Yeasayer

KCRW Presents

Yeasayer

Wild Nothing, Wild Belle

Thu, April 11, 2013

7:00 pm

The Glass House

Pomona, CA

$22.50

This event is all ages

PLEASE BE ADVISED OF THE FOLLOWING STIPULATIONS FOR THIS SHOW****- No transfers - Will call only - 4 ticket MAX per order, household, credit card, address. All violators will have their order cancelled without notice. NO EXCEPTIONS

Yeasayer
Yeasayer
Yeasayer’s third album, Fragrant World, is a hulking beast of a record. Keyboards clank and wheeze, tiny claps stumble against busted drum machines, and there’s very little obvious guitar. It’s an album that grapples with the schizophrenia of the modern world by gathering piles of electronics and molding them into something huge and often gorgeous.

After touring endlessly in support of 2010’s Odd Blood, Chris Keating, Ira Wolf-Tuton and Anand Wilder holed up in Gary’s Electric Studios in Greenpoint, Brooklyn to record Fragrant World, working away as the borough transitioned from fall to winter. While Odd Blood played with electronic textures and future paranoia, Fragrant World fully immerses itself in those themes, virtually dripping with worry, love, and concern for the planet we live on. Keating bleats and yammers his lyrics—sometimes, like on “Longevity,” piling so many effects on his voice that the music takes on an otherworldly sheen. In direct contrast are Wilder’s vocal contributions, which hover serenely over droning synths on “Blue Paper,” and later weave in and out of staccato hand claps, and what sounds like a vintage computer dying, on “Devil and the Deed.”

Across Fragrant World’s 11 tracks, genre mashing is taken from a broad spectrum of sources: updated takes on dusky pop, jittery funk, exotic keyboard experimentation, haunting whirs of backward organ, exuberant bass, etc. “I wanted to make a record that was legitimately, to use a bad word, funky,” Chris Keating told Under the Radar magazine. Even at it’s darkest, that statement holds true. On their first single and album centerpiece, “Henrietta,” Keating is in great form. The track is loosely based on Henrietta Lacks, a woman whose cells were cultured by a doctor in the 1950s without her permission. Those cells would later go on to be the most commonly used human cell line for medical research. Keating teases out universal ideas from bizarrely specific moments in history, repeating the refrain, “we will live on forever,” referencing Lacks’ story directly, contrasted against a darkly optimistic worldview. It’s a risky move, but it pays off.

It’s a testament to their sound and the unique identity they’ve carved out for themselves in the music community. They’ve managed to grow and expand into what they are now without losing touch with what made them so compelling in the first place: their willingness to pull from every musical source imaginable. Whether it’s the warped and clipped alien-dancefloor banger “No Bones” that has strong ties to Timbaland’s most experimental work for Aaliyah and Missy Elliott, or the gothic, almost industrial pulse of “Reagan’s Skeleton,” Yeasayer are truly making 21st century music. Couched in healthy fear, yet unafraid to move forward and expand, pulling in new influences just as frequently as new worries, Yeasayer have created a difficult, dense and beautiful record. It’s as much a synthesis of the last three decades of pop music as it is a new way of grappling with the end of time.

Fragrant World was produced by Yeasayer.
Wild Nothing
Wild Nothing
Wild Nothing

Nocturne is the follow up release to Wild Nothing's critically acclaimed debut 'Gemini'.

Ask Jack Tatum what 'Wild Nothing' means and he'll answer: 'a contradiction'. In 2010, 21 year old Tatum released one of the finest cult pop records of the summer whilst ensconced in his senior year of college in Blacksburg, VA, a small mid-atlantic town better known for producing football fans and engineers than musicians. Tatum lives in contradictions. You'll often hear Wild Nothing referred to as a 'one man pop band'. Jack creates in the studio, alone. On the road, he's with a band. There are two Wild Nothings.

The critically acclaimed debut 'Gemini' was underpinned with summery childhood longings, and shot through with the instant dichotomy of anxiety and almost whimsical paranoia. The album, which was home recorded by Tatum and rooted heavily in 80's indie-pop, quickly gained popularity throughout the internet. Tatum assembled a band of Virginia friends and hit the road for the first time. 'Gemini' showed a promising future for a songwriter who wore his influences on his sleeve while still approaching pop craftsmanship in his own way. When asked about it in regards to 'Nocturne', Jack states:

I don't think it's going to be a secret to anyone that I care about pop music, but it's definitely more my sense of what pop music used to be or even what pop music would be in my ideal world.

The new album 'Nocturne', is a window into Tatum's "ideal world" of pop music. Written largely while living in Savannah, GA during 2011, the songs that became 'Nocturne' speak to a new Wild Nothing where the lines between Jack's influences and personality have been further blurred. The album features some open references to past music just as 'Gemini' did, but it's also an album that feels much less rooted in anything in particular and, well, more adult.

'Gemini' was written before there were Wild Nothing fans or even a live band; 'Nocturne' is different. With an unexpected fan base to turn to, Jack spent more time perfecting his craft. The obsessiveness of 'Nocturne' is inherent in it's gentle harmonies, orchestrated synths, wandering voice, and songs that speak of his post-Gemini experiences as he explores new paradoxes of pop.

And yet Nocturne' isn't obvious, it is a strange and distinctive musical beast, the product of an obsessive pop vision that creates its own reality.
Wild Belle
Wild Belle
Wild Belle is the new duo of siblings Natalie and Elliot Bergman. The two have weaved in and out of each other's musical lives for years sharing records, tapes, sounds and experiences. Wild Belle marks their first official collaboration, finding their sound rooted on a tropical island where rocksteady rhythms, disco beats and soulful grooves shine down steadfast and abundant.

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Venue Information:
The Glass House
200 W. Second St
Pomona, CA, 91766
http://www.theglasshouse.us/