Parade of Flesh presents . . .
FREE: Eliot Sumner
2303 Pittman St
Dallas, TX, 75208
This event is 21 and over
Following her first studio album, Eliot took a four-year hiatus to re-evaluate her sound. "I went into hibernation for a while, to search for my soul," she jokes. Thankfully she located it â€“ quite possibly in the Lake District. "I moved there for five months in total isolation, with just my dog," she remembers. "I was experimenting with different writing methods." During this time she also worked with the composer Clint Mansell on a soundtrack for the film Filth.
Eliot decided to shed her previous band name in favour of her actual name: "I'm proud of the music I'm making now," she said at the time, "and I want to take ownership by putting my real name on it." After putting out the blistering, three-track EP 'Information' last August, Eliot embarked on a European tour with Swedish songstress Lykke Li. The tour was captured in a twoâ€“part, behind-the-scenes documentary that featured on i-D : 'On the Road with Eliot Sumner and Lykke Li'. https://i-d.vice.com/en_gb/video/on-the-road-with-eliot-sumner-part-one
"We have been friends for a few years and always wanted to collaborate on something," says Eliot of the joint tour. "This was cool timing cause I had the EP out and she was touring so we just made it happen. The homecoming show in London was most memorable; we played the Hammersmith Apollo and I didn't expect so many people to be there but it was fully packed."
Eliot had the luxury of recording her second studio album directly after coming off of the tour, meaning that the band felt tight musically, and that the tracks were â€“ as she puts it â€“ "well refined". The album, also titled 'Information', will be released on the 22nd of January 2016. Its sound marries the hauntingly-low-register vocals and upbeat electro-pop that have always been Eliot's hallmark â€“ however, this time, there are new, Krautrock-inspired inflections. "It's the kind of music that I would probably listen to myself," says Eliot.
The resultant sound is digressive and experimental, but also familiar. The record shows of a range of sophisticated influences, from Eliot's favourite band as a teenager, the Bad Seeds, to bands like Cluster and Faust, as well as iconic German electronica four-piece Kraftwerk. "The album is very motoric, with hypnotic beats," says Eliot. "I use a lot of drum machines and snares. I like noise. There are some industrial sounds on there too. There's definitely no swing or jazz!"
Eliot's new band line up features Nick Benton on guitar, old friend Jan Blumentrath on synthesizer and Adam Gammage on drums, with the four-piece arranging songs together as a team. "There's a lot more organic energy with this group", Eliot says, smiling, "It feels like a nucleus." During their live sets, the band's closeness is palpable.
All of the tracks on the album were produced by Duncan Mills, who has worked with The Vaccines, Spector and Crocodiles. This lends it coherency, says Eliot, although from first listen it's obvious that each track could stand alone as a single release. Mills gave Eliot the space to experiment, meaning that the album also tells of psychedelic influences â€“ it's heady, with whirling guitar sounds, unusual song structures and unpredictable synths.
Information is the single that leads the album, a bracing six-minute synth-and-strings song that plays out with a long, confident instrumental passage. "It's a break-up song," Eliot explains. "It's about not understanding the situation." The video, which premiered via Dazed Digital, features a supernatural Eliot doing battle with two muscle cars at night in the desert outside LA. "It's slightly self-destructive," she smiles, "I'm being chased by this car, then you work out that it's me driving it."
Following Information, Eliot and the band have released four tracks from the forthcoming album one-per-month over the Summer of 2015. The first was Dead Arms and Dead Legs. "This is my favourite track on the album," says Eliot, "Lyrically it was very easy to write because I was in a very vacant state of mind â€“ I was going through an adjustment period. It's
about walking through something robotically making decisions." The song debuted on The Fader.
The next, After Dark, was an anthemic ode to having one too many. "It's a little bit about me not knowing when to cool it," Eliot laughs. She wrote the song with friend and ex-Kaiser Chiefs drummer Nick Hodgson, who makes guest appearance elsewhere on the album: "He's playing tambourine somewhere â€“ you'll have to listen out for it!"
After Dark was followed Firewood, an apocalyptic song about how everything is temporary. Inspired by the song Don't Fear the Reaper by Blue Ã–yster Cult, it's not about anything specific, just living in the moment. "It started just off as a guitar riff, then we decided to put some acid synths on it and it really worked." Stereogum premiered the video.
Species was the fourth track to be released in anticipation of the album, and has stronger techno influences than the rest. "It's about how we're evolving into this new species where things can be totally genderless and unidentifiable," says Eliot. The song, its composition and its lyrics are futuristic and genre-defying, something Eliot says she was pushing for.
Upon release of these four tracks, the band shot an intense four-part video performance for which lighting design mavericks Flat-E â€“ the creative brains behind the visuals for Jon Hopkins' live sets â€“ created a conceptual installation. The band wanted to do something experimental to reflect the fact that these singles are, as Eliot puts it, "the most left-field songs on the album".
Come Friday, one of the tracks from Eliot's EP, is also uplifting, and musically sets the tone for the whole album. "When I took that song to Duncan he said, 'you have to write a whole album like this!'" A more guitar-driven track with an anthemic chorus, its pace and soaring melodies disguise a darker subject matter. "It's one of my favourites," says Eliot, "It's about still being in love with someone but not allowing them to have another life. It's very selfish."
The process of writing the album wasn't easy, says Eliot, between sighs. It was a labour of love. "I tried to write it maybe four times, from 2012 to more recently," she says. "The stuff I wrote back in the Lake District was so depressing no one could have listened to it, but there are happier moments on the album now." Let My Love Lie On Your Life is one of these moments: "It's about being distracted," says Eliot cryptically, before adding: "in a good way."
"Nobody ever paid money to see Harry Houdini escape being buried alive" says My Jerusalem founder and singer Jeff Klein. "They wanted the small chance of seeing him
killed by the weight of the earth on top of him."
Behold the concept behind Preachers, the second full-length release from Austin's My Jerusalem. From the opening piano of the haunting title track, to the unexpected pummeling guitar and drums on closer "I Left My Conscience In You", Preachers leads
the listener on a cinematic journey through a reckless, jagged landscape of Raymond Carver-esque stories, fueled by Klein's persuasive baritone, ominous guitars, dream-like keyboards and a deep rhythmic pulse.
Recorded in under three weeks by Spoon drummer Jim Eno (Heartless Bastards, Polica, Black Joe Lewis) at his Public Hi-Fi studio, Preachers is the first My Jerusalem album genuinely made by a band, not just performed by a group of musicians. Pushing aside hard drives and laptops to make way for analog tape machines and vintage keyboards, what Klein describes as the "Post-Modern Southern Gothic Soul" sounds of Preachers
were born from organic, live performances Eno carefully captured and tweaked.
Preachers is the follow-up to 2010's critically acclaimed debut, Gone For Good, an album that earned the band performances on BBC Radio 6 and Daytrotter, as well as notices from NPR's All Songs Considered, AOL/Spinner's Song of the Day, and the
iTunes Weekly Rewind. Along with European festival appearances at the Frequency Festival, Musikfestwochen, and Rock Im Saal, the band toured and played shows with a eclectic set of bands including Edward Sharpe and the Magnetic Zeros, Har Mar
Superstar, Avett Brothers, Godspeed You! Black Emperor, and White Arrows.
Buoyed by the success of Gone For Good, Preachers showcases a band headed into the studio with a renewed focus and confidence. Preachers contains equal parts swagger
(the swampy gospel of title track "Preachers", the strutting intensity of "Born In The Belly") and groove (the spooky beauty of "Shatter Together", the crescendoing, feral drive of "Devoe", the infectious crooner "Mono"); as much primal ("Death Valley") as it
is humane ("Chameleon").
"It's a darker record," says Klein, who, before forming My Jerusalem in 2010, made 3 records under his own name. "So much had changed since Gone For Good. We'd all kind
of been through hell and back again in different ways, and this was the natural artistic result of all of that. But I think it's a beautiful, comforting darkness. It's real, but not selfish."
"We finally have a shared collective vibe," adds guitarist/keyboardist Jon Merz, "I believe it's more representative of what our live shows sound like. This time around, Jeff would bring us song ideas and we would add our own perspectives to it."
The five-piece, which also features multi-instrumentalist Michael St. Clair, drummer Grant Van Amburgh, and bassist Geena Spigarelli, also had the opportunity to road-test much of the new material before recording, during their extensive touring behind Gone For Good. It was a luxury they didn't have the first time around.
"Working out the kinks live before recording them makes a big difference," reflects Klein, "They get a chance to breathe and grow before committing them to the world permanently. Because of that process, some songs, like 'Death Valley,' sound nothing like
their early version. We're excited to take them on the road and see how they evolve even further."
Equal parts sweet, morbid, strange, and sincere, Preachers is an experience that could convert the most steadfast of non-believers.
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