Gliss, Lili Haydn
9081 Santa Monica Blvd
Los Angeles, CA, 90069
This event is all ages
RACES exists as a result of artistic rebirth and personal rediscovery, but it all starts at a point in Wade Ryff’s life where motivation was at its most scarce. Disillusioned with music, beset with the bitter ending of a relationship with a real life witch and faced with the overwhelming stagnation of being a 23-year old in the sleepy suburban outpost of Van Nuys, during that time, Ryff wrote the pleading lyrics of “Big Broom” in the bathroom of his parents house. He explains the song’s message as “accepting that every ending is a new beginning, and even if we may have no control over when things are given or taken from us, we can always choose how to respond.”
Whether he realized it or not at the time, it would serve as a mission statement for a handful of musicians in the area who were also idling through their 20’s and desperate for a new beginning. Breanna Wood, Lucas Ventura, Devon Lee and Oliver Hild knew each other prior to RACES’ first show, played in bands together, and oh yeah, either had dated or were currently dating each other. Still, nothing could anticipate it all coming together for Year Of The Witch, a life-affirming document forged from the pain of a time when life feels most uncertain and coming out of it renewed.
In regards to their evocative band name, Ryff explains: “I relate to the name in the sense that it seems like there is always something to be up against, and strong desire to overcome whatever it is.” Ryff had been quietly working on solo material, and in 2009, a friend asked him to open for a show he was booking. And he was up against the daunting task of stepping out of the sidelines as a bass player and putting his own untrained vocals to the fore. More than any singer, Ryff found his inspiration as a lyricist in the works of early 20th-century authors. But his musical heroes that were well-chosen too: Leonard Cohen’s Death of a Ladies Man for its integration of Brill Building sophistication and as a template for RACES’ use of backup singers and keyboards; Television for Ryff and Herberg’s ingenious, yet subtle guitar interplay which permeates Year Of The Witch.
In a mad dash, Ryff and Herberg got in touch with some of their old friends and bandmates and assembled a “dream team,” five additional musicians from around the area he admired, including Hild on bass, Herberg on guitar, Wood on keyboards, and Lee on vocals and percussion. Ventura would play drums for the second RACES show and they’d lose a backup vocalist who went to focus on her solo project (Ryff empathizes), but otherwise, RACES has remained exactly the same since that very first gig.
What sunk in was the effortlessness of it all: RACES never had to hustle to book their own shows despite living in Van Nuys, a twenty minute drive from Los Angeles that often feels hours removed from it all. Above all else was a chemistry that just couldn’t be faked or brainstormed during “band business meetings.” They attribute their work ethic to their humble surroundings, spending entire days honing their material in a Chatsworth studio because, well, what else are you supposed to do in the Valley? For the most part, RACES didn’t even see themselves as a “serious band” until local boutique imprint JAXART felt their demos were simply too good for a limited release, and label interest spread rapidly. The fit with New York’s venerated Frenchkiss Records was perfect – indeed, with RACES’ ability to derive such resonant and instantly ingratiating pop out of the relatable emotional turmoil of your mid-20’s, it’s no wonder the same label that houses Passion Pit, Dodos and Antlers were such ardent supporters.
At its core, there are plenty of sad songs and waltzes – “The Knife,” “Walk Through The Fire” and “All For You” all have a melodic and lyrical directness befitting their origins as Ryff’s solo work. But as Ryff admits, “I didn’t want to play music that’s just a sappy guy on an acoustic guitar,” and RACES flesh them out to swoon with dramatic grandeur and earthen rusticity behind Ryff’s plaintive words. It’s a startling show of sophistication from a band who has only been together for less than two years. The ornate orchestration and vocal arrangements on the female-led counterpoint “Don’t Be Cruel” in particular owe their origins to Herberg’s background as a composer – he’s the one who brings Ryff’s Leonard Cohen fantasies to fruition. Quoth Ryff, “he’s our Brian Jones.”
But even with the speed at which RACES are going forward, they haven’t gotten complacent in the slightest – they’re already working out new material for their next album, which they hope will integrate more of the electronic textures they’ve been experimenting with and won’t be so much “about a girl,” as Ryff jokes. But their goals are still modest – maybe playing the Bowery Ballroom in New York, getting better as musicians, the sort of things deemed worthy to a band that isn’t looking to piggyback on any sort of hype cycle. But what do they hope for most of all? Ryff puts it best: “I’d rather get dropped and start back at the beginning than not have fun with these guys.” It’s a fitting mission statement for a band for whom every show feels as exciting as that very first one.
GLISS is hazy experimental fucked up pop.....delightfully wrecked....GLISS is that split second of breathless exhilaration.....GLISS is victoria, martin, and david......you can find GLISS in los angeles....unless they are touring with the raveonettes, the editors, black rebel motorcycle club, smashing pumpkins or we are scientists....GLISS’ second album is DEVOTION IMPLOSION ......you can get your implosion devoted in april ‘09 on cordless recordings.....you will want to make out with GLISS....GLISS is incestuous.....when GLISS play live, they all play each other’s instruments....GLISS will turn you on with their fuzzed-out guitars and krautrock rhythms......GLISS will love you back.....GLISS have a dark side.......victoria is danish and loves
death metal.....martin loves the velvet underground and practicing yoga....david likes to drink apple juice every morning and falls asleep to audio books every night .....once upon a time GLISS bought an ‘85 ford diesel van and converted it to run on veggie oil before heading out on a lengthy tour.....the van broke down stranding them in the middle of nowhere, texas.....GLISS was had by a shifty mechanic but there’s no reason to be mad because GLISS won a new van from guitar center for having the best tour horror story....GLISS is happiest blowing your mind.......DEVOTION IMPLOSION feels like the morning after.......it was mixed by gareth jones ....... gareth jones is pretty cool for working with GLISS...and depeche mode, liars, wire, nick cave and these new puritans......GLISS took it all off at a huge show in norwich, england...the promoters in london and manchester threatened not to let them play until GLISS promised that
they would not play naked...so martin stripped down to his british flag underwear in london.....GLISS is being up all night.....swirling ominous fuzz.....an overdose of sound.....chaos...... dark propulsion beauty....rock ‘n’ roll...excess...drowned in aural pleasure..........
GLISS is shattered soundscapes that melt you into a DEVOTION IMPLOSION
George Clinton calls her "the Jimi Hendrix of the violin." Rolling Stone called her music “fiery and virtuosic...”
Lili Haydn has released four critically acclaimed major label recordings as a solo artist. Lili (1997 Atlantic Records), Light Blue Sun (2003 BMG Music), Goodbye Stranger Ep (2007 Nettwerk Music Group), and Place Between Places (2008 Nettwerk Music Group). She has played with, sung with, and opened for everyone from Roger Waters, Herbie Hancock, Sting, Jimmy Page and Robert Plant, the Los Angeles Philharmonic, Josh Groban, Seal, Matchbox 20, Cyndi Lauper, Nusrat Fateh Ali Khan, and George Clinton's P-Funk All Stars to name a few. Both as a solo artist and as support, Lili has performed in premiere concert halls such as Carnegie Hall, the Vienna Opera House and the Hollywood Bowl.
Her last cd, "Place Between Places," was a favorite on NPR, and Lili performed the single "Strawberry Street" on the Tonight Show with Jay Leno and the HBO hit Californication. Her songs have also been licensed for TV, film, and commercials, including Army Wives, Dharma and Greg, the film Anywhere But Here, and adverts for Jaguar, and Folders Coffee, among others.
In addition to Lili's extensive recording and touring career, Lili is the featured voice and violin on several films with Hans Zimmer (Pirates of the Caribbean 3 and 4 (2007, 2011), The Burning Plain (2009), Casi Divas (2009), The Boat that Rocked (2009)), as well as with composers Harry Gregson Williams (The Town), Ramin Djwadi (The Unborn (2009), Fright Night (2011), Henry Jackman (Henry IV, Gulliver's Travels), Cliff Eidelman, Paul Cantelon, Tom Petty (Open Window (2006), She's the One (1996), among others.
After performing and improvising on filmscores for several years, Lili has launched her own film scoring career, earning a fellowship from the prestigious Sundance Institute for film composing, and has scored six feature in the last several years, including Jacklight (1999), the award winning film The Horse Boy (2009), The Lightmaker (2009), Somewhere Between (2011), Zeitgeist: Moving Forward (2011), Broken Kingdom (2012). Lili is currently in production for her upcoming CD, and is composing and performing additional score for an upcoming film called The Manson Girls, starring Eric Balfour, and Taryn Manning, to be released theatrically in 2012.
A humanitarian and activist, Lili also performs regularly for various human rights organizations, including Amnesty International and Human Rights Action Center, the Global Security Institute (for whom she performed a concert at the UN), Code Pink, John Wayne Breast Cancer Center, Indigenous Land Rights Fund, El Faro Orphanage, Peter Gabriel's Witness Foundation, National Civil Rights Museum, among many others; and recently contributed her song "Unfolding Grace" to a CD compilation benefiting Ang San Suu Kyi and the Burmese pro-democracy movement which features U2, Peter Gabriel, Sting, and Paul McCartney.
Lili Haydn was also an accomplished actress growing up, paying her way through Brown University (where she graduated with a Bachelor of Arts degree in Political Science), performing in TV and film such as NBC's Mrs. Columbo, The New Gidget, Rodney Dangerfield's Easy Money, and Jack Frost, among many others.
At the center of all Lili Haydn's musical ventures is a belief that music has the power to uplift and to heal, no matter what the medium. For an artist whose music has always been eclectic, cinematic, and broad in scope, there are no boundaries, and Lili looks forward to continuing to bring her unique voice to film and TV, as well as to her inimitable performances and recordings.
adv tix $12.00 / day of show tix $15.00
Sat, May 25
Tue, May 28
Wed, May 29
Thu, May 30
Fri, May 31
Sat, June 1
Mon, June 3
Tue, June 4
Thu, June 6
Fri, June 7