The Landlady Holiday Spectacular
Landlady, Chrome Sparks, Lady Lamb The Beekeeper, Pavo Pavo, Steve (of Delicate Steve), The Westerlies, Crooklyn Rockers: A Very Natty Christmas, Ex Reyes, Jeff Curtin & His Magic Theremin, Joanna Sternberg, Uncivilized
Sat, December 10, 2016
Doors: 7:00 pm / Show: 8:00 pm
The Bell House
Brooklyn, New York
Tickets Available at the Door
This event is 21 and over
The Landlady Holiday Spectacular
All proceeds will be donated to We Make Noise, a Brooklyn-based organization offering free and sliding-scale music programming for youth of all ages through classes and workshops from Bushwick School for Music, New York City Rock Camp, and Music's Cool Music School. www.wemakenoise.orghttp://www.thebellhouseny.com/event/1368519/
Lady Lamb The Beekeeper
Steve (of Delicate Steve!)
Crooklyn Rockers: A Very Natty Christmas
Jeff Curtin & His Magic Theremin
"Landlady occupy a big middle space always in need of willing entrants: brainy, melodic pop-rock. They move through their second record Upright Behavior like the USS Sincerity, offering to share with you in your biggest fears: death, loneliness, lack of purpose." - Pitchfork
Inspired by a background in classical percussion and an obsession with synthesizers, Malvin creates dazed, melodic beat-centric tunes that loosely hang between down-tempo head nodders and up-tempo club bangers. FADER has described his music as 'form-shifting beats [that] seem to resonate with spaced-out chillers and hyperactive party kids alike'.
In 2012, while on Warped Tour as the drummer for Stepdad, Malvin released the slow burning, bass heavy single "Marijuana" on a Bandcamp compilation highlighting music from he and his friends in Ann Arbor. It quickly rocketed to #1 on Hype Machine and has since become an internet-stoner anthem. It has subsequently been rereleased by Future Classic and Kitsuné.
His upcoming release, Parallelism, was made using sounds from three analog synthesizers, vocal samples from friends, and a tambourine.
Spaltro's formative years were full of change – moving houses, cities, and countries every three years until she landed in her family's home state of Maine. It was here that Spaltro found her voice among thousands of films at Bart & Greg's DVD Explosion, an independent rental store in the small coastal town of Brunswick. During the day Spaltro would rent movies to the locals. At night she would lock up, pull out her 8-track recorder, and create songs completely uninhibited by musical conventions, learning to play and sing as she hit record. These creations brought forth nearly one hundred recordings, twelve of which were carefully curated and fully realized on her 2013 full-length studio debut Ripely Pine (released on Ba Da Bing! Records). Ripely Pine garnered praise for its lyrical intricacies, emotive vocals, and often unpredictable musicality, introducing Spaltro as a formidable new artist.
In between tours, Spaltro returned home, focusing with laser-like intent on writing, arranging, and demoing the songs on After. These new works – which found Spaltro co-producing with her Ripely Pine partner Nadim Issa at his Brooklyn studio, Let 'Em In – are sonically vibrant, with an assertive use of grit and brightness. Thematically, they provide direct insight into Spaltro's rumination on mortality, family, friendships, and leaving home.
There are many songs on After that explore themes of a much larger scale. In "Heretic" Spaltro sings of a childhood UFO sighting in Arizona. In "Batter" she dies in a plane crash, while in "Spat Out Spit" she questions whether she was even born at all. Alternatively, in "Billions of Eyes" Spaltro can "only see into her suitcase," her mind simultaneously present and wandering as she "gnaws [her] way back home." The tender and sparse "Ten" delves into her mother's childhood diary, giving the listener a clear view throughout into some of Spaltro's warmest memories of her loved ones. Ripely Pine was marked by an undeniable passion and confidence, but where it sometimes lacked in personal narrative and directness is where After shines. The last line on After encompasses the self-assurance of the work as a whole, stating "I know where I come from." This theme is a constant throughout After, as Spaltro seeks to allow the listener to move in closer than ever before, to reflect on the past with grace, and envision the future with fervor. Spaltro invites us to contemplate the dualities that make us human, encouraging the celebration of both fear and love: internally and externally, before and after.
Young Narrator in the Breakers walks through its songs with symphonic elegance – guitar stabs, washed out harmonies, and rumbling synthesizers come and go like guests at a party. The record describes the magic and panic of adult life; a breaker is a wave whose potential energy is being transformed into turbulent kinetic energy. Co-produced by Danny Molad (Lucius) and Sam Cohen (Yellowbirds), it is a romantic record in the tradition of Elephant 6, and a cohesive record in the tradition of Grizzly Bear. It's our pleasure to introduce: Pavo Pavo.
"Sun-kissed, acid-drenched, at times dissonant and at times blissfully melodic, Wondervisions brings to mind an even more out there Animal Collective or an instrumental incarnation of MGMT's Congratulations recorded with the same old gear as Slanted And Enchanted." — Au Magazine (UK)
Flush with six-string personality, Wondervisions shifts smoothly from Pavement's psychedelic cowlicks ("Welcome-Begin") to Dirty Projectors' zigzagging Afro-riffs ("Butterfly") to the synth and acoustic slide guitar of heartbreaking march "Don't Get Stuck (Proud Elephants)." — Spin Magazine
A true child of his labelmeister, David Byrne, "Delicate" Steve Marion translates the felicities of West African guitar pop into an inventive instrumental hodgepodge. Nothing overly heavy or insipid to ponder here, unless you've got a problem with unalloyed joy. — Village Voice
The Westerlies' four members were childhood friends and sometime musical rivals in their hometown of Seattle – they regularly competed against each other in regional competitions. Each member independently moved to New York City, which led to the old friends reconnecting and performing together. Since their inception, The Westerlies have shared the stage with such diverse acts as Bill Frisell, Vieux Farka Toure, and Juilliard Dance.
The Westerlies are currently performing in support of their self-titled sophomore album, which features original music by each member of the ensemble captured in vivid detail by GRAMMY-winning producer Jesse Lewis (Roomful of Teeth, Brooklyn Rider, Silk Road Ensemble with Yo-Yo Ma, LA Phil). The group discovered Jesse through his discography, but as luck would have it, he attended the same Seattle high school as three of The Westerlies' members. The connection between the five of them was immediate and deep, and the collaborative recording process reflects the democratic nature of The Westerlies and pushes the sonic limits of the brass quartet instrumentation.
Much of the music was composed over the course of two residencies in the summer of 2015, then recorded at The Farm Studio (a painting of which is on the album's cover) in West Chester, PA. Following their critically acclaimed debut album Wish the Children Would Come On Home: The Music of Wayne Horvitz, this is a boldly personal set of music that is equally virtuosic and vulnerable.
Says trombonist Andy Clausen, "the best way for us to work is to get off the grid and get out of New York City, to just go live somewhere for a week or two and work around the clock, focusing only on the music." He continues, "In writing this new body of music we really tried to expand the expressive palette of the music we make. Everybody has such a distinct voice as both a player and an improviser and we wrote music that features those strengths and tries to mine the expressive capabilities of each player."
The Westerlies perform without sheet music, allowing a direct connection to the audience that is all too rare in the chamber music world. This is no homogenous chamber group, unified in its allegiance to the wishes of a composer. Every piece of music touched by The Westerlies reflects the unique sensibilities and personalities of these four individuals, in all their strengths and quirks. Their music exudes the warmth of their longstanding friendships and reflects the broad interests of the band members.
Riley Mulherkar has been recognized as a "smart young trumpet player" (The New York Times) and praised by The Wall Street Journal as a "youngster to keep an eye on." Born and raised in Seattle, Riley moved to New York in 2010 to study at The Juilliard School, where he completed his Bachelor's Degree in 2014 and his Master's in 2015, receiving the Knowles Prize for Jazz and the Peter Mennin Prize for outstanding achievement and leadership in music. He is also an inaugural recipient of Juilliard's Marks Fellowship. In 2011, Riley was named a "rising jazz artist" by Wynton Marsalis in JET Magazine, and in 2014 was the first recipient of the Laurie Frink Career Grant at the Festival of New Trumpet Music.
Riley has performed at the Umbria Jazz Festival, Jazz à Vienne, and Carnegie Hall, and has shared the stage with Marsalis, Leonard Slatkin, and Dave Douglas, among others. Riley is actively engaged in educational outreach. He has taught at Harlem School of the Arts, and founded the music program at stART Osceola, a summer arts intensive in Florida, where he has taught the past five years. He has also facilitated master classes in Brazil, Mexico, and across the United States.
Zubin Hensler was born in Seattle, now he lives in Brooklyn. He plays the trumpet, writes/records music, and produces albums. Sometimes, he sings.
As a trumpeter, Zubin plays regularly with The Westerlies, a new music brass quartet he co-founded in 2011. He toured/recorded with Vieux Farka Toure and Julia Easterlin as part of their critically acclaimed 'Touristes' project, with performances at Celebrate BK, POP Montreal, MASS MOCA, and elsewhere. His trumpeting can be heard in videos or albums by Daniel Rossen, Sylvan Esso, My Brightest Diamond, Half Waif, Relatives, and Alexander Turnquist. Additionally, he has shared the stage with Son Lux, Landlady, Dave Douglas, Bill Frisell, and many others.
As a composer, Zubin writes and records music for video, image, dance, and podcasts. He scored the feature length documentary Crossing Over, which premiered on Univision and Pivot. He wrote music for the acclaimed Camino project by photographer/writer Michael George, which was published by National Geographic both in print and online. Other films containing Zubin's music have been released by The New Yorker, local PBS stations, and a number of independent film festivals. In collaboration with dance, Zubin wrote and performed the score for Flinch by Elisabeth Motley, which was presented by Jacob's Pillow and Dance Space. He has also worked with Juilliard Dance and performs regularly with choreographer/performer Maggie Segale.
As a producer, Zubin has had the great joy of making recordings with some of his closest friends and favorite musicians. He has done production work on recordings for The Westerlies ("2014's best debut album" - Francis Davis, NPR Music), Touristes ("Bravely Original" - The Guardian), Half Waif ("Knocks the wind out of me because it just sounds really cool" - Stereogum), Really Big Pinecone (one of "15 Best Albums You Didn't Hear in 2015" - Rolling Stone), twig twig ("feels like perpetual sunshine in a world of no night and no morning dawn" - Impose), and many others.
Andy Clausen is a New York-based composer, trombonist, bandleader, and graduate of The Juilliard School. Hailing from Seattle, Clausen relocated to NYC in 2010 where he enjoys a diverse schedule collaborating with filmmakers, folk and blues artists, classical composers, as well as New York's jazz elite. He has performed with Wynton Marsalis, Ron Carter, Benny Golson, Frank Wess, Gerald Wilson, Kurt Elling, The After Midnight Orchestra, Joe Lovano, Bill Frisell, Jason Moran, Dave Douglas, Wayne Horvitz, Andrew D'angelo, The American Brass Quintet, Sylvan Esso, Feist, and My Brightest Diamond.
The New York Times has described his work as "sleek, dynamic large-group jazz, a whirl of dark-hued harmony and billowing rhythm...The intelligent sheen of Mr. Clausen's writing was as striking as the composure of his peers...It was impressive, and not just by the yardstick of their age."
An active educator, Clausen has taught workshops across the United States and currently serves as Artistic Director of The New York Youth Symphony Jazz Program. Clausen's awards include the Gerald Wilson Prize for Composition from the Monterey Jazz Festival, the Emerging Artist of The Year, and Alternative Jazz Group of the Year Awards from the Earshot Jazz Festival, and the Lotos Foundation Prize. In addition, Clausen has been commissioned by The New York Times, Bloomberg, Dell, Freedom House, and Blue Chalk Media to compose music for film and television.
A native of Seattle, Washington, Willem de Koch enjoys a diverse career as a performer, composer, and educator. At home in a variety of musical styles, Willem has shared the stage with improvisational-music luminaries Wayne Horvitz and Bill Frisell, indie-rock phenomenon Feist, jazz legends Dave Douglas, Wycliffe Gordon, George Duke, and many others. He has played orchestral music under the batons of Leonard Slatkin, Kurt Masur, George Manahan, Philippe Entremont, and Gerard Schwarz. Willem has performed across the globe in a wide variety of settings, including the Vancouver Jazz Festival, Umbria Jazz, and Carnegie Hall.
Willem places a high value on music education as a means for self-empowerment and a tool for social justice. He served as a teaching artist in Seattle Public Schools, and continues to teach masterclasses around the country and maintain a private teaching studio. Willem moved to New York in 2011, and received his Bachelor's Degree from Manhattan School of Music in 2015. He lives in Brooklyn.
As a top-tier session musician, producer, sideman, and collaborator with artists such as Bleachers (Jack Antonoff), Santigold, The Cranberries, Sia, Mike D, Albert Hammond Jr., Adam Green, Sinkane and more, Hart's been inspired by and had the opportunity to work with a formidable musical community. Five years in the making, his debut LP, Punch Talk came together in hotel rooms, storage sheds, and legendary studios all over the world—from Africa to New Orleans, Japan to Scandinavia.
Live, Ex Reyes sounds stretches the molds set by Brian Wilson, Curtis Mayfield, and Prince, with virtuosic musicianship weaving together the hooks, tight vocal harmonies, and a verve for soulful performances, in a way that's unmistakably modern.
In May 2016, Ex Reyes released their first single "Bad Timing" with a surreal video shot at Mardi Gras in New Orleans. It carries an anti-violence message of acceptance and upon release the song spent a few weeks on Billboards Viral 50 chart.
Uncivilized is not your regular band. It’s a post-apocolyptic, hynpotic 10-piece collective which interprets guitarist/composer Tom Csatari’s noirish folk-jazz songs on the fly, reshaping their structures with abandon, varying the function of each cog moment to moment, night to night. Much in the spirit of The Chico Hamilton Quintet, or other crossover jazz experimentalists, Uncivilized bridges the gap between noisey dream pop and folky Chamber Jazz — what the Village Voice described as “gothic Americana” — with soaring melodies, jangly percussion, wild banshee guitars and fluttery flute playing sprinkled on top. Think Charles Mingus meets John Scofield and John Fahey, played by a group of hipsters, or maybe an early, twangier Pat Metheny Group.
The Bell House
149 7th Street
Brooklyn, New York, 11215