Posts Tagged ‘Sargent House’

Jaye Jayle reveals an evocative new album track, “The River Spree", by way of a new video. Patterson crafted the music—an organic mixture of digital contrabass and interweaving drones—while driving on tour across the long barren stretch of Kansas. But the lyrics capture a moment across the Atlantic, when Patterson found himself lost in Berlin late at night, peaking on acid, without a working phone, and without knowing the whereabouts of his bandmates. He charts his journey over the six-minute song with a drug-high ambivalence, recounting a mugging with the same stoicism as breathing in the night air while “thinking about David / thinking about Iggy.” It sounds like Alan Vega singing from an opium den, comfortably numb while recounting some urban nightmare.

About the making of this track Evan comments "I made this original composition while on the driving from St. Louis to Denver. This particular drive is one of the worst in the country. The long straight and barren stretch of Highway that rolls through the entire state of Kansas gifts one a purgatory-like aura. My story of wandering the streets of Berlin while tripping on acid made for an ideal narrative. I could close my eyes and be transported back to that particular evening. And now, you can too."

Watch the video for ‘The River Spree’ here:

Sargent House – 13th September 2019

Christopher Nosnibor

(Hiss) Spin it any which way, but following her last two inordinately powerful albums, which saw Chelsea Wolfe expand and deepen the depth of tempestuous noise and emotional force, the ‘eagerly awaited’ cliché was never more apt when Birth Of Violence was announced. Those two albums have left me emotionally raw and breathless since release, and I continually return to them as being simply stunning. It’s the perfectly poised juxtaposition of fragility and full-tilt riffage and noise that has impact on numerous levels and renders them with a special kind of intensity. Did I anticipate more of the same? I did I want more of the same? Could I handle more of the same?

It probably wasn’t entirely strategic, and probably more a reflection of the creative ebbs and lows, but nevertheless it makes perfect sense and sits with Wolfe’s creative arc to pull back the noise to deliver a reflective and largely acoustic album this time around. It does mean that despite what its title suggests, Birth Of Violence is altogether more sedate, and doesn’t grab you by the throat within a minute of hitting play. But then, in a world of noise, some reflection and hush is beyond welcome and necessary.

‘The Mother Road,’ unveiled back in June, opens with extraneous noise, but it’s acoustic guitar and a clean, untreated vocal that stand to the fore. Without the explosive crash of percussion and melting guitars one would reasonably anticipate based on recent for, we’re left to feel the pull of Wolfe’s tone and delicate intonation. But then it builds subtly to a rich swell of sound, a subtle adaptation of the post-rock crescendo that’s not overtly noisy, but isn’t exactly quiet either, culminating in a whirling swirl of noise around her emotionally fragile vocal.

The somewhat folksy title track finds Chelsea soaring, semi-operatic but also breathy and vulnerable and transcending to another plane, while ‘Deranged For Rock ‘n’ Roll’ finds heavy, murky percussion crash in behind her unusual pronunciation of ‘rock ‘n’ roll.’ She doesn’t sound particularly deranged, but more sedated. A lugubrious violin whines while the sound swells and surges and Wolfe soars to deliver a breathtaking climax.

‘Dirt Universe’ climbs slowly down to the gloomy depths of Leonard Cohen around Songs of Love and Hate: dark, lugubrious, and yet quietly intense. So intense.

It may be acoustic-based and considerably less noisy than its immediate predecessors, meaning it has less immediacy and less velocity overall, but Birth of Violence is an elegant and also striking album. Of course it is, it’s Chelsea Wolfe.

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After a spellbinding performance at The Cure’s Pasadena Daydream Festival this past weekend in LA, Chelsea Wolfe is just one week away from releasing her latest album Birth Of Violence via Sargent House on September 13th.

Birth of Violence is a return to the reclusive nature of her earlier recordings where we see Wolfe withdraw into her own world of enigmatic and elusive autobiography. But the album also exists in the present, addressing modern tragedies such as school shootings and the poisoning of the planet.

On the song Wolfe tells us “Deranged for Rock & Roll” is my love song to music. Every time I ever tried to walk a different path, music always called me back home to it. It’s in my blood; it’s my one source of true peace. I love its chaos and its rough edges, and I love the way it can bring understanding and comfort. I belong to music, and it to me. I feel Gilbert’s video illustrates that unnamed pull towards something so well. My character is destined to sing the same song over and over in this purgatory of a desert bar, while different people come through the town and begin to feel the pull as well, drawing them into this vortex to stay for good.”

Video director Gilbert Trejo (Pixies, DIIV) says “From the beginning we knew this video took place outside of society. The melody invokes compulsion, a certain type of purgatory, the inability to just buckle down and fly the straight path. Everyone’s purgatory exists side by side, and we affect one another without ever knowing.”

Watch the video here:

Chelsea Wolfe Acoustic Tour:

10/18: San Diego, CA – Observatory North Park

10/19: Phoenix, AZ – Crescent Ballroom

10/21: Salt Lake City, UT – Metro Music Hall

10/22: Estes Park, CO – Stanley Hotel

10/24: Chicago, IL – Metro

10/25: Detroit, MI – Senate Theater

10/26: Toronto, ONT – Queen Elizabeth Theatre

10/27: Montreal, QC – Le National

10/29: Boston, MA – Royale

10/31: Philadelphia, PA – Union Transfer

11/01: New York, NY – Brooklyn Steel

11/03: Washington, DC – 9:30 Club

11/04: Charlotte, NC – McGlohon Theater

11/05: Atlanta, GA – Terminal West

11/06: Nashville, TN – Mercy Lounge

11/08: Dallas, TX – Texas Theatre

11/09: Austin, TX – Levitation

11/10: Houston, TX – White Oak Music Hall

11/12: Santa Fe, NM – Meow Wolf

11/13: Tucson, AZ – Club Congress

11/15: Los Angeles, CA – The Palace Theatre

11/16: San Francisco, CA – Regency Ballroom

11/18: Portland, OR – Wonder Ballroom

11/20: Seattle, WA – The Showbox

11/21: Vancouver, BC – Vogue Theatre

* All dates with special guest Ioanna Gika

The spellbinding new album from Chelsea Wolfe is out in just under a month and today she has given us another glimpse of her more folk leaning sound. Her new single, ‘Be All Things’ is an emotional journey and shows Wolfe at the top of her songwriting game.

Of the track, Chelsea Wolfe says “’Be All Things’ is about navigating the world as a woman: reconciling the soft and the strong, balancing the warrior and the goddess, and wanting to be everything and nothing at the same time. Telling stories through song allows me to explore so many facets of myself; so many lives within. Some days I want to be quiet and reach my roots into the earth, and some days I want to spring up from the ground and be all things.”

“The video is a culmination of footage taken in a few magical locations,” says Wolfe. “Around southwestern Iceland, while shooting the Birth of Violence album cover, inside Moaning Cavern in Northern California – a marble cavern 450 feet deep that I visited as a child and sang in as an adult, sending my voice out as heavy as I could against the powerful dampness and sparkles of the ancient cave walls. A special spot in nature not far from my home where the Manzanita grows up like a red and green tunnel, and a historic California hotel from the Victorian era where many from the past rested their heads.”

Watch the video here:

Chelsea Wolfe has returned with another stunning track from her forthcoming album, Birth Of Violence out September 13th on Sargent House. The song is accompanied by this video which Wolfe tells us is an “expression of freedom and beautiful humans being themselves.”

She continues, “It began as a sort of homage to a scene in the Paul Thomas Anderson film Magnolia, where the characters are singing along to the Aimee Mann song “Wise Up,” but I wanted our version to be explored through the lens of The Tarot. I’ve been reading tarot cards for myself for many years, and researching the symbolic expressions of the cards for this video made me want to dive even deeper. To represent that, I played both The Fool and The High Priestess cards in the video, to embody both the beginning of the journey, and the realization that the sacred knowledge I was seeking was inside me all along. We cast friends to play a few other tarot archetypes, and Karlos’ idea was to bring the symbols and signifiers into the contemporary; deconstructed, and made everyday – “the magical and the unexceptional.” I loved that. At the same time, we really wanted to challenge the binary of the traditional tarot cards, and give them more diversity, which is something important that many cool artists and witches are doing. I’m such a fan of Karlos Rene Ayala as a writer, director, documentarian and friend, and have looked forward to making a video with him for a long time.”

Watch the video here:

Wolfe will be embarking on an extensive, acoustic North American tour this Autumn starting with a special performance at Pasadena Daydream Festival with her full band. All tour dates are listed below.

Chelsea Wolfe Acoustic Tour:

31/08: Pasadena, CA – Pasadena Daydream Festival * (Non Acoustic Set)
18/10: San Diego, CA – Observatory North Park
19/10: Phoenix, AZ – Crescent Ballroom
21/10: Salt Lake City, UT – Metro Music Hall
22/10: Estes Park, CO – Stanley Hotel
24/10: Chicago, IL – Metro
25/10: Detroit, MI – Senate Theater
26/10: Toronto, ONT – Queen Elizabeth Theatre
27/10: Montreal, QC – Le National
29/10: Boston, MA – Royale
31/10: Philadelphia, PA – Union Transfer
01/11: New York, NY – Brooklyn Steel
03/11: Washington, DC – 9:30 Club
04/11: Charlotte, NC – McGlohon Theater
05/11: Atlanta, GA – Terminal West
06/11: Nashville, TN – Mercy Lounge
08/11: Dallas, TX – Texas Theatre
09/11: Austin, TX – Levitation
10/11: Houston, TX – White Oak Music Hall
12/11: Santa Fe, NM – Meow Wolf
13/11: Tucson, AZ – Club Congress
15/11: Los Angeles, CA – The Palace Theatre
16/11: San Francisco, CA – Regency Ballroom
18/11: Portland, OR – Wonder Ballroom
20/11: Seattle, WA – The Showbox
21/11: Vancouver, BC – Vogue Theatre

* All dates with special guest Ioanna Gika except 8/31

Chelsea Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that sombre beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key elements. As a result, her solemn majesty and ominous elegance are more potent than ever on her forthcoming album, Birth of Violence to be released on Sargent House September 13th.

Today she’s unveiled the album’s opener and lead single, ‘The Mother Road’, a harrowing ode to Route 66 that immediately addresses Wolfe’s metaphoric white line fever. It defines the nature of the record-the impact of countless miles and perpetual exhaustion-and the desire to find the road back home, back to one’s roots.

Listen to ‘The Mother Road’ here:

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Chelsea Wolfe Acoustic Tour:

31/08: Pasadena, CA – Pasadena Daydream Festival * (Non Acoustic Set)

18/10: San Diego, CA – Observatory North Park

19/10: Phoenix, AZ – Crescent Ballroom

21/10: Salt Lake City, UT – Metro Music Hall

22/10: Estes Park, CO – Stanley Hotel

24/10: Chicago, IL – Metro

25/10: Detroit, MI – Senate Theater

26/10: Toronto, ONT – Queen Elizabeth Theatre

27/10: Montreal, QC – Le National

29/10: Boston, MA – Royale

31/10: Philadelphia, PA – Union Transfer

01/11: New York, NY – Brooklyn Steel

03/11: Washington, DC – 9:30 Club

04/11: Charlotte, NC – McGlohon Theater

05/11: Atlanta, GA – Terminal West

06/11: Nashville, TN – Mercy Lounge

08/11: Dallas, TX – Texas Theatre

09/11: Austin, TX – Levitation

11/10: Houston, TX – White Oak Music Hall

12/11: Santa Fe, NM – Meow Wolf

13/11: Tucson, AZ – Club Congress

15/11: Los Angeles, CA – The Palace Theatre

16/11: San Francisco, CA – Regency Ballroom

18/11: Portland, OR – Wonder Ballroom

20/11: Seattle, WA – The Showbox

21/11: Vancouver, BC – Vogue Theatre

* All dates with special guest Ioanna Gika except 31/08

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Album Artwork (Cover Photo by Nona Limmen)

Sargent House – 24th May 2019

Christopher Nosnibor

Once more, Earth continues to evolve. The band that singlehandedly created a genre it has now long left behind, and which began as a duo, is a duo once more and returns with another album which in many ways resembles much of their output from over the last decade or so, but which in so many ways is worlds apart.

Listening to each album as a sequential progression, one ay be forgiven for thinking that much of Earth’s output post Earth 2 has mined a similar seam, notably since their post-millennial return, but also in particular since the Angels of Darkness albums, which marked a shift in the approach to composition. “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,” adding, “It was definitely a very organically developed record,”

It’s perhaps the process which informed and led to the creation of Full Upon Her Burning Lips which is key to the latest transition. “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.”

Not since 2005’s Hex have Earth release an album of such an overtly conventional album-format, with ten tracks on offer here. That’s where the concession to convention ends, though: Full Upon Her Burning Lips does not contain ten concise, crafted, three-and-a-half minute pop tunes (although a large portion of the compositions do sit within the three-to-five-and-a-bit minute bracket), and commences with the twelve-and-a-quarter sprawler, ‘Datura’s Crimson Veils’, which begins tentatively, a guitar motif built around chiming harmonics and the tones in between as the notes sustain and decay. And then it moves into the epic, rolling repetition that soon yields to meandering but always returns to its starting point. The drums don’t drive it, but simply hold time the sedatest of ways.

Being an Earth album, it is instrumental, and the structures are based around protracted cyclical repetitions than any overt verse-chorus demarcations, or any separations of passages or movements, instead pursuing indirect paths toward a distant horizon.

‘Descending Belladonna’ has almost a Shadows twang to its glow, granular guitar unfurlings. Unexpected? Yes, but also no, as somehow it sits comfortably and feels completely natural. And again, this is perhaps the clearest indication of how Earth have evolved, and continue to do so.

‘She Rides an Air of Malevolence’ is the album’s centrepiece, another epic spanning over eleven minutes: there’s no real air of menace, and far from being dark or menacing, the focus remains firmly on tonality and texture, the notes peeling an drifting, interacting as they do so, the strolling bass maintaining a respectful distance while adding depth and a certain drive.

There’s no escaping that the pieces here are – as is always the case with any Earth release – variations on a thematic template, an, if I’m not mistaken, played in the same key and also very much at the same, deliberate tempo. But this is, in fact, integral to the experience, both of the album and Earth as a musical entity. Everything is so gradual as to be almost beyond the senses, which are continually lulled into a sort of fugue state by the soporific undulations and sedate – or sedated – pace. With the music this stripped back, it does come down to tempo and tone, the interactions between sounds, and with Full Upon Her Burning Lips, Earth reaffirm that less is most definitely more.

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Continuing to stoke the anticipation revolving around their mighty return to the studio and stage, legendary duo Earth have shared another snapshot of their forthcoming LP Full Upon Her Burning Lips. Coupled with a stark black-and-white visualiser, the five-and-a-half minute dirge ‘The Colour Of Poison’ is packed with Earth’s thematically meditative, sonically immense hallmarks and marks a return to heavier territories.

Immerse yourself in ‘The Colour of Poison’ here:

Their ninth studio album, Full Upon Her Burning Lips, is due out May 24th on Sargent House.

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Earth — On Tour w/ Helms Alee:

May 24 Seattle, WA @ Neumos

May 25 Portland, OR @ Doug Fir Lounge

May 28 San Francisco, CA @ Great American

May 29 Los Angeles, CA @ The Echo

May 31 Los Angeles, CA @ The Echo

June 1 Phoenix, AZ @ Rebel Lounge

June 2 Albuquerque, NM @ Sister

June 4 Austin, TX @ Barracuda

June 5 Dallas, TX @ Club Dada

June 7 Houston, TX @ The Secret Group

June 8 Baton Rouge, LA @ Spanish Moon

June 10 Orlando, FL @ Wills Pub

June 11 Atlanta, GA @ The Masquerade

June 12 Carrboro, NC @ Cat’s Cradle

June 14 Richmond, VA @ Gallery 5

June 15 Baltimore, MD @ Otto-bar

June 16 Philadelphia, PA @ Johnny Brenda’s

June 18 Somerville, MA @ ONCE Ballroom

June 19 New York, NY @ Le Poisson Rouge

June 21 Pittsburgh, PA @ Spirit Hall

June 22 Detroit, MI @ El Club

June 23 Chicago, IL @ The Empty Bottle

June 24 Minneapolis, MN @ 7th St. Entry

June 27 Denver, CO @ Marquis Theatre

June 28 Salt Lake City, UT @ Urban Lounge

June 29 Boise, ID @ Neurolux