Other Music Forever
Julianna Barwick, Bill Callahan, Frankie Cosmos, Helado Negro, Menahan Street Band, Psychic Ills, Matana Roberts, The Tallest Man On Earth, Sharon Van Etten, Yo La Tengo, John Zorn’s SIMULACRUM
Tue, June 28, 2016
Doors: 7:00 pm / Show: 8:00 pm
The Bowery Ballroom
New York, NY
$25.00 - $30.00
This event is 18 and over
Featuring Julianna Barwick, Bill Callahan, Frankie Cosmos, Helado Negro, Menahan Street Band, Psychic Ills, Matana Roberts, The Tallest Man On Earth, Sharon Van Etten, Yo La Tengo, John Zorn’s SIMULACRUM (with John Medeski, Matt Hollenberg and Kenny Grohowski) and more special guests and surprises TBA!https://www.boweryballroom.com/event/1212767/
Will is largely a product of ups and downs, a reflection of a life lived somewhere in between transience and standing still. "While making this record, there were moments of isolation and dark currents," Barwick admits. "I like exploring that, and I love when I come across songs that sound scary or ominous. I've always been curious about what goes into making a song that way." The beguiling, beautifully complicated Will is the result of that curiosity, as well as the latest proof yet of Barwick's irresistibly engaging talent as a composer and vocalist.
We took him in and he has been with us ever since. We think you will feel the same way about him once you look into his hungry eyes. Over the years he reminisced about "Cold Blooded Old Times" and told us to "Dress Sexy At My Funeral," releasing over twenty records as Smog and then, unfettered, as Bill Callahan. He is a recording studio guru, a tastefully rampant singer-songwriter, a heartthrob, a visual artist, a statesman for the times and an author.
After a couple albums recorded at home in the early 90's, he began recording in studios and teamed up with potent individuals such as musician/arranger Jim O'Rourke. His output has been constant for two decades and his tours have become larger and more impressive. Bill's songs have been featured in films such as High Fidelity, Dead Man's Shoes, and Youth in Revolt, all of which feature Zach Galifinakis (or should). Artists as diverse as Gil Scott-Heron, Flaming Lips and Cat Power have recorded his songs.
In 2007 Bill Callahan dropped the pseudonym and begin releasing his albums under his own name.
2009 saw the orchestrated juggernaut Sometimes I Wish We Were an Eagle. The album received terrific reviews across the board and then it took off, becoming a fixture on top-10 lists of 2009, including 2nd best album in MOJO (the 2nd best magazine in England!).
A live LP came next, Rough Travel for a Rare Thing, which was a critic's choice review in the NY Times. This must mean he's a force on stage, yes yes?
Summer of 2010, Callahan published his first work of fiction, Letters To Emma Bowlcut. The dapper novelette features sixty-two letters from a nameless protagonist to a woman he saw at a party. The book is cutting, discursive, tender and laced with punch lines. Funny ones.
Callahan has performed readings from the book for audiences in New York, London and Chicago, among other cities.
As we edge ever closer to the fateful year 2012, Bill Callahan jumps the gun with his own personal Apocalypse (04/19/11). This is important work. Brace yourself. Apocalypse is coming.
In 2015 Kline signed to Bayonet Records, immediately releasing an EP where she experimented with writing in an electronic setting. The EP Fit Me In was well received and garnered a Best New Track from Pitchfork. Kline then began recording her next album appropriately titled, Next Thing. Like Zentropy, Kline approached Next Thing by fleshing out several old home recordings, and by writing half of the album from scratch. Next Thing explores new emotional and instrumental territory for Kline, and is slated for release April 1st on Bayonet Records.
Helado Negro tours extensively and has performed in diverse venues from clubs to cultural organizations including the Wexner Center, Columbus; Indianapolis Museum of Art; Mana Contemporary, Chicago; Museum of Natural History, L.A.; Mass MoCA, North Adams, Marguilies Warehouse, Miami, Festival Centro, Bogota and Vive Latino, Mexico City. In 2015 he was the recipient of a Joyce Award and premiered an orchestral commission as part of the Liquid Music series during the inaugural festivities of the Ordway Center for Performing Arts in Saint Paul.
“Among the musicians currently redefining Latino culture worldwide, Helado Negro creates a sonic landscape that reflects 21st-century Latin America.” – NPR
The band is also known for their production and recording efforts with the likes of Paul McCartney, Alicia Keys, Mark Ronson, and Cee-Lo as well as artists like 50 Cent, Kid Cudi, Jay Z who have sampled songs from their last album, "Make The Road By Walking".
Soul Summit couldn't be more excited to welcome them to their party celebrating the release of their newest offering, "The Crossing". The band describes this new album as "music to an unreleased Sergio Leone western starring the Wu Tang Clan set in 1992". How can it not be great? Let's party!
If you're a fan of The Tallest Man On Earth, Dark Bird pays real tribute to the old records you fell for, and goes new places you're going to love as well. If you're new to The Man: holy shit! Many would be jealous of your position. Enjoy these songs, and know there are 40 or more other gems waiting on earlier albums and singles.
Early in Dark Bird, toward the end of the opening track, we hear other voices and sounds backing Kristian Matsson's own. One of them, later credited in the liner notes with Angel Vocals, shows up several times throughout the record, adding new color to the familiar palette. And so the story grows and expands. That first song has horns and a piano, keyboards, synthesizers, and other modern noisemakers... and by track two you've got The Tallest Man on Earth as full-throttle rock and roll.
While Dark Bird is The Tallest Man at his most personal and direct, deeper and darker than ever at times, it's also an album with strokes of whimsy and the scent of new beginnings – which feels fresh for The Tallest Man on Earth, and well timed. Reliably, the melodies and arrangements are sturdy and classic, like old cars & tightly wound clocks. The lyrics and their delivery are both comforting and alarming, like tall trees & wide hills.
The other musicians and layers on this recording put a wide lens on familiar themes. Fear and darkness, sleep or lack of it, dreams in the dark and in the light. Moving, leaving, going. Distance and short stops, long straight lines, temporal places. More hopefully, a grateful nod to a traveling partner, a healing mind. Maybe a little forgiveness needed. Definitely some things to forget.
And of course, that last song. The title track. If there is a little legend-building to be done here, let it be this scene a few of the album's early-listeners can recount: Kristian gently warning them over their shoulder before track ten begins: "Watch out for this one."
You should expect the loudest and proudest sounds yet from The Tallest Man on Earth on album number four, but also the softest and the lowest. For the next few years, the Dark Bird tour will come to your city or a town nearby, and for the first time The Man is bringing a band to the stage with him.
Most musicians are quite happy to leave the production end of things to someone else. It's enough to live your music without taking on the role of producer as well. Yet Van Etten knew it was time to make a record entirely on her terms. The saying goes "fortune favors the bold" and yet this boldness had to be tempered. For this, Van Etten found a kindred spirit in veteran music producer Stewart Lerman. Originally working together on Boardwalk Empire, they gently moved into new roles, rallying around the idea of making a record together in Lerman's studio in New Jersey. Lerman's studio expertise gave Van Etten the freedom to make Are We There the way she imagined. Van Etten also enlisted the individual talents of her band, consisting of Heather Woods Broderick, Doug Keith and Zeke Hutchins, and brought in friends Dave Hartley and Adam Granduciel from The War on Drugs, Jonathan Meiberg (Shearwater), Jana Hunter (Lower Dens), Peter Broderick, Mackenzie Scott (Torres), Stuart Bogie, Jacob C. Morris and Mickey Freeze.
It is clear from the opening chords in the first song, Afraid of Nothing, that we are witnessing a new awareness, a sign of Van Etten in full stride, writing, producing and performing from a place that seems almost mythical, were it not so touchable and real. Always direct, and never shying away even from the most personally painful narratives, Van Etten's songwriting continues to evolve. Many of the songs deal with seemingly impossible decisions, anticipation, and then resolution. She sings of the nature of desire, memory, of being lost, emptiness, of promises and loyalty, fear and change, of healing and the true self, violence and sanctuary, waiting, of silence. The artist who speaks in such a voice is urging us to do something, to take hold and to go deeper. Living in this way, the questions of life remain alive, as close and steady as breathing. Many of the ballads of old are as dark as pitch, and people for whom the issues of life and death were as vivid as flame wrote them. You could turn off the electricity, remove all the instruments and Sharon's voice and words would remain. They connect her to the mystic stratum which flows just beneath the everyday, which is rarely acknowledged as the forces of distraction sweep our attention away.
They draw a cult-like following along with new fans who dig their sound. For the unfamiliar, think The Weepies mashed up with The Velvet Underground and hints of The Flaming Lips. Modern and timeless at the same time. Their music at various moments has encompassed folk, punk, electronica, jam, shoegazer rock, and more.
The Bowery Ballroom
6 Delancey St
New York, NY, 10002