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Marcellus Hall (Album Release Show)
Knitting Factory at Baker Falls
101 Avenue A - New York, NY 10009
Sun February 18 8:30 pm (Doors: 8:00 pm)
21 and up
$15.00 Tickets


Marcellus Hall

Hall’s career in music began with the band RAILROAD JERK, whose deconstructed indie-rock featured on four Matador Records LPs. The Rollerkoaster video appeared on MTV’s Beavis and Butt-Head and the band toured Europe, Japan, and the US. David Berman wrote to him personally, saying “I just wanted to let you know what a great record you've made. Each one's been better, but this one's a leap, best thing I've heard in months, so many ideas... Not normally inclined to write a fan letter, but couldn't help it this time. Congratulations”.
His subsequent band, WHITE HASSLE, mined a stripped-down Americana, recorded three LPs, and toured Europe with releases on Orange Recordings and the French label, Fargo Records. During this period, White Hassle’s Life is Still Sweet title was tattooed on Modest Mouse singer Isaac Brock’s arm and inspired the band’s 2004 hit, Float On. Life Is Still Sweet will be re-released digitally this winter with an accompanying video.
In addition to songwriting, Hall works as an illustrator of children’s books and for publications such as The New Yorker, to which he has contributed six covers. He has published multiple comics-related books and zines, including Kaleidoscope City (2018) and is currently developing a long-form graphic memoir of his coming of age in the indie rock world of the 1990s.

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Dustin Lowman

Dustin Lowman is a folksinger, residing in the greater New York City area. His passions reach far beyond the strictures of folk music; from an early age, he coveted baseball mastery (and still does, though his pursuit has slowed); from a slightly less early age, he coveted golf mastery; and from a later age yet, he coveted music mastery. Of the three, music has been the most durable, if for no other reason than it's the only one you can get better at while sitting in a chair.

His first attempt to write a novel occurred at the age of eight, and failed honorably. His second attempt came at the age of ten, and, after a longer and more dignified effort, failed equally honorably. His third effort came at the age of eighteen, and, after a concentrated, deliberate effort, was completed dishonorably. Reaching the end, disgusted by the swill he'd set on the pages, he saved the document in an unmarked subfolder in a misleadingly-titled realm of computer data, and has not looked at it since. 

In his earliest days of angst, Lowman became enraptured by Pete Townshend. Shortly thereafter, when strict angst gave way to a more numinous, abstracted anxiety, he became enraptured by Bob Dylan. In Bob Dylan, Lowman felt he'd seen a ghost and identified with it. He would go on to develop a friendly working relationship with it. The ghost of Bob Dylan would continue to haunt and help him as Lowman taught himself to play guitar and, directing his penchant for linguistic acrobatics away from novels, began to write his own songs.

Songwriting proved a loyal companion in an ofttimes disloyal world. Confounded by betrayals of head, heart, and spirit, Lowman would retreat into his inner sanctum to compose ballads on the matters at hand. When his parents divorced, and undermined his teenage notions of eternal love, he took to the sanctum to question. When he could not love his first love as though she were his last, he took to the sanctum to self-flagellate. When he struggled to withstand the hailstones of lonesomeness and distraction by which all souls are bombarded, he took to the sanctum to rebel. Making such pilgrimages with such frequency, the songwriting sanctum became an enduringly dignified space.

Dustin Lowman's mission is to share with his worldly cohort the results of his sessions in the inner sanctum. In doing so, he hopes to affect a spirit of commiseration between himself and his audience. His songs are comedic, tragic, absurd, naturalistic, traditional, and heretical, and ultimately, they speak to the glory of man, and not his decay. Lowman believes that man decays perfectly well on his own, but has a less easy time achieving glory. He invites you to observe what his quest for the perfect song has yielded up.

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