Marissa Nadler, ENTRANCE (Guy Blakeslee)
777 Valencia Street
San Francisco, CA, 94110
Doors 8:00 PM / Show 9:00 PM
This event is all ages
Marissa Nadler wastes no time in cutting close to the bone on “July,” her latest
album and first for her new labels, Sacred Bones (US) and Bella Union (Europe).
“Drive” opens the record with one of her most devastating lines, addressing a
quandary we have all grappled with at some point: “If you ain’t made it now/ You’re
never gonna make it.”
There is catharsis in the chorus: “Nothin’ like the way it feels/ To drive,” she sings
amid a choir of celestial harmonies, elongating that last word as if it were a car
bounding down a long stretch of lost highway. It’s Nadler at her most elemental:
warm but spectral, vulnerable but resilient.
Nadler lays the listener – and herself – on the line with “July,” her sixth full-length
album in nearly a decade. Set for release on Feb. XX, it floats freely in the pop
cosmos somewhere between gauzy shoegaze, unvarnished folk, and even a hint of
metal’s doom-and-gloom spirit.
On “Firecrackers,” an acoustic strum frames a cascading melody that is simply
gorgeous until you realize just how much it belies the brutality of what Nadler has
to say. “Firecrackers/ Burned into heaven on the floor/ My attacker/ It’s me, it’s me,
it’s me you’re looking for.”
Then she slyly leavens the mood: “July Fourth of last year/ We spilled all the
blood/ How’d you spend your summer days?” Nadler asks with a straight face,
acknowledging you could either laugh or cry at such a sentiment.
This is the world of Nadler’s “July,” where you're likely to find the Boston-based
singer and songwriter “holed up at the Holiday Inn” watching crime TV or leaving
her instruments to freeze in the car. These settings, details, and themes are brand-
new to Nadler's canon, and they paint a far more realistic version of her life than
her previous records. The results are astonishing and occasionally reminiscent
of David Lynch (who is, appropriately enough, among her label mates on Sacred
Bones). As Pitchfork once wrote, her songs are “as gorgeous as they are elliptical
Recorded at Seattle's Avast Studio, the album pairs Nadler for the first time with
producer Randall Dunn (Earth, Sunn O))), Wolves in the Throne Room). Dunn
matches Nadler's darkness by creating a multi-colored sonic palette that infuses
new dimensions into her songs. Eyvand Kang's strings, Steve Moore’s synths, and
Phil Wandscher's guitar lines escalate the whole affair to a panoramic level of
beautiful, eerie wonder.
Her voice, too, is something to behold here, at once clarion but heavy with the
kind of tear-stained emotion you hear on scratchy old country records by Tammy
Wynette and Sammi Smith. Long gone are the days when Nadler summoned images
of 1960s folk singers who got lost in the woods. She is a cosmic force on “July,”
shooting these songs to euphoric highs and heartbreaking lows.
Celebrated for her crystalline soprano, she explores her lower register to profound
effect throughout “July,” turning “1923” into a cinematic ode to forlorn love. Strings
cradle Nadler’s vocals, cresting in a climax that is somehow vast yet still intimate. If
you were to hear only one song from “July” – which would be a shame, by the way –
let it be “1923.” It is Nadler in miniature: haunted, elegiac, and epic.
“July” is the kind of release that reminds you why NPR counts Nadler's songwriting
as so “revered among an assortment of tastemakers.” This is a singular achievement
for the artist, a record she couldn’t have made earlier in her career because, as every
songwriter knows, she didn’t just write these songs: She lived them.
Guy Blakeslee solo (of The Entrance Band)
The Entrance Band (formerly called Entrance) is a band started by Guy Blakeslee. Blakeslee was born and raised in Baltimore, Maryland and first gained notice as a member of The Convocation Of.... He later left the band and moved to Chicago to pursue a solo career under the guise of the name Entrance. He performed regularly for the next 18 months at a bar called The Hideout, which eventually gained him the attention of Tiger Style Records.
Entrance toured with Sonic Youth, Devendra Banhart, Will Oldham, Stephen Malkmus and the Jicks, Yeah Yeah Yeahs, Dungen and Cat Power. Blakeslee has released his music through Tiger Style Records and Fat Possum Records, as well through his own record label, Entrance Records.
Rumor has it her birth father was a guitar player from Texas; She was mouthing melodies before words. Truth is Cat Martino is a voice emerging that draws you in by its natural strength and intimacy. Cat calls her original style "Some kind of Soul". It's a little bit indie-folk-rock-experimental, born from influences diverse as Laura Nyro, The Beatles, and Bjork… Cat played her guitar, piano, and looped her voice and instruments to create layers that dream a sound all her own.
Martino has toured internationally, in support of Rufus Wainwright, RIDE frontman Mark Gardener, Black Rebel Motorcycle Club, and more. Cat has enjoyed singing with and/or organizing small choirs for local friends Sharon Van Etten, Sufjan Stevens, Joseph Arthur, & Swedish artists Anna Ternheim, Nina Persson (The Cardigans), A Camp, and Marit Bergman. Other musical conspirators have been found in multi-instrumentalist/Producer Jack Petruzzelli (Rufus Wainwright, Patti Smith), Ben Kalb (Regina Spektor), Nathan Larson (Angela McKluskey, Shudder to Think.), Matt Johnson (Jeff Buckley), and Joe & Robin Bennet (of Goldrush, Dusty and the Dreaming Spires Truckfest).
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