Father John Misty

Father John Misty

"I Love You, Honeybear" was recorded intermittently from 2013 to 2014 in Echo Park, Los Angeles and produced with Jonathan Wilson, who I also recorded and produced 2012's Fairly Fun with.

There's a case to be made that it sounds and acts a bit like Scott Walker, Randy Newman, Harry Nilsson, and Dory Previn. Blammo. The songs are a narration of my experience falling in love, which means different things to different people, but which I found incredibly inspiring, personally and creatively. My personal mandate for the writing herein was to claim the experience for myself without resorting to a multitude of clichés. I believe I have addressed the sensuality of fear, the terrifying force of love, the unutterable pleasures of true intimacy, and the destruction of emotional and intellectual prisons with an imprint that is undeniably my own. Blammo. This is a fairly experimental record, in that, I "experimented" with several different approaches for each song (which is part of why it took so long to record) even though the arrangements and styling are fairly classic. Taking a larger producer role this time around gave me license to indulge no small degree of ambivalence and uncertainty. This material demanded from me a new way of being made, and it took a lot of time before that revealed itself. I believe we found a way to make something that is meticulous but natural, dense but still sounds spacious. Mostly I had to overcome the temptation to think that the method by which the last record was made would suffice this time around too. Blammo.

Weyes Blood

Natalie Mering, the being behind Weyes Blood, sings sublimely on Front Row. These are her words and she means them. Between the subtle pulses of her breath, we feel the textures of her voice. Her delivery is a trained low gloss, polished with the charm of speech. Mering embeds her song in a harmonic gauze of arpeggiated piano, acoustic guitar, druggy horns, and outer space electronics. Propulsive, spare drums carry us across the album's course.

There is a faded California beauty to Front Row. A gentle honesty that recalls the finest folk music made on the West Coast of the '70s. The hue hangs in the sweet-spooky harmonies, the pulsing sway of the vibrato, and the ecstatic chord resolves. It is the joyful release of energy as the song delicately unfolds from intro to extrospection.

But this beauty is scratched with shadow; with dark foreboding, alienation, and acceptance of change. Love and loss balance together in suspended alchemy, as the earthiness of the singer-songwriter tradition wears digital sounds like feathers in its hair. Mering, together with co-producer Chris Cohen and some special guests, contrasts live band intimacy with the post-modern electric sheen of A.M. radio atmospherics. The experimental flourishes sparkle amid the succinct, thoughtful arrangements.

The closeness of this record - how personal, alone, and frank it feels - conceals its aspirations to the outside, to the "Earth" of its title. Mering wants to lead us through the microcosm of the personal to the macrocosm of the transpersonal. Her witness harbors devastating weight ("... and now you can't stay, please baby don't go away") while universalizing the strange ways of identity and relationships.

These are not typical love songs or protest songs; they are painful, poignant riddles that celebrate the ambiguity of love. Mering affirms the conflict of harmonious life within a disharmonic world. She illuminates and mythologizes it, projecting it back over the whole of Earth. The inner ecology leads outward, bridging "us" with our obscure inheritance of nature.

Active in underground music since 2006, Natalie Mering has collaborated with Jackie-O Motherfucker and Ariel Pink, and released four records as Weyes Blood. Front Row Seat to Earth is her third record for Mexican Summer.

$37.50 - $65.00+

Tickets

$37.50 G.A. / $40.00 G.A.(Day of Show)

$65.00 Club Level 

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