Gregory Alan Isakov

Gregory Alan Isakov

Born in Johannesburg, South Africa, and
calling Colorado home, Gregory Alan
Isakov has been traveling all his life.
Songs that hone a masterful quality
beyond his years tell a story of miles
and landscapes, and the search for a
sense of place.
Music has been a stabilizing and
constant force. “I’ve always had this
sense about music and writing that I sort
of have to do it. Like I’ll implode without
it. I probably wouldn’t do it if I felt any
other way.”
His song-craft lends to the deepest lyrical
masterpieces, with hints of his
influences, Leonard Cohen and Bruce
Springsteen. He has been described as
“strong, subtle, a lyrical genius,” but the
source of his writing often remains a mystery to him. “My songs have nothing to do with me; they have a life of
their own. A lot of times I won’t know what a song is about when I’m writing it. It just has a certain feeling
about it.”
Isakov has played numerous music festivals and venues across the U.S., Canada, and Europe. When he is not
on the road or writing, he is usually in his garden. A degree in horticulture might seem contradictory to a life
spent in motion, but Isakov finds balance in the quiet concentration of the work, creating roots that keep him
connected to home.
His new album, The Weatherman, was recorded mostly in solitude outside the quiet mountain town of
Nederland, Colorado over the course of a year and a half. "I wanted to make something that felt genuine. We
recorded everything with analogue gear and mixed it on tape, which gives the songs a raw and vulnerable
feeling."
The title Isakov chose for the record reflects the nature of his external surroundings as much as his inner
experiences. References to the weather are a reoccurring theme in Isakov's writing, but there is a deeper
meaning behind the name.
"To me, the idea of a weatherman is really powerful. There's a guy on television or on the radio telling us the
future, and nobody cares. It's this daily mundane miracle, and I think the songs I chose are about noticing the
beauty in normal, everyday life."

Kris Orlowski

For Seattle-based band Kris Orlowski, making music is about more than fulfilling personal agendas; it’s about creating something that touches the soul. Through relatable storytelling, husky harmonies and knack for hitting emotional highs, the band has touched the souls of people across the Pacific Northwest since 2010. In the wake of releasing three well-received EPs, touring the country and having songs featured on primetime television series, the act will release its first full-length album, Believer. Produced by Martin Feveyear, of Jupiter Studios in Seattle, the songs that make-up Believer were woven together along the West Coast: from the salty shores of Seaside, Ore., and Orcas Island’s Doe Bay, to the corners of Orlowski’s Seattle apartment – as well as the practice spaces in between. And the collection, rich with personal experiences and thoughtful reflection, may prove the band’s most honest and empowering work yet. Shedding the lush sounds of a 17 piece orchestra for more traditional rock and pop arrangements, the cinematic record is more punch-y and experimental than their earlier folk-infused traditions. “I think the album will inspire some hope, but I also think it will go beyond that and give people a reason to act,” Orlowski says. In other words, it might encourage finding something to believe in.

Patrick Park

From the time of his first offering in 2003, the "Under the Unminding Skies" EP, Park has spent the better part of the last decade developing a reputation as a captivating recording and live artist and has toured with a diverse range of artists such as My Morning Jacket, Seawolf, Grandaddy, Beth Orton, Liz Phair, Shelby Lynne and David Gray among others.

Since 2010's critically acclaimed "Come What Will" Patrick has been amassing a large collection of new songs. The first of these to be released is an EP called "We Fall Out Of Touch". To write the new disc, he isolated himself for ten days out in the middle of the California desert in a cabin without any distractions -- no phone, TV or internet. The recording took place over the course of three days at Kingsize Soundlabs in Los Angeles.

No Depression says of the EP, "Park's lilting vocals are somewhere between Lou Reed and Elliott Smith. It's dreamy and sad and emotional and simple, and does everything right"

Patrick chose the song "We Fall Out Of Touch" as the title of the EP because it encapsulated the general feel of the record and the moment. He says, "To me it has several different layers of meaning. It's a great modern day irony, in an age ostensibly defined by our glorification of communication technology, that we are more out of touch than ever before. The songs on this record are definitely more personal than a lot of the songs I've written in a while. It wasn't a choice, they just came out that way. I always try to resist saying explicitly what the songs are about for me because it's totally unimportant and doesn't matter in the slightest. Songs to me are about communication, that's the only way they live at all. But, it's a different kind of communication than me just telling you what's going on in my life or whatever. It's about that moment when you as the listener hear your own life in a song. At that moment you feel a little more in touch with your own life, and in a weird way you feel in touch with others. If a song doesn't do that, then it's just wallpaper. It's just more noise in a world full of noise." He adds, That being said, I'm sure I've written more than my fair share of wallpaper."

Park's earnest start at becoming a songwriter, something he knew he was destined to do since the age of thirteen, began around 2000 when living in Los Angeles with a batch of songs that he decided to demo. He lacked the money to go into a studio, but that didn't deter him. "I ended up recording in the back of a store that a friend's girlfriend owned. I sang all the vocals on my knees inside of this couch cushion hut that we built because there was a cricket in the room and it kept bleeding into the microphone. It was August and it was hot and horrible," Park laments.

With his first album underway, he began playing solo shows in LA. "There is a freedom to the simplicity of solo acoustic shows which I love," says Patrick. "Musically, it's direct and pure, and there's nothing to hide behind, no way to cop out. I bare the sole responsibility for the quality of the performance. I like that it's all on my shoulders." The local press immediately reacted enthusiastically. PopMatters' Kimberly Mack reviewed a 2003 LA support slot with Supergrass and wrote, "When you see a Patrick Park show, the music is the star. And in a music business over saturated with pre-packaged studio acts, an artist like Patrick Park is a welcome breath of fresh air. Though Park plays music that can be easily classified as folk or even alt-country-folk, his punk roots are evident. Strongly reminiscent of Kurt Cobain, with a little Morrissey thrown in for good measure..."

Developing a loyal following for his performances, he also grabbed the attention from fellow artists as well, as he opened shows for the likes of Richard Buckner and Gomez, and Beth Orton handpicked Park as the supporting act on her U.S. tour. Hollywood Records also took notice, and signed him. While recording for the major label, in 2003 Badman Recording Co. released Park's gorgeous first offering, the six song EP: "Under the Unminding Skies."

Park's critically-acclaimed first full length studio record, "Loneliness Knows My Name," (Elle voted it "Best Of The Month" and said " ...Patrick Park's rich tenor and effusive melodies -- as much John Denver as Nick Drake -- are ripe with strength and sorrow..."), soon followed later in 2003, and he immediately hit the road, touring with My Morning Jacket, David Grey, Liz Phair, The Thrills, Rachel Yamagata, and Granddaddy, among others.

After enduring the long process of getting off Hollywood Records, he finally released his second full length disc, "Everyone's in Everyone" in 2007. For that record, Patrick worked with several producers including Dave Trumfio, Rob Schapf (Elliott Smith, Beck) and Chris Stamey (Whiskeytown). The album was well received, making several year-end "Best Of" lists and lead off track, " Life Is A Song", was featured as the final song on "The O.C", and viewed by over eight million people, and the second single, "Here We Are", was one of Stereogum's most downloaded tracks of 2007.

On his third album, 2010's "Come What Will," Patrick returned to working with his friend, producer Dave Trumfio, once again to accolades. Absolute Punk's Gregory Robson said, "'Come What Will' is chock full of songs that resonate and smolder inside the psyche. Five albums into an oft-overlooked career, Park may have just written the album of his life."

His latest album, 2014's "Love Like Swords," ebbs & flows through a variety of styles, with Patrick's pure vocal poetry captivating the listener. LP cut "Dust and Mud" is an upbeat track accented by horns, bright harmonies & stomping drums. "Let's Go" tells the tale of a desperate getaway with sparse guitar twangs, handclaps & drum beats rolling like tumbleweeds along the desert road. Title track "Love Like Swords" is an emotive track of booming percussion amidst intricate guitar riffs.

adv tix $14.00 / day of show tix $16.00

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Gregory Alan Isakov with Kris Orlowski, Patrick Park

Tuesday, August 20 · 7:30 PM at Troubadour

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