won over fans at 2000Trees, Dot To Dot, The Salty Dog Cruise and many more
The Besnard Lakes w/ Dead Doe
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
December 6, 2025
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The Besnard Lakes
“They are always different; they are always the same.”
As John Peel once famously said about the Fall, perhaps the same can apply to the Besnard Lakes? Peerlessly consistent, familiar and with a purity of vision and level of quality that is hard to rival in modern music.
Except, they are not always the same. Not at all. New album The Besnard Lakes are the Ghost Nation illustrates this perfectly. Yes, the same sound world is present; the keening, lilting vocals of Jace Lasek and Olga Goreas foregrounded, but there is a lightness and optimism at play. Perhaps a somewhat disingenuous sense of hope, in a world where it is currently often in short supply.
“I feel like it’s a very formidable title, symbolic of the times,” says Jace. “It’s talking about the death of nations, the threat of Canada being the 51st state. There is the desire to be left alone, to let community be community, all of those things that feel like they might be under siege; that’s what the ghost nation is.”
The band confirm this was partly in response to their last album, 2021’s The Besnard Lakes are the Last of the Great Thunderstorm Warnings. “The last record was so heavy,” reflects Jace. “There was so much weight and heavy themes, like my dad dying. It was just death everywhere on that record. This album doesn’t really seem to be that. To me, it seems very playful.”
The opening track ‘Calling Ghostly Nations’ has everything you would want from the band: the opening drone, a slow build with a warped girl group Phil Spector feel, initial vocals from Olga before Jace’s falsetto arrives. The song takes its time starting and leaving, the outro dissolving into chatter. Lyrically, it considers the history of human progress: “It’s always been something in my mind; are we evolving, or are we devolving as a society ? As much as we move forward, have we forgotten the things that are important because we’ve moved forward so fast?”. This idea has come up before, going all the way back to ‘And This Is What We Call Progress’ on 2010’s …are the Roaring Night.
Although there is a sense and acknowledgement of the wider world, the band do not look at it as a ‘political’ album: “We definitely try to keep our politics out of our music, and although this is probably slightly more present, it’s still obscure in that we try to keep our lyrics fairly ambiguous”. A good example of this is the dazed, soothing ‘Chemin de la Baie’. Underpinned by a wonky arpeggio, the surging chorus is perhaps the most ‘pop’ they have ever been, again channeling that inbuilt confidence, imploring us to “Hold those thoughts and run away”.
This is followed by ‘Carried It All Around’, whose clanging, chiming guitars combine with stabs of Mellotron cello. Ideas and images come in and out of focus – “We were ragged and incomplete” – leading to a chorus that is reminiscent of Low, the voices combining as one. The final line, “We’ve been lazy for centuries, carried it all around”, harks back to the overarching themes of the album, whilst bringing in online activism and the perception of progress. “We see people thinking that they’re actually doing a lot of good,” adds Jace “but they are just commenting on things, progressing towards laziness. The footwork is what needs to happen to make things better”.
During the writing and recording process, the band returned to their “vault” of ideas captured from the hard drive constantly recording in their studio (two song skeletons, for ‘In Hollywood’ and ‘Battle Lines’ even dating back to sessions from …are the Roaring Night). “Things that for whatever reason, we couldn’t figure out how to finish or didn’t think were appropriate for the records. So we went through it, to focus and put these things together, because we know they’re good, and a lot of the songs came together really fast.” The rest of the band (drummer Kevin Laing, keyboardist Sheenah Ko and guitarist Gabriel Lambert) were more involved in shaping the recordings: “We put the arrangements together, but we left things pretty open ended, and then the band went up to Lost River Studio (run by Rebecca Foon, of Esmerine and ex-A Silver Mt. Zion) where we spent five days just fucking around and partying, hanging out with everyone’s family members there.”
On how they decide who sings which song, or part, Jace admits that “it is usually determined by me and my failure to be inspired”, crediting Oggy (Olga) with “such a great ear for melody and this incredible way with arrangements if I’m stumped”. Oggy agrees that “it works for us in that sense, that we’re able to kind of seesaw off each other when we’re putting together the songs”.
The gradual build of ‘Pontiac Spirits’ is a masterclass of patience and release. Piano flutters for the first two minutes, stuttering like typewriter keys awash with Mellotron flute and brass, a slow climb before the drums finally kick in after five minutes. “I had an idea of it being like a Spiritualized ‘Shine A Light’ kind of thing, because Lazer Guided Melodies is one of my all time favorite records,” says Jace “and I’ve always been trying to get there with Besnard Lakes. And so this record, I said, let’s try to make it Spiritualized / Spacemen 3 simple.” It also includes the best way to introduce a guitar solo; what sounds like tweeting (or screaming?!) birds, notes strangled from the fretboard.
This striving for simplicity is also inherent in ‘Battle Lines’, which has a Spoon-like groove about it, the piano setting the pace, providing a rigidity in addition to their usual fluidity, woozy Mellotron whispers dipping in and out. “Sometimes there isn’t a lot left for anybody else to do,” admits Jace “because I get my grubby hands on it and I just fill it up with crap because I’m a maximalist at heart.” On this song they tried to keep the track count down, to realise that “when we think we’re in a good spot, let’s stop”. The yearning closing refrain – “Don’t want to be left without it, don’t want to be left without your love” – sounds like a stadium singalong that should be echoed by thousands.
In a crowded leaderboard of their own making, The Besnard Lakes are the Ghost Nation might just be their best album yet; a strive for hope when it is needed most.
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