The Bowery Ballroom
The Helio Sequence

The Helio Sequence

Ramona Falls, Slowdance

Thu, November 15, 2012

Doors: 8:00 pm / Show: 9:00 pm

The Bowery Ballroom

New York, NY

$15 advance / $17 day of show

This event is 18 and over

The Helio Sequence
The Helio Sequence
Negotiations, the fifth full-length album written, recorded, and produced by The Helio Sequence, would sound different had it not been for a flood. In 2009, while touring in support of Keep Your Eyes Ahead, singer-guitarist Brandon Summers got an unexpected phone call in the middle of the night. Back home in Portland, OR, the band's studio/practice space was under nearly a foot of water. Heavy rains had caused the building's plumbing to overflow like a geyser. But Summers and drummer-keyboardist, Benjamin Weikel, were lucky: All of their best equipment was either on tour with them, or racked high enough off the studio floor to be spared.

Still, the band needed a new home. After three months of searching, Summers and Weikel settled into a 1500-square-foot, former breakroom-cafeteria in an old warehouse. They no longer had to work their recording schedule around loud rehearsals by neighboring bands, but were free to create late into the night in uninterrupted seclusion. With twice the square footage, the space also had room for more gear, a lot more gear. They decided to use this opportunity to try something different.

Summers and Weikel, who started playing together in 1996 and self-produced their first EP in 1999, have always been gearheads. But it wasn't until the success of Keep Your Eyes Ahead that they could afford to step things up: The duo spent months (and many hard-earned dollars) retooling their studio. They left behind much of the cleaner-sounding modern digital studio equipment and instruments they'd always relied on, and embraced vintage gear that would color their recordings with a warmer, deeper sound: Tape and analog delays, spring and plate reverbs, tube preamps, ribbon microphones, and analog synths.

As the new studio came together, so did the songwriting. It proved to be the most spontaneous, open, and varied writing process they had ever experienced. Weikel, who was listening to minimalist/ambient composers like Roedelius and Manuel Goettsching, had created dozens of abstract synth loops of chord progressions and arpeggios. The two would put a loop on and improvise together with Summers on guitar and Weikel on drums, recording one take of each jam. Other songs like "One More Time", "October" and "The Measure" quickly formed from rough one-minute sketches by Summers, while the down tempo "Harvester of Souls" was completely improvised musically and lyrically in a single take.

Tempering the free form approach to writing was Summers and Weikel's meticulous attention to production and arrangement. Taking cues from the spaciousness, subtlety, and detail of Brian Eno and late-era Talk Talk records, they moved forward. Listening to the recorded live jam sessions, they set to work transforming the ditties into actual songs. "Open Letter," "Silence on Silence," "Downward Spiral" and the title track — some of the spacier, mesmerizing songs on Negotiations — came together in this way. Summers' one-minute demos were brought to life in collaboration by Weikel spending weeks working on sound treatments and synth landscapes to enhance the songs.

Lyrically, Summers affirmed the improvised ethos, working deep into the night ad-libbing alone in front of the mic, abandoning pre-written lyrics and instead preferring to create in the moment. His delivery was largely inspired by the starkness and understated romanticism of Sinatra's Capitol era "Suicide Albums", imparting a more introspective and personal tone. "I used to view a lyric as a statement," he says, "Now, I see it more as a letter you're writing to yourself or a conversation with your subconscious."

This collection of shimmering, reverb-heavy songs is a meditation on those inner dialogues (hence, Negotiations) with solitude, memory, misgivings, loss, atonement, acceptance and hope. Most of all, it's a record that serves as a testament to the beauty, blessing, and excitement of a fresh start.
Ramona Falls
Ramona Falls
Like most of us, Brent Knopf watches a lot of YouTube videos, only he’s not watching kittens playing piano. Rather, his tastes err on the more experimental side of things—like people who attempt perpetual motion machines using magnets. “I love that they’re trying to harness an endless supply of energy,” says the Ramona Falls frontman, “and that they go against conventional wisdom in the hopes of true discovery.”

Which is exactly what Knopf did last year, when he decided to quit the acclaimed art rock trio Menomena and devote his time to one epic, personal vision. Prophet, the second Ramona Falls album, is sonically, lyrically and thematically brighter. It’s also more organic and personal than anything he ever contributed to Menomena, or as the singer/multi-instrumentalist explains, “it’s more of a rapid transit line between my sleeve and my heart.”

“With Ramona Falls I am exploring what I stand for which makes it more personal to me,” Knopf admits. “I’m less worried now about being made fun of, than I was before. I can now say things I believe in, and some people may think it’s stupid or cheesy…but that’s kind of fun. I would much rather speak from the heart than hide behind impenetrable obfuscation.”

Recorded with bandmates Paul Alcott (drums, and also, ironically, Knopf’s replacement in Menomena), Matt Sheehy (guitar), and Dave Lowensohn (bass) and featuring guest appearances by four other friends, the stunning album begins with “Bodies of Water,” an emotive and rousing anthem about how intimacy bundles together both nourishment and peril. “Spore,” a heartfelt highlight of Prophetbears a substantive core: “I like the idea of someone refusing to feel lonely, despite how utterly alone they might actually be,” Knopf explains. “It’s a form of rebellion.” But the 11 tracks are not all exercises in introspective fragility; “Brevony” is Knopf’s most unleashed moment with gnarling guitars ambushing the listener at the chorus on all sides.

Prophet, the album’s title, is an homage to Knopf’s religious upbringing, a titular reference to a worldview that reveres exalted seers who assert meaning despite the chaos. But as the newly empowered songwriter has discovered with Ramona Falls, it’s a better strategy to embrace the chaos. And then refashion it into a beautiful noise.
Slowdance
Slowdance
Slowdance bring keyboard and guitar and a rhythm section that can flip from a new wave throb to a spaghetti western rumble as easily as it delivers punchy indie-pop, all anchored by vocalist Quay Quinn-Settel's demure cheek and soprano dramatics. She recalled France Gall, and they did Stereolab, because language still counts (even the set-closing cover of New Order's "Consent" was not without its tie to France). Says Quinn-Settel: "I learned how to read in French before learning in English. It's half of me, it wouldn't feel right to sing in English alone. Plus the way the language shapes the mouth changes the timber of my voice, so it's nice to have both."

Other formative reference points Slowdance cite include Blondie, the Raincoats, and '70s synthwave, which help contextualize the tracks here for you to sample (the spaghetti-soaked "Spell," the coy "Sweetness," "Slashed Tires"' airy angst). Those are below, along with a mixtape playlist we asked the band to compile as the perfect primer to the aesthetic of Slowdance. Dig in. - Stereogum
Venue Information:
The Bowery Ballroom
6 Delancey St
New York, NY, 10002
http://www.boweryballroom.com/