KALX PRESENTS:
MEMORYHOUSE
Sister Crayon, James and Evander
Tue, March 13, 2012
8:00 pm
Rickshaw Stop
$12.00
Tickets Available at the Door
This event is all ages
http://www.rickshawstop.com/event/88149/
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MEMORYHOUSE
Amidst a haze of sepia-tinged delirium, the swirling reverb-cloaked concoctions of Toronto, Canada’s Memoryhouse exist to soundtrack the indelible moments residing in the obscure backrooms of memory. Translating songwriter Evan Abeele’s experience with classical modes and modern ambient composition, Memoryhouse create vivid depictions of surrealist beauty, unfolding with crystalline clarity and with a gentle vulnerability both lush and subtle. Accompanied by singer Denise Nouvion’s tender, nostalgic vocal delivery, Memoryhouse renders the blending of the contemporary with the forgotten, the traditional and the technological, the visual and the aural, forged within the sonographic landscapes of dream pop.
"Ontario's Memoryhouse braid together some unlikely early-90s touchstones. In terms of arrangement, they focus on hovering shoegaze with phased guitars, swimming textures, and druggy ringing-through-distant-fog chimes. But over this backing comes Liz Phair-style vocal murmurings delivered with a flat, Middle American cadence where one would usually expect an arted-up androgyny or a voice inspired by Kate Bush. And then a dry drum machine pulse comes in and adds to the welling lump in the song's throat. Taken together, it's a weird, thrilling effect, and the sound feels strangely new, even though its ingredients are so identifiable." --Pitchfork
"Ontario's Memoryhouse braid together some unlikely early-90s touchstones. In terms of arrangement, they focus on hovering shoegaze with phased guitars, swimming textures, and druggy ringing-through-distant-fog chimes. But over this backing comes Liz Phair-style vocal murmurings delivered with a flat, Middle American cadence where one would usually expect an arted-up androgyny or a voice inspired by Kate Bush. And then a dry drum machine pulse comes in and adds to the welling lump in the song's throat. Taken together, it's a weird, thrilling effect, and the sound feels strangely new, even though its ingredients are so identifiable." --Pitchfork
Sister Crayon
Growing up in the rougher neighborhoods of Sacramento, music was always a refuge for Terra Lopez. But it wasn’t until a period of quiet isolation in Long Beach after high school that she first began to write and perform her own songs, armed only with a loop pedal, a classical guitar and her haunting voice. Music was no longer just an escape, but a way of processing and sharing her pain with the world.
Around this time, Lopez wrote a letter to a close friend after a night of drinking. When she awoke the next morning, she noticed that she had inexplicably signed the letter “Sister Crayon.” The name seemed to fit perfectly with the new electronically driven songs she would soon develop with Dani Fernandez (beats/programming) and Jeffrey LaTour (keyboards/guitar).
If Sister Crayon’s songs reflect the hurt and melancholy of the human experience, their performances represent the inevitable catharsis. The band’s live show is an explosion of passion and sound, a plea for the audience to unleash their own troubles into the ether.
After releasing their debut album Bellow in February on Manimal Vinyl Records, the band toured relentlessly with acts including The Album Leaf and El Ten Eleven. They will remain on the road for much of 2012 while continuing to work on material for a new album.
"On 'Holy (Or)der,' Sister Crayon maximizes a sonic landscape of ethereal loops and twangy keyboards that evoke childhood music machines contrasted with Terra Lopez’s warm-deep-sad vocals (primarily words, occasionally pure instrumental sound). SC exists on that fine line of sadness and bliss, ever unstable, ever reaching across their driving methodic beats for sanctuary before the fadeout." --Sacramento Underground Music Examiner
"What you get with this band is sincerity, thoughtfulness, intense beauty, wisdom, joy, and (perhaps, best of all) music that should be at once pondered and cherished. Stumbling onto Sister Crayon is like finding a book of apocalyptic poetry in the confessional booth of an old, burned out cathedral." --SPIN.com
Around this time, Lopez wrote a letter to a close friend after a night of drinking. When she awoke the next morning, she noticed that she had inexplicably signed the letter “Sister Crayon.” The name seemed to fit perfectly with the new electronically driven songs she would soon develop with Dani Fernandez (beats/programming) and Jeffrey LaTour (keyboards/guitar).
If Sister Crayon’s songs reflect the hurt and melancholy of the human experience, their performances represent the inevitable catharsis. The band’s live show is an explosion of passion and sound, a plea for the audience to unleash their own troubles into the ether.
After releasing their debut album Bellow in February on Manimal Vinyl Records, the band toured relentlessly with acts including The Album Leaf and El Ten Eleven. They will remain on the road for much of 2012 while continuing to work on material for a new album.
"On 'Holy (Or)der,' Sister Crayon maximizes a sonic landscape of ethereal loops and twangy keyboards that evoke childhood music machines contrasted with Terra Lopez’s warm-deep-sad vocals (primarily words, occasionally pure instrumental sound). SC exists on that fine line of sadness and bliss, ever unstable, ever reaching across their driving methodic beats for sanctuary before the fadeout." --Sacramento Underground Music Examiner
"What you get with this band is sincerity, thoughtfulness, intense beauty, wisdom, joy, and (perhaps, best of all) music that should be at once pondered and cherished. Stumbling onto Sister Crayon is like finding a book of apocalyptic poetry in the confessional booth of an old, burned out cathedral." --SPIN.com
James and Evander
"Nestled deep into the heart of Oakland are the two producers behind the future-poppin’ duo James & Evander. James & Evander (a.k.a. Adam Myatt and Glenn Jackson) began crafting electro sounds in the latter’s apartment while attending an art school over five years ago. Since then, the pair’s sound has evolved far beyond its instrumental indietronica roots and now takes form as subdued, lush synth-pop voyages complete with sparkling melodies and melancholy vocals. Citing influences as disparate as Dntel-style techno, blissful chillwave, and contemporary pop, James & Evander’s productions are truly a hybrid, one which has yielded a number of original releases and an on-going remix series." --The Jukebox
