Chris Pureka

In an age of fleeting success and temporary notions, Chris Pureka is an artist of substance, armed with an eye for detail and an emotional intelligence that can switch from withering to compelling with a subtle inflection. Her third studio album, How I Learned To See In the Dark, adds bold new elements to the base she has built over her six-year career. From non-traditional percussion, to lyrical abstraction, to a new unrestrained vocal quality, to Pureka’s choice of co-producer (longtime friend Merrill Garbus of tUnE-YaRds), this record signals an exploration of broader musical soundscapes.

While maintaining the unique alchemy of longing, loss and hope Pureka sets to music, there is a sonic adventurism on How I Learned to See in the Dark that marks a new stage in Pureka’s musical evolution. Even from the first notes of the album’s opening track, “Wrecking Ball”, longtime fans and the newly converted will sense that How I Learned To See In The Dark is a bigger album, deeper and more vast than anything she’s released to date. “I wanted it to feel different right away,” Pureka explains. “And ‘Wrecking Ball’ exemplifies many of the elements that are different from the last record.” That difference is a newfound edginess, coupled with a more abstract sound: there is a musical depth and complexity that shines through each track, all the while maintaining the space and creative instrumentation Pureka is known for. Standout track, “Landlocked”, showcases Pureka’s technical prowess with the finger-picking style that won her so many accolades on Dryland while “Broken Clock” is the rhythm driven, heavy hitter bound to be on your next break up mix. “Wrecking Ball” mixes a playful quirkiness in production with an underlying paced anger, laced with twangs of percussive guitar. Finally, album closer, “August 28th” is the deep breath following the emotional tumult that precedes it – a return to quiet contemplation for the writer and the listener: “I think the whole world needs a shoeshine/I think we’re all living proof.”

Emy Reynolds Band

Emy Reynolds grew up in the small town of Ojai, nestled in the valley just off the coast of Southern California. Her story began in high school, after singing at Carnegie Hall and touring in Germany/Austria with her choir. She was hooked on singing and being on the road. Upon her return, she began writing and almost immediately performing at local venues. Emy became known for her rare low raspy vocal coupled with lyrics of timeless tales. As the winner of Battle of the Bands in Ojai, Emy opened for Brett Dennen and that is where she met, Piper Denney who was in a different band at the time, but soon joined Emy and started performing as a duo. From this event she also met John Adair, President of Emoto Music, a Santa Monica/ Chicago based music licensing company. Emoto had Emy sing on a commercial spot for a nation wide Chevy Traverse commercial. In fall of 2009, Holly Schmidt joined the band, making it a trio of alternative singer-songwriter folk with rich vocal harmonies. Together, they recorded their first EP, Ode to the Stubborn with a friend. With the December 2009 release of the EP, they went on their first West Coast tour reaching Bellingham, WA. In 2010, Emoto had the band perform intimate showcases at advertisement agencies in Chicago, Seattle and San Francisco. In March 2010, as a result of Emy meeting Kasey Truman from Chop Shop Music at a Hotel Café show, her song, Tonight, was featured on Grey's Anatomy. Emy has been featured in a PSA covering Peter Gabriel's song, Mercy Street. Most recently, Best Day ever was in a Payless Commercial. Currently, the band is playing in Ojai, Ventura and LA. They have plans to record a full-length album and go on tour again soon.

$12.00 - $15.00

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Doug Fir Lounge

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Chris Pureka with Emy Reynolds Band

Wednesday, June 26 · Doors 8:00 PM / Show 9:00 PM at Doug Fir Lounge