WITH Special Guest
general admission and dinner tickets for this show are sold out
* THERE ARE A LIMITED NUMBER OF UPGRADES AVAILABLE FROM GENERAL ADMISSION TO DINNER TICKETS. PLEASE VISIT THE CAFE AT THE ATHLETIC CLUB OF BEND TO UPGRADE.
THURSDAY, AUGUST 8, 2019
Athletic Club of Bend
Dinner Doors 4:45 PM | General Admission Doors 5:00 PM | Show Time 6:00PM
$36 Plus Fees General admission tickets (SOLD OUT) - available online and at Newport Avenue Market.
$85 Plus Fees Dinner tickets (SOLD OUT) - available at the Athletic Club of Bend. Dinner ticket price includes GA access. Dinner to be served by Bistro 28.
Unburdened by contractual obligations and working at their studio and informal clubhouse Whispering Pines in Los Angeles, Lord Huron found the freedom and comfort to pursue their vision without compromise. The result is Vide Noir: a sonically bold, bravely-executed saga that pushes the band’s sound in ambitious new directions.
Singer, songwriter and producer Ben Schneider found inspiration wandering restlessly through his adopted home of Los Angeles at night. His aimless nocturnal journeys ranged all over the city – across the twinkling grid of the valley; into the creeping shadows of the foothills; through downtown’s neon canyons; way out to the darksome ocean. The resulting collection of songs feels like an epic odyssey through the city, across dimensions and out into the cosmos.
Many of Vide Noir’s songs were tested on the road as early as 2016 and honed with a jeweler’s precision into their final form. Dusty ballads share space on the album with punky rippers, ‘50s sock-hop sways and ethereal electronic passages. Each entry is a glinting star, and together they form a sonic constellation examining the search for meaning amidst the cold indifference of the universe.
Vide Noir was mixed by Dave Fridmann (The Flaming Lips/MGMT) and engineered by Sonny DiPerri (Portugal. The Man, Animal Collective). The album honors the traditions of both rock and folk as it embraces modern studio techniques. The stylistic experimentation speaks to Lord Huron’s confidence as storytellers and as craftsmen, armed with a growing array of tools.
Lord Huron’s work always comes richly adorned, and Vide Noir is no exception. The album will be accompanied by a wealth of imagery, films and immersive experiences crafted to expand upon its narratives and themes. A true multi-media artist, Schneider has previously used videos, a comic book, a choose-your-own-adventure hotline and assorted Easter eggs as means of deepening the listener experience. Fans steely enough to confront the ineffable have already uncovered a few of these accoutrements.
Lord Huron was created by Los Angeles-based Ben Schneider. Born and raised in Michigan, Schneider drew inspiration from the Great Lakes, which were carved by glaciers 14,000 years ago, and his music stands in awe and wonder of the natural world.
After writing and recording two independent EPs (Into the Sun and Mighty) on his own, demand grew for Lord Huron to perform live. Schneider recruited friends Mark Barry (percussion), Miguel Briseño (bass) and Tom Renaud (guitar). Having first played music together at the tender age of 12, the group reunited and quickly hit their stride, transforming the project into a full-fledged band. Lord Huron signed with IAMSOUND, and the label released 2012’s Lonesome Dreams, and Strange Trails in 2015.
Strange Trails included the song, “The Night We Met,” which was featured in the Netflix original series “13 Reasons Why.” The series and song both became hits, and “The Night We Met” was certified platinum in January of 2018. This year also marks the beginning of a unique alliance between Whispering Pines and Republic Records, who will partner in the release of Vide Noir.
Lord Huron has toured extensively in North America and Europe, earning rave reviews and performing for sold-out crowds at some of the world’s most prestigious venues. The band has appeared at a wide range of music festivals including Lollapalooza, Coachella, Bonnaroo and Newport Folk Festival.
Back in December 2017, Shakey Graves proclaimed on his Twitter page, “Next album. New sound. Sell your suspenders.” The tweet was tongue-in-cheek, but Alejandro Rose-Garcia, the Austin native who’s been plying his trade as Shakey Graves since 2007, was making a dead-serious point about his latest album, Can’t Wake Up (Dualtone, out May 4). This ambitious, audacious work heralds an artistic metamorphosis for the 30-year-old veteran, whose risk-taking in painting outside the lines has been rewarded tenfold. “This record is the most I’ve ever intentionally worked on a project, musically speaking, in terms of the scope of it and how much thought went into it,” he says. “It’s a dense album; there’s a lot of information going on.”
That is not a hyperbolic boast. From one moment to the next, Can’t Wake Up veers from the inevitable to the revelatory, its thirteen songs teeming with jarring musical and thematic collisions and thrillingly seamless intersections, gnarly psychological hornswoggles and ecstatic resolutions. Central to the prevailing sense of disorientation are the lead vocals, none of which is purely solo. Instead, each lead performance is shadowed by a queasy harmony or slightly out-of-sync unison part, giving the sense—especially on headphones—that these voices are emanating from inside the listener’s head.
Newfound inspirations the Beatles and Harry Nilsson (“I could only deny the inevitable for so long,” he says of his belated immersion in the sacred texts) cohered around Rose-Garcia’s longtime touchstones, including Elliott Smith, Beck circa One Foot in the Grave, Broken Social Scene, Built to Spill and other indie bands of the 1990s and early oughts.
“I’ve never worked like this before, but I went into the record with the idea of having a thesis statement of what I wanted to get across,” Rose-Garcia explains. “And the place that I got at was that I wanted it to be vaguely Wizard of Oz-themed, and I wanted it to be hectic and a little uncomfortable, like what I refer to as the Big Five Disney cartoons: Pinocchio, Fantasia, Snow White, Dumbo and Bambi. All those movies are terrifying—some of the most stressful movies I’ve ever seen. So I started with this Wizard of Oz thing—’Tin Man’ that has obvious allusions to that—and the idea of black-and-white to color.”
The creative process was paralleled by the conception and execution of the striking, hallucinatory cover art. “I built an elaborate miniature diorama in my house and used plexiglass plates, paint and train set buildings to create a forced-perspective illusion and photographed it,” Rose-Garcia explains. “The goal was to have the cover and the process to mirror the album in a way, and I am thrilled with how it turned out.”
Can’t Wake up is Alejandro/Shakey’s second official studio-album project—more official, in any case, than the several mostly solo odds-and-ends collections he’s been putting out through Bandcamp since his very first release, Roll the Bones, in 2011. It was his previous Dualtone album, 2014’s And the War Came, and centerpiece song “Dearly Departed” that lifted Shakey from hard-core cultdom to the elevated status of bona fide career artist.
Up to now, he’s been categorized as an Americana singer/songwriter, thanks to his traditionally rooted songs, fluent acoustic-guitar picking, Texas roots and the aforementioned cowboy hat. Indeed, Shakey was named Best Emerging Artist award at the 2015 Americana Music Awards. But that tag will undoubtedly be dismissed as restrictive and irrelevant once this righteously radical new album gets digested by critics and discerning listeners. Because Can’t Wake Up is an extreme example of what happens when a kid from an artistic family is encouraged to use his imagination from early childhood onward.
“Not that I hadn’t made stuff that I really wanted to, but with this record, I just wanted to go back to building stuff,” Rose-Garcia points out, referencing a lifetime of doing just that. “So the creative process of building this record started out with me in a bathrobe in my house just doing what comes naturally, and then finding pieces of what I want to write about everywhere.”
The figurative term “musical journey” is overused these days, but Can’t Wake Up is largely the result of a series of literal musical pilgrimages that took Rose-Garcia and his collaborators—drummer Christopher Boosahda, guitarist Patrick O’Connor, bass player Jonathan Shaw and honorary bandmember Rayland Baxter—to several far-flung locales. “We went to Levon Helm’s barn/studio in Woodstock, Kevin Costner’s ranch on the Roaring Fork River outside of Aspen, the Belmont Hotel in Dallas, and one final trip to Echolab Studios in Denton. In each of these expeditions, we would ship our gear in, live on-site for 10 days and let the backdrop and local characters really bleed into the experience. The patchwork quilt of it all really feels like the last few years of my life leading up to the birth of this record. This was a new process for me, and a game-changing one.”
A ton of personal experience went into the material, stretching all the way back to the five years straight out of high school Rose-Garcia spent in L.A., taking a shot at starting an acting career and taking emotional lumps as his childhood fantasy of Hollywood was replaced by the bitter reality of rejection and monotony. “Dining Alone,” in which the album hits emotional rock-bottom, ruefully recounts that experience. “Same old shoes on the same old feet/One-track mind, one-way street,” he sings, the juxtaposition of soaring melodiousness and near-despair echoing Harry Nilsson at his most existentially isolated. “Nothing’s going to change for the same old me/Eat, sleep, do it again.”
“Big Bad Wolf,” likewise, comes off like a slice of autobiography, with its references to the “silver screen” and football (he eventually landed a recurring role in the TV series Friday Night Lights, but only after returning to Texas). The title suggests both his preoccupation with animated fairy tales and his unquenchable hunger to create. A similar sense of striving permeates “Kids These Days,” as Rose-Garcia sings, “Everybody tries…to be somebody/somebody’s wet dream prom king,” amid overdriven power chords. “Mansion Door,” by contrast, shimmers with hopefulness, lifted by rippling guitars, Beatlesque psychedelic vocal flourishes, Jiminy Cricket-like whistling and images of “My one and only lonely star” twinkling in the heavens.
At the same time, “Mansion Door” establishes the overarching theme of Can’t Wake Up, which is further played out in songs like “Counting Sheep,” “Foot of Your Bed” (which can be heard as an ardent love ballad or the creepy reverie of a stalker) and “Tin Man,” stoking this song cycle to the sweat-soaked turbulence of a fever dream.
According to Rose-Garcia, the album also functions as a private dialogue with certain listeners. “I get a lot of really intense, very sweet fan mail from people who have either kept themselves from committing suicide by listening to my music or have lost one of their loved ones to suicide, but my tunes were a bright spot for them,” he says. “I got one from a girl not too long ago at a concert who said, ‘My boyfriend finally succumbed to depression, but for a while there, your music was something we’d gather around that would make him feel sane.’ So to a certain degree, this is a ‘Don’t kill yourself’ record. I really wanted to get deep inside that kind of gloomy, hectic craziness—the dream analogy of not being able to wake up or not knowing who you are. Or, in ‘Dining Alone,’ being mired in monotony. And a lot of the ‘you’ on the record isn’t a girl or a boy; it’s the person listening to the record. I’m singing into the ear of somebody who might need it. If heard some of these songs when I really needed them, I feel like they would hit the nail on the head.”
Not every song is suffused in seriousness. “We wrote ‘Aibohphobia’ in the mountains as a group,” Rose-Garcia recalls. “We were trying to work on more serious material, but we had all had a little bit of LSD and started writing that song. Most of the lyric is a palindrome, including ‘Aibohphobia,’ which is actually a joke term for the irrational fear of palindromes. Even the last sentence of the song is one long palindrome. We got the hugest kick out of playing that song for each other.”
He sees the distinctions as well as the parallels between the two artistic endeavors he’s pursued. “Music, to a degree, values individuals being themselves, in that good music tends to be rooted in honesty as opposed to a disguise,” he notes. “It can be storytelling, but it’s usually pretty direct. Whereas acting is about being unrecognizable as yourself. So in a sense, the two modes are opposite. But on the other hand, I use an alias when I make music, because I like the storytelling aspect of having an alias or a band name—it just adds another shade of paint.”
Rose-Garcia has been encouraged to go for it by Dualtone, which has given him a standing offer to release any album he feels warrants a wider release. “They’ve been really wonderful in a lot of ways,” he marvels, “but especially in the sense of trusting me and being very supportive of my putting out DIY stuff in between. Because that’s what this record is—a bigger version of DIY. That’s why I make stuff; I would do it if no one was watching me. The inherent pleasure I get out of creating anything isn’t for other people’s ears any more so than my own.”
In a sense, the album is a microcosm of Rose-Garcia obsessively artistic existence and its ever-expanding horizons. “The beautiful lesson of all this is having to trust yourself, to be willing to start something that you don’t know the outcome of,” he reflects. “Or to lean toward something just because it feels right, even though it may not be what you originally put down on paper. Those are the kind of stories in this record. They’re not so much about specific people, or even myself per se. They’re different shades of every person’s life.”
- Bud Scoppa / January 2018
With Special Guest: Julia Jacklin
The second full-length album from Australian singer/songwriter Julia Jacklin, Crushing embodies every possible meaning of its title word. It's an album formed from sheer intensity of feeling, an in-the-moment narrative of heartbreak and infatuation. And with her storytelling centered on bodies and crossed boundaries and smothering closeness, Crushing reveals how our physical experience of the world shapes and sometimes distorts our inner lives.
"This album came from spending two years touring and being in a relationship, and feeling like I never had any space of my own," says the Melbourne-based artist. "For a long time I felt like my head was full of fear and my body was just this functional thing that carried me from point A to B, and writing these songs was like rejoining the two."
The follow-up to her 2016 debut Don't Let the Kids Win, Crushing finds Jacklin continually acknowledging what's expected of her, then gracefully rejecting those expectations. As a result, the album invites self-examination and a possible shift in the listener's way of getting around the world -- an effect that has everything to do with Jacklin's openness about her own experience.
"I used to be so worried about seeming demanding that I'd put up with anything, which I think is common -- you want to be chill and cool, but it ends up taking so much of your emotional energy," says Jacklin. "Now I've gotten used to calling out things I'm not okay with, instead of just burying my feelings to make it easier on everyone. I've realized that in order to keep the peace, you have to speak up for yourself and say what you really want."
Produced by Burke Reid (Courtney Barnett, The Drones) and recorded at The Grove Studios (a bushland hideaway built by INXS' Garry Gary Beers), Crushing sets Jacklin's understated defiance against a raw yet luminous sonic backdrop. "In all the songs, you can hear every sound from every instrument; you can hear my throat and hear me breathing," she says. "It was really important to me that you can hear everything for the whole record, without any studio tricks getting in the way."
On the album-opening lead single "Body," Jacklin proves the power of that approach, turning out a mesmerizing vocal performance even as she slips into the slightest murmur. A starkly composed portrait of a breakup, the song bears an often-bracing intimacy, a sense that you're right in the room with Jacklin as she lays her heart out. And as "Body" wanders and drifts, Jacklin establishes Crushing as an album that exists entirely on its own time, a work that's willfully unhurried.
From there, Crushing shifts into the slow-building urgency of "Head Alone," a pointed and electrifying anthem of refusal (sample lyric: " I don't want to be touched all the time/I raised my body up to be mine"). "As a woman, in my case as a touring musician, the way you're touched is different from your male bandmates -- by strangers and by those close to you," notes Jacklin. On the full-tilt, harmony-spiked "Pressure to Party," she pushes toward another form of emotional freedom. "When you come out of a relationship, there's so much pressure to act a certain way," says Jacklin. "First it's like, 'Oh, you've gotta take some time for yourself.'..but then if you take too much time it's, 'You've gotta get back out there!' That song is just my three-minute scream, saying I'm going to do what I need to do, when I need to do it." Crushing also shows Jacklin's autonomy on songs like "Convention," an eye-rolling dismissal of unsolicited advice, presented in elegantly sardonic lyrics ("I can tell you won't sleep well, if you don't teach me how to do it right").
Elsewhere on Crushing, Jacklin brings her exacting reflection to songs on loss. With its transportive harmonies and slow-burning guitar solo, "Don't Know How to Keep Loving You" ponders the heartache in fading affection (" I want your mother to stay friends with mine/I want this feeling to pass in time"). Meanwhile, on "Turn Me Down" -- an idiosyncratically arranged track embedded with hypnotic guitar tones -- Jacklin gives an exquisitely painful glimpse at unrequited devotion ("He took my hand, said I see a bright future/I'm just not sure that you're in it"). "That song destroyed me in the studio," says Jacklin of "Turn Me Down," whose middle section contains a particularly devastating vocal performance. "I remember lying on the floor in a total state between what felt like endless takes, and if you listen it kind of sounds like I'm losing my mind." And on "When the Family Flies In," Jacklin shares her first ever piano-driven piece, a beautifully muted elegy for the same friend to whom she dedicated Don't Let the Kids Win. " There are really no words to do justice to what it feels like to lose a friend," says Jacklin. "It felt a bit cheap to even try to write a song about it, but this one came out on tour and it finally felt okay to record.
Despite its complexity, Crushing unfolds with an ease that echoes Jacklin's newfound self-reliance as an artist. Originally from the Blue Mountains, she grew up on her parents' Billy Bragg and Doris Day records and sang in musicals as a child, then started writing her own songs in her early 20s. "With the first album I was so nervous and didn't quite see myself as a musician yet, but after touring for two years, I've come to feel like I deserve to be in that space," she says.
Throughout Crushing, that sense of confidence manifests in one of the most essential elements of the album: the captivating strength of Jacklin's lyrics. Not only proof of her ingenuity and artistic generosity, Jacklin's uncompromising specificity and infinitely unpredictable turns of phrase ultimately spring from a certain self-possession in the songwriting process.
"As I was making this album there was sort of a slow loosening of pressure on myself," Jacklin says. "There've been some big life changes for me over the last few years, and I just found it too tiring to try to cover things up with a lot of metaphors and word trickery. I just wanted to lay it all out there and trust that, especially at such a tense moment in time, other people might want to hear a little vulnerability."