1013 Park Ave.
Columbia, MO, 65201
Doors 8:00 PM / Show 9:00 PM
This event is all ages
As record store clerks in Chapel Hill, NC, Heather McEntire (of post-punk veterans Bellafea) and Jenks Miller (of heavy-psych/metal outfit Horseback) spent their evenings creating Mount Moriah as an outlet for their mutual interest in classic American folk and rock music. Born in North Carolina's Blue Ridge Mountains, McEntire weaves narratives into spectral tapestries imbued with the complex majesty of the South and its deep-seated spirituality. With nods to both classic folk-rock and their contemporaries, Mount Moriah challenges existing traditional folk music forms with arrangements born from Miller's interest in minimalism and sound texture.
Jesse Sykes & The Sweet Hereafter follow up 2007’s critically acclaimed ‘Like Love, Lust and the Open Halls of the Soul’ with ‘Marble Son’, their fourth release from Paris's Fargo Records and the first on their own US imprint Station Grey/Thirty Tigers.
Sykes and Wandscher took on full production duties for ‘Marble Son’; recorded entirely in and around their hometown of Seattle (engineered by Mell Dettmer and mixed by Martin Fevyear). ‘Marble Son’ exemplifies a band at their creative pinnacle—heavier and more complex than previous records; the music resonates among the parallel worlds of the avant-garde and the timeless. Sykes’ voice and sometimes-mystical leanings (the former described aptly by Magnet as “sounding less like a performer and more like a sage”) and her band’s incomparable musical repoire culminate in what the New York Times has described as “spellbound music, rapt in fatalism and sorrow.” Syke’s trademark thematic darkness and acclaimed songwriting have never been more present; yet ‘Marble Son’ speaks of evolution, which Sykes describes as, “a sonic mirror of the most chaotic, turbulent times of our lives, where beauty triumphed, and the tears that spilled became this record".
The album begins with ‘Hushed By Devotion’, an 8 minute, swelling, rock opus— reminiscent of 1960's San Francisco inspired psychedelia, which provides Wandscher (who co-wrote more of this record then previous) the sonic space to explore the depths of his guitar genius. Characterized by an emblazoned guitar solo, ghostly layered-vocal murmurings; and trademark lyrical poignancy—it’s a brilliant, ambitious statement of intent that commands attention.
The record is an extension of their previous work, influenced in part by an association with the art-metal movement centered around Los Angeles label Southern Lord. This “unlikely” musical friendship between Sykes and influential underground bands SunnO))) and Boris was immortalized on the 2006 album ‘Altar’ (in which Sykes sang and co-wrote the much beloved underground classic "The Sinking Belle",) culminating in a headlining performance of "Altar" at the ATP festival last summer. The band has also toured with Earth, a group commonly acknowledged as one of the major progenitors of heavy-doom (and another member of the Southern Lord roster), psych-rock maestros Black Mountain, and recently appeared at Holland’s Roadburn Festival, curated by SunnO)) themselves, this past April.
Their musical kinship is audible in ‘Marble Son’—an utterly unique, yet subtle genre crossover. ‘Marble Son’ is a journey—a gutsy romp laced with moments of shimmering, retro beauty, underpinned by pastoral images of Syke’s interior world unfolding. Listen to the standout track ‘Pleasuring the Divine’, a gritty roar of a song, fed by Wandscher’s frenetic riffs, sludgy feedback, combined with frantic drumming—it’s entirely unexpected and totally mesmerizing.
That’s not to say that there aren’t moments of hushed acoustic wonder amongst the 11 tracks. ‘Be It Me, Or Be It None’ is a glorious four minutes of hazy, Tim Buckley-esque folk, while album closer ‘Wooden Roses’ is an ethereal meditation on finding love only too late--guitars sparkle, strings stir, and Sykes’ voice swells and creaks beautifully right up until the final second.
‘Marble Son’ is the sound of a band evolving—urgently expanding to mirror the chaos of modern culture while not forgetting the beauty of the tender and mecurial world that exists within us all—the result is more relevant than ever… and, as Jesse puts it; "We have never been closer to sounding like "The Sweet Hereafter" then we do here". What a sweet sound it is. V.K.
MINORS: Please be prepared to pay a $2 surcharge at the door in addition to the purchase price of the ticket.
Rose Music Hall
Mon, March 2
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