Spaceland, Wire and Grimy Goods Present
Mikal Cronin + string & horn ensemble, Wand, Laetitia Sadler
Fitted, Howardamb, Chasms, Noveller, Slows
Fri March 31, 2017
Echo + Echoplex
Los Angeles, CA
This event is 18 and over
3 Day Passes HERE
3/30 Single Day Passes HERE - Featuring Bob Mould and Immersion
4/1 Single Day Passes HERE - Featuring Wire, Julia Holter, Mild High Club, Once and Future Band and the Pinkflag Guitar Orchestra
Mikal Cronin + string & horn ensemble
MCIII is the third album from Californian singer-songwriter Mikal Cronin. Marked by the lush arrangements, stunning melodies, and deeply personal lyrical work for which Cronin is now known, the album is also a deliberate attempt to simply "go big."
Written and recorded over the course of 2014, between long bouts of touring, MCIII finds the Laguna Beach native splitting his latest full-length statement into two distinct halves. On Side A, behold a shimmering tsunami of furious, undeniable pop songs. On Side B, marvel at a beautifully wrought concept record in miniature, built around the radiant retelling of what Cronin calls his "coming-of-age" story: After leaving California to go to school in the Pacific Northwest, he found himself alone and adrift, struggling with debilitating back pain and a dissolving sense of self. "It's about a pivotal moment in my life that changed things, just within a couple of months," he says. "It was a shifting point that sent me on the path to doing what I'm doing right now."
As he did on his self-titled 2011 debut and 2013's MCII, Cronin arranged and played nearly all of the record himself, including the tzouras, a traditional Greek string instrument he heard and subsequently bought while on tour in Athens. There's French horn, saxophone, and trumpet. There are mood-altering crescendos and heartbreaking turns-of-phrase, guitars both gorgeous and pugnacious. No longer satisfied with the sound of "just one string player," Cronin arranged parts for a full string quartet instead.
"It's a continuation of what I've been trying to do up until now, but I'm finding a better way to do it," he says. "I'm finding a more successful way of working those unexpected elements and textures and instruments into a rock record, of exploring that wormhole and mushing everything together harmoniously. I like riding the line between the two," he adds. "I like finding new ways to bring different musical worlds together."
Laetitia Sadier's new album has just been delivered, and it's a joy! Something Shines took nine months to create, record, and mature: you know what that means, baby! New life….
Alternating between a riveting caress and an invigorating shake, the songs of Something Shines start from the Earth and tilt up towards the sky, before coming back down to the planet again. Taking it all in, Something Shines is also an exploration through Debord's La Société du Spectacle, and how it is still up to us to guide and shape our fate, individually and collectively. Laetitia examines several relevant questions – such as the main inquiry of "Oscuridad": "Do the rich need the poor to be rich?" The song examines the war being led against the lower classes of this world by the ultra-rich to rob them (us!) even further of their (our!) resources. On the riveting caress-side side of things, "Life Is Winning" is a subtle reminder to get in touch with the innate joy and revelation of living.
All these thoughts and many others are communicated with delicately textured production, twinkling and shifting with the subtlety of nature. Often sounding like the world outside, whooshing and chirping and clicking in time, placing these concerns in the place where we live, Something Shines reflects the lives hanging in the balance between issues, lives that are often too small to see yet contribute to the world as a whole. Even in the face of realities that continue to cripple so many in the name of so few, Something Shines consistently elevates itself with lyrical confidence, intimacy, and an arcing musicality that allows it to go to the hearts and minds of every listener.
Chasms is the San Francisco based project of Jess Labrador and Shannon Madden. The duo crafts percussive dirges that are at once beautiful and menacing. Labrador's haunting vocals and hypnotizing guitar work wade between rhythmic bass lines and bursts of Madden's stinging feedback, laid on a bed of pummeling drum programming. The band's affinity for industrial rhythms, swelling textures, precise minimalism, and chaotic eruptions of noise sounds as equally informed by shoegaze as drone and doom metal—to choose just one would be a disservice.
Handling the guitar as her muse, Lipstate summons a sonic palette so rich as to challenge the listener to conceive of how it's housed in a single instrument manipulated by a solitary performer. Her most recent album, Fantastic Planet, is a journey through eclectic sonic terrain, blending rich waves of synth with soaring cinematic guitar lines that guide the listener through Noveller's most diverse and compelling release to date.
Pitchfork writes that Lipstate's "pitch-warped melodies bubble and coalesce into a creeping latticework of booming bass, twitchy drones, and slurred guitar leads… [moving] from pointillist detail to hazy heaviness."
Noveller has toured with Iggy Pop, St. Vincent, Radiolab, Xiu Xiu, the Jesus Lizard, U.S. Girls, & Aidan Baker. Lipstate has collaborated with several renowned musicians, including JG Thirlwell (Foetus, Manorexia), Carla Bozulich (Evangelista, The Geraldine Fibbers), David Wm. Sims (the Jesus Lizard, Scratch Acid) and Lee Ranaldo (Sonic Youth). She has previously performed as a member of Cold Cave, Parts & Labor, and One Umbrella. Lipstate has also participated in Rhys Chatham's Guitar Army, Ben Frost's "Music for 6 Guitars" Ensemble, and Glenn Branca's 100 guitar ensemble.