RICKSHAW STOP and NOISE POP CO-PRESENT
155 Fell St
San Francisco, CA, 94102
This event is all ages
Owen – the acclaimed solo musical guise of singer/songwriter/multi-instrumentalist Mike Kinsella – has made an astonishing leap forward with The King of Whys, the rst work in his two-decade-plus career to be made entirely outside of the greater Chicagoland area. Produced by S. Carey over 18 days last winter at April Base Studios in Eau Claire, WI, the album is Owen’s most inspired and evocative thus far, interpolating a group dynamic into what has long been an intensely intimate sound. Fraught with hurt and wry humor, The King of Whys is a portrait of a restless artist grappling with doubt and ghosts of the past but searching for meaning through candor, creativity, and an ardent need for emotional release.
For more than two decades, Kinsella has been a central gure in Chicago’s indie rock universe, serving multiple roles in a string of bands whose in uence continues to resonate across a span of genres and musical approaches. A founding member – with his brother Tim – of Cap’n Jazz, Joan of Arc, and Owls, Kinsella’s own vision rst manifested via American Football’s cathartic rock, but for most of the years since 2002, through Owen’s raw homespun offerings. Adopting the solo singer/songwriter persona freed Kinsella from a lifetime working in collectives, giving him complete control over every aspect of his creativity.
Still eager to push Owen’s hermetic parameters, Kinsella enlisted producer S. Carey – frequent collaborator of Bon Iver, Sufjan Stevens, Mason Jennings and acclaimed solo artist in his own right – to helm his next album, the two like- minded artists having rst met as Carey supported a handful of dates on American Football’s 2014 reunion tour.
Where Owen’s prior outings were almost entirely performed by Kinsella on his own, Carey brought in some of the Badger State’s nest players to add new esh to his bare-boned songcraft. Kinsella, as usual, is up front on guitar, vocals, bass, drums, and bells, accompanied by Carey (keyboards, vocals, drums, bells) and such WI musicians as Zach Hanson, who also served as engineer on the record, violist Michael Noyce, pedal steel guitarist/keyboard player Ben Lester, horns player Andy Hofer, and bassist Jeremy Botcher, all of whom share credits including Bon Iver, S. Carey, and The Tallest Man On Earth. Together the combo crafts an expansive but still grounded backdrop for Kinsella’s candid confessionals.
An intimate singer/songwriter album recorded under contemporary circumstances, The King of Whys utilizes progressive techniques, song structures, and time signatures, but Owen’s introspective humanity is timeless. Having made music for a very long time, Mike Kinsella continues to push himself towards transcendence with honesty, artistic ambition, and a sense of real circumstance.
Though Stevenson began writing classically on piano early on, it wasn't until her late teens that she taught herself how to fingerpick the guitar, aspiring to have the quickness and intricacy of her "guitar god," Dolly Parton. The new instrument opened up a window of creativity and Stevenson soon began writing songs heavily influenced by the writers her father had raised her on, such as Neil Young, Gram Parsons, and Carole King, while also drawing inspiration from music that she discovered on her own like Leonard Cohen, and Jeff Mangum. Meanwhile, leaving her comfort zone, Stevenson started playing in friends' bands in and around Long Island, a time that she says, "taught me how to be on tour, how to give and take with other musicians, and not be afraid of my own ideas." With a new found confidence and a solid and supportive community of creative people behind her, Stevenson moved to Brooklyn in her early 20s and soon started performing her own material, loosely assembling a backing band of friends from other projects. In 2010, she released her bare-bones full-length debut simply entitled, A Record, which she quickly followed the year after with Sit Resist, the first solid document of her work playing with a full band. Those two albums and a healthy amount of touring brought Stevenson a dedicated fan base, drawn to her voice, her words, and her relatable down-to-earth persona.
While writing the 13 songs that make-up her newest record, Wheel, Stevenson sought to understand her place within the frame of time, nature, and among those that she loves. With her words, a careful twine of prose and humor, Stevenson manages to expose the nagging contradictions that make life so terrifying but also so worth living, how it is possible to simultaneously feel both fear and joy, the bitter aftertaste of something so beautiful it makes you sick. Themes of passage, the cycle of the moon, the seasons, and love's ever-shifting states of dependence, are all interwoven throughout Wheel as songs ebb and flow from her band's crashing walls of distortion and pounding drums, to sweet string-led overtures, to moments where it is just Stevenson and a guitar.
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