The Satellite presents
The Babies (feat. Cassie Ramone of Vivian Girls and Kevin Morby of Woods), Alex Bleeker and The Freaks, Cotillon
1717 Silverlake Blvd
Los Angeles, CA, 90027
Doors 8:30 PM / Show 9:00 PM (event ends at 2:00 AM)
This event is 21 and over
After their first full length album on Shrimper Records, a demos EP on New Images, and scores of singles on U.S. and international record labels, The Babies second album Our House On The Hillis their Woodsist Records debut and the first with new bassist, Brian Schleyer.
While the band was originally conceived as a side-project outlet for Kevin Morby and Cassie Ramone – along with drummer Justin Sullivan – to trade song ideas and play house parties, 2011 saw the project grow into a full time affair. The band spent much of the year touring the U.S. and abroad, all the while writing new material, both in their home of Brooklyn and during a two-month sojourn in Los Angeles.
In February 2012, the band swapped their usual environs of Brooklyn's Rear House recording studio and spent two weeks in Los Angeles working with Producer Rob Barbato (Darker My Love, The Fall, Cass McCombs). The increased time and focus allowed them to explore musical directions only hinted at on their first album. Thus, Our House On The Hill features hushed dirges, melancholic traveling odes and squealing rave-ups, all made cohesive by Kevin and Cassie's captivating songwriting and lyrical themes. Organ, piano, saxophone and even strings play a supporting role in enhancing the aural atmosphere, which finds the band finally realizing a sound that can be called their own. Simple yet thoughtful; familiar yet haunting. Sweet but somber.
"The set opener, "Alligator," is conversational in tone and acts to disarm the hardened listener with its pop confection and curve ball time change signatures on a check of solid Gang of Four gold. "Yo, I dig your hair, I gotta tell you about these holes in my pants, I would rather not hold yer hand. You get the drift."
Cassie evokes Anna Karina if she were in The Shangri-La's instead of Godard films in "See the Country" and then married throughout the entire record are those otherworldly harmonized "oohs" & "aahs" by Kevin & Cassie that'll make the stubble on your spine take notice if you are still one of them folks in need of oxygen to breathe. The switchblade knives & butterfly stitches that paint the heartache and conflict throughout this long player will sharpen you for your next lovelorn argument, stumbling bar brawl between you & a reflection of your 17 year old self in the face of a tinfoil plated locket or for the working stiffs, that 3am Saturday drive home from the bad side of the tracks back to the sad side.
Put the needle on the flip and throw that break up layer of tears away: we got a ride to catch to that house on the hill." – Dennis Callaci
Alex Bleeker and The Freaks
"New Jersey-born Alex Bleeker is an old soul. For his sophomore album, How Far Away, he lets that come into play fully. Over 11 tracks, he deals with the autumnal phase of lost love, the point after the grieving subsides and you start figuring out what you're supposed to do next. As with his last album, Bleeker cobbles together a ragtag collection of "freaks," including Mountain Man's Amelia Meath, who provides gorgeously weighty backing vocals on four tracks, Woods' Jarvis Tanviere, Real Estate's Jackson Pollis, Big Troubles' Sam Franklin, among plenty of other like-minded musicians who lend sparkling instrumental flourishes and a full-bodied backbone to Bleeker's pained yowl. Album opener "Don't Look Down" feels like a mission statement for the rest of the record. Over upbeat guitar jangle and smooth organ runs, Bleeker's voice cracks and lilts: "Don't look back on the way we met/ don't look back at me now/ don't retract all the things you've said/ don't back out on me." In the hands of plenty of other songwriters this would come off as self-pitying, but Bleeker just seems wise. The key to How Far Away isn't just Bleeker's lyrics, which manage to be both universal and intensely specific, but also the relaxed dynamics of the players. Bleeker is a jam band fanatic, and he takes the core ethos of The Grateful Dead—let things unfold naturally—and distills it into concise pop songs: tracks like "All My Songs" and "Rhythm Shakers" are brief, but they shift from crystaline guitar to weighty bass effortlessly, with Bleeker working as a heartbroken bandleader, keeping things moving organically. Nothing is hurried, but nothing overstays its welcome either. Though How Far Away is packed with singles, the album works best as a narrative about the dissolution of a relationship. You could call it a breakup record, but that wouldn't quite be giving it enough credit. Instead, it's about growing older and figuring out what you need to do to keep moving. It's never overly sad or angry or obsessed with itself, it's just true." - Sam Hockley-Smith
Formed in Los Angeles by Jordan Corso, and Zachary Miller, Cotillon draws inspiration from a combination of 90s garage and French New Wave themes of fleeting love, lust, and longing.
Produced by Chet "JR" White - formerly of the San Francisco darling's GIRLS - and recorded between LA and San Francisco, the upcoming LP BLUE MELODIE couples Cotillon’s snide lyricism and penchant for power-pop with JR’s talent for long forgotten - and sometimes experimental - production techniques we’ve come to expect of the GIRLS producer.
After spending the better part of a month holed up in JR’s Mission District apartment in San Francisco working for days on end to hone their songs, they re-emerged to track the first half of the album at Los Angeles’ historic East West Studio 3 with the second half recorded at San Francisco Hyde Street's Studio A.
JR dipped deep into his rolodex calling on former members of his band GIRLS, as well as The Modern Lovers, and King Tuff for the finishing embellishments that will make BLUE MELODIE more than worth the wait. (Release date TBA)
Thu, March 5
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