The Landlady Holiday Spectacular with Cass McCombs, Rahm, Caroline Rose, Wilder Maker, Miss Eaves, Lip Talk, Kalbells, Frank Locrasto, DJ Mister Kindgom, Elvind Opsvik's Overseas, Joan As Police Woman, MK Groove Orchestra Nutcracker Suite, and more!
Wednesday · December 13, 2017
Doors: 6:00 pm / Show: 7:00 pmThe Bell House
Tickets 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.orghttps://www.thebellhouseny.com/event/1576291/
"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
However, Mangy Love, his Anti Records debut, is McCombs at his most blunt: tackling sociopolitical issues through his uniquely cracked lens of lyrical wit and singular insight.
McCombs uses himself as a mirror to misguided and confounding realities, confronting them head-on: “Rancid Girl” reads like a ZZ Top study in Kardashian politics, “Run Sister Run” a mantra for a misogynistic justice system, “Bum Bum Bum” displays a racist, elitist government through the allegory of sadistic dog breeding; the album is sewn together by a common thread of ‘opposition,’ most directly articulated in “Opposite House”, with allusions to mental illness. ‘Laughter Is The Best Medicine’ provides a possible recipe for healing, with the help of an authentic medicine man, the legendary Rev. Goat Carson. The severity of his lyrics is contrasted by the music, which ventures into groovy realms of Philly soul, Norcal psychedelia and New York paranoia punk, articulating the spontaneity and joy of his live show better than ever before.
The record is unquestionably a work of great studio aptitude: a carefully arranged, high-fidelity production by veteran Rob Schnapf and Dan Horne. And as usual, McCombs is joined by many notable members of his eclectic musical tribe, whose names are proudly displayed on the back cover.
Mostly written during a bitter New York City winter and while travelling in Ireland, Mangy Love is Cass at the top of his game, reaching new sonic heights, creatively evolving lyrically, and resulting in his most provocative and complete record yet.
Half my family's from the North and half from the South, and you can hear both those influences in pretty much all my songs. Jer says it's Northern grit mixed with Southern charm. Don't know how true that is...
Last year the two of us made a grassroots record called "America Religious" that I wrote while traveling around the country, which I like to do whenever I get the chance, which is a lot. Once I got tired of my car, a '75 MGB named Tom Collins, breaking down (which was a lot), Jer and I started touring together and haven't had a second to rest. I like to think "America Religious" is a series of stories that reflects all the travels I've made and people I've met and people I like to think I've met. It's a bluejean rock-meets-gospel-meets-blues-meets-alternative record on which both Jer and I played nearly all the parts, co-produced, co-mixed, and co-engineered at his very own Parkhill Studio in the heart of the Green Mountain State.
All the songs are my songs, so to answer your question––no––none of them are covers.
"Caroline Rose's lyrical honesty, vivid imagery and songwriting prowess are obvious to the ears upon first listen of her debut album "America Religious". Her new single puts you in the front seat riding shotgun on a very real adventure that can't be explained quite yet." – Ari Fink, Program Director, SiriusXM
"AMAZING…Delivery is uncanny––It sounds like she's been smokin' Camels and drinkin' Jack for 40 years." – David Dalton, Founding Editor of Rolling Stone and author of "Who is That Man? In Search of the Real Bob Dylan"
Birnbaum’s songs find expression through longtime collaborators Katie Von Schleicher, who releases her own mesmerizing solo work, on keyboards and vocals; Sean Mullins (Kevin Garrett) on drums; and Nick Jost (Baroness) on bass. Von Schleicher’s singing balances and supports Birnbaum’s writing and vocals, a counterpoint fully explored on “New Streets”/“Only Child,” Wilder Maker’s contribution to Saddle Creek’s Document series of singles that introduce new work from innovative bands around the country. It marks Wilder Maker’s first release since 2015’s EP trilogy, Everyday Crimes Against Objects of Desire.
“New Streets,” a restless stroll through an ecstatic day, driven by guitars, saxophones, and Von Schleicher's vocals, was recorded at Figure 8 Recording by Sam Owens, who records for Saddle Creek as Sam Evian, and features lead guitar from Adam Brisbin (Sam Evian, Jolie Holland). “Only Child,” Birnbaum’s poetic evocation of childhood echoes and ghosts, insinuates itself with familiar-feeling guitars until minor-key shivers reveal the song’s aching heart. “Only Child” was recorded by Bryan Pugh at Rubber Tracks Brooklyn, and features the guitar work of another longtime associate, Will Graefe (Okkervil River, Star Rover).
Not only a beat slayer, Miss Eaves is a paper mache addict and a bad-ass with a glue gun. A true multi-media junkie, she directs and art directs all her videos plus designs her own merchandise. Drawing inspiration from Frida Khalo, Michel Gondry, MIA, Santigold and Sia she is determined to show the world she is about that DIY life. MC Frontalot once told her: “You aren’t crafty…this is too well-made to be just crafty. You are a fabricator.” And trust, she will take you on a rollercoaster through her imagination.
Miss Eaves’ latest, Feminasty, out on August 4, 2017, was a year-long labor of love produced by longtime collaborator KEISHH and recorded during a winter in Montreal, Canada, which is nasty cold. Feminasty plays on term Femi-Nazi and Janet Jackson’s line, “Ms. Jackson if you’re nasty.” It’s funny-as-fuck cutting commentary will melt your brain into a nasty pile of feminism. “All these little fuck boys All these little fuck boys. Dudes on my clit yeah, I’ve had enough boys.” This is how Miss Eaves rolls.
He has released three solo albums, "When You're There" (Maxjazz 2006), "El Dorado" (Hundred Pockets 2011), and "LoCrasto" (Storytime 2015). "When You're There" is a mostly acoustic jazz record featuring a small chamber orchestra on 4 out of the 9 tracks. "El Dorado" was recorded in his basement apartment in Brooklyn and utilizes tube amps, drum machines, tape echo, pianos and vintage synths to create an alchemy of psychedelic and ambient music. "LoCrasto" was recorded with a similar approach but with a live band in a recording studio. A fourth album is in the works for a 2017 fall release.
In addition to solo projects, LoCrasto has recorded and toured internationally with several established artist including Jeremy Pelt, Nicholas Payton, Pat Martino, Greg Osby, Wallace Roney, and James Iha. Other collaborators include: Lapland, Breastfist, Nightlands, Cass McCombs, and Julian Velard. He has appeared on over 40 records as a side man.
The Bell House
149 7th Street
Brooklyn, New York, 11215