Mon, May 16
Doors: 7:00 pm9:30 Club
Yeasayer - (Set time: 9:30 PM)
Since the release of their critically acclaimed 2007 debut All Hour Cymbals, Yeasayer has been around the world and back again. While their first record was conceived in total artistic isolation, constant touring forced Yeasayer to finally engage with their contemporaries.
Inspired by musicians hell-bent on sonic experimentation as well as those more comfortable in a pop context, Yeasayer find their domain spanning across the musical spectrum. Studied, road worn, and eager to begin phase two, Yeasayer retreated to upstate New York to begin work on their new album titled ODD BLOOD.
If All Hour Cymbals was Yeasayer’s attempt at global and ambient cultural mash-up then ODD BLOOD takes place in an off-world colony sometime after the Singularity. Glimmering reverb haze is eschewed and replaced by a cavalcade of disorienting pitch effects and flickering ectoplasmic wisps. Instead of layered vocal harmonies the processed vocals congeal into blots and blobs of otherworldly chatter. Many organic elements are left behind and replaced by sounds and rhythms that inspire the body as much as the mind. At times Yeasayer sound as if they would be at home playing live in scene from Blade Runner or inside one of Oscar Neimeyer’s concrete modernist temples from the 1960s.
ODD BLOOD is an album divided into two halves; the first being top heavy with pop songs, while the latter full of the playful and strange.
Side One. The album begins with “The Children,” a twisted chopped and screwed stomp, full of sub bass and spooky keyboards. Distorted vocals create hidden hooks and it’s immediately clear: this isn’t the same Yeasayer. After the rubble clears the album leaps into Yeasayer’s version of the pop anthem with “Ambling Alp,” “Madder Red,” “I Remember,” and “O.N.E.” Yeasayer have plunged into the craft of pop music, and the exercise has paid off.
Side Two. The second half of ODD BLOOD is slightly more experimental in nature. Sci-fi musical jams (“Mondegreen”), maniacal rants (“Grizelda”), and paranoia (“Love Me Girl”) show the band exploring more paranoid motifs, yet never deprive the listener of hooks and ear candy.
ODD BLOOD plays out at a blistering pace, yet it never sacrifices depth or content. It is immediately evident the band has advanced in songwriting as well as sonic craft. Lyrically, it is a more mature and honest album than the first, as the band demonstrates a confidence to explore more personal themes alongside vividly depicted tales. One thing is certain: Yeasayer are accomplished audiologists who are willing to pilfer decades of pop sensibilities and cultural history to create something that is uniquely their own.
Young Magic - (Set time: 8:15 PM)
Young Magic is Jakarta born Indonesian-American vocalist Melati Malay, and Sydney-born songwriter-producer Isaac Emmanuel. The pair met in New York City in 2010 and began collaborating above a speakeasy in Brooklyn. Alongside original member Michael Italia, the trio signed to Carpark Records (Toro Y Moi, Beach House, Dan Deacon) on the strength of one single (Sparkly/You With Air) and a wave of positive press. Touring in Europe and North America began after a series of limited edition 7″ releases in 2011. The following year brought new visibility, acclaim, and artistic achievement with the release of the group’s full-length album debut, Melt.
Melt was recorded in Mexico, Argentina, Brazil, U.S.A., Spain, Germany, Iceland, Australia, and the U.K. while band members travelled independently, collecting field recordings and documenting their experiences. The New York Times described the album as “lush and immersive…it summons an elusive mood of longing among the sonic wonderment.” About Melt, the BBC wrote, “like a beat poet racked by drink addiction; music that waxes and wanes, and explodes; and a great spirit which, rather than confine itself to basements and bedsits, aims its sights on the heavens. An exquisite new breed to behold.”
The band became quickly known for their percussive, cinematic style, as well as collaborations across film, music and visual arts with artists as such as Purity Ring, Leif Podhajsky, and Angus Borsos. Pared down to a duo with varying live collaborators, Young Magic toured the world in 2013 and 2014, including performances at Lowlands Festival, Iceland Airwaves, Berghain, Austin Psych Fest, and the Brooklyn Museum.
The duo’s ambitious second album, Breathing Statues, was released in 2014. Recorded in Morocco, Paris, Prague, Australia, and Iceland, the album gracefully dives headfirst into a more delicate, personal world of sound. AllMusic described Breathing Statues as “far bigger and more polished than their debut…evokes ’60s exotica and ’90s trip-hop with a hypnotic groove that feels like it could go on forever.” Q Magazine wrote: “Alternately dreamlike and arresting, they’ve discovered a formula that realizes the sonic sorcery always suggested by their name.”
In 2015, Young Magic released Remixes Vol. 1—a pay-as-you-feel charity album, with all proceeds going to the Aboriginal Benefits Foundation, an organization facilitating health and arts projects in Australian Aboriginal communities. Contributors included Roland Tings, Teebs, The Acid, Matthew David, and Basquiat’s musical partner, Nicholas Taylor of Gray.
The same year, Malay returned to her birthplace of Java, Indonesia, to begin work on a new collection of music. She rented a small shack by the water and spent her time gathering field recordings and collecting stories from her families’ history. The result is Young Magic’s most breathtaking album to date, Still Life, released on May 13, 2016.
815 V St. NW
Washington, DC, 20001
815 V St. NW
Washington, DC, 20001