Forever House, Larkin Grimm, Creature Automatic

Forever House

Larkin Grimm

Creature Automatic

Thu · May 21, 2015

Doors: 7:30 pm / Show: 8:00 pm

$10.00

Tickets at the Door

This event is 21 and over

Forever House
Forever House
Forever House is a new avant-grunge outfit composed of Meaghan Burke (lead vocals/cello), James Moore (guitar), James Ilgenfritz (bass), and Pete Wise (drums). Their fuzzed-out sound, unfussy complexity, and raw power make Forever House "the grunge band you wish you grew up with." The band members' status as veterans of New York's contemporary music scenes adds to the grit and tweakiness of Forever House's songs, with cameos of Zornian game improv and "wasted love themes."
Larkin Grimm
Larkin Grimm
Larkin Grimm was born 27 years ago in Memphis TN to hippie devotees of the religious cult The Holy Order Of MANS - her parents were runaway kids that met in San Francisco in the late 60’s and eventually found their way into the cult, which later moved to Memphis. Larkin spent her early years in this communal environment, raised by several parents at once. When the cult disbanded Larkin was 6, and her nuclear family moved to the Blue Ridge Mountains in Georgia and quickly grew to include 5 siblings. Larkin says she ran wild in the mountains and was “raised by the family dog.” Larkin got the taste of music in her from her fiddler and singer father and her folksinger mother. She dropped out of school at 10 and didn’t return until 12. At 13 she was sent to boarding school (courtesy of Georgia’s Coca Cola, which funds the school with the intent of helping gifted Appalachian children). Larkin excelled, (though her erupting hormones and wild imagination were already roaring) and she won a full scholarship to Yale to study art. She spent a while there then freaked out at the elitism of the place. She left and returned several times, somehow along the way managing to find herself in Thailand, where she studied Thai healing massage and “befriended strippers and watched them being humiliated and abused by sex tourists”, bummed around Guatemala, and also hitchhiked around southern Alaska by herself, until she found a place “so beautiful I couldn’t leave, camped out there in my tent for about 2 months with the plan to starve to death, get eaten, or get enlightened.” Larkin says a Cherokee shaman named Jezebel Crow found her on the mountaintop and lured her to her truck with the promise of maple syrup and sausages. She became her “first great teacher, initiating me into the shamanic practice of using natural hallucinogens to gain spiritual wisdom. On one such trip, I got my first jolt of golden light to the brain and was possessed by a forest spirit who taught me to sing.” Jezebel drove her down to her commune in Olympia, Washington, where she would live off and on for a few years, soon hanging out with “eco-warriors, vagabonds, sexual deviants and various other miscreants.” But Jezebel encouraged Larkin to go back to Yale and when she returned Larkin started incorporating singing into her art practice, which led her finally to decide to become “a real musician”.

Back at Yale for the last time (eventually “graduating” with one credit left to go) Larkin met Dave Longstreth and became a member of Dirty Projectors for a time. When she left that band she joined up with the Providence RI Noise/Art scene, and was active in arranging gigs and festivals there, as well as working on her own music. Larkin soon made 3 self-recorded albums of freeform, improvisational songs (or “acoustic noise” as she calls it), 2 of which were released by Secret Eye (Harpoon, and The Last Tree). She books her own tours, travels constantly, and has by her own force of will, itinerant nature, and sense of reckless adventure managed to build a supportive network of friends and fans around Europe and the US/Canada. Larkin has shared bills with The Mountain Goats, St. Vincent, Vetiver, Sleepy Sun, The Great Lake Swimmers, Lightning Bolt, Devendra Banhart, Spires that in the Sunset Rise, Espers, Mi and L'au, Brightblack Morning Light, Entrance, Viking Moses, the Microphones, and Old Time Relijun to name a few. She currently resides in Manhattan’s East Village.
Creature Automatic
Creature Automatic
Turn on Dust Clouds May Exist, the debut album by Creature Automatic, and hear something familiar and something completely new. This is pop music that makes pop music strange again. Creature Automatic, the recording project of Brooklyn composer, improviser, and producer Robbie Lee, weaves together unlikely influences into an adventurous set of fourteen surprising songs. At its core, Dust Clouds May Exist is classic songwriting: flawlessly crafted, featuring catchy hooks and memorable riffs, exuberant and melancholy. But it’s also an experimental opus, with Lee playing some of the fabulously unusual instruments he’s become known for: mellotrons, crumhorns, and portatif organ alongside the usual guitars, drums, and piano.

While the lead-off cut – “Say It’s Right Now” – could be a long-lost Pete Townshend demo from an album that never was, the record soon heads into a darker, mysterious place. The brooding piano of “Rain Steam and Speed” and the haunted atmosphere summoned by the imaginary travelogue, “Antikythera” are complemented by tracks such as “Fludd’s Folly,” a long-form ambitious instrumental combining bell-like guitars with the buzzy, otherworldly Renaissance crumhorn. Like the true pop songs on the album, it follows a rambling shambolic path, always anchored in backwards sweet harmony.

Robbie Lee is also a well-known improviser and experimental musician who has closely collaborated with Mary Halvorson, Brian Chase (Yeah Yeah Yeahs), Che Chen and Jozef Van Wissem. After releasing his first album of lo-fi bedroom songs (Sleep, Memory) under his own name in 2006, Lee put his songwriting on hold during several years on the road backing rock luminaries such as Neil Michael Hagerty (Royal Trux), Love As Laughter, and Dax Riggs. He has also recorded and performed with Cass McCombs, Eleanor Friedberger, Baby Dee, and Seaven Teares, among many others.

Creature Automatic – A quirky grand vision of what pop music could be, in the tradition of Pet Sounds and Tusk, but very much of our time, and tomorrow’s.

Creature Automatic – Dust Clouds May Exist, out 4/7 on Telegraph Harp
Venue Information:
Union Hall - Brooklyn
702 Union Street
Brooklyn, NY, 11215
http://www.unionhallny.com/