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
" If The Wonders hailed from Hawthorne, California instead of Erie, Pennsylvania, and dropped acid on the regular they might sound something like Cotillon. Which, in my world, is the highest of compliments. "
Rebecca Willa Davis (NYLON MAGAZINE)
There's no stopping Post-Surf/Garage Pop band, Cotillon. Their debut EP, Votive Flower, was released in October, and they're already presenting their second offering - the less heartbroken 'White Roses' EP. This second dose still carries the same moodiness, pep and youthful vigor, but with more cohesive, stylized production, and more assured songwriting. Standouts "Talk to Her" and "Tijuana" are filled with frontman Jordan Corso's slacker vocal moments and the amazing guitar work from Zach Miller we loved on the first EP. 'White Roses' is equal parts nostalgia, peyote-drenched romanticism, laissez-faire francophilia, and post-post-modern anxiety. -Jacqueline Caruso (the Deli)
this is really power-pop like it's supposed to be — hooky, raw and cheerfully bitter beneath the cuteness, just like Alex Chilton used to make. A Corso lyric such as "I don't have much, but I have a true heart" may sound like something Jonathan Richman would sing very sincerely, but Cotillon's recent Votive Flower EP is soaked in plenty of sarcasm, too. Corso's got a voice somewhere between Daniel Johnston and The Only Ones' super-sneerer Peter Perrett. In songs like "I Wanna Move to Paris" or "Dream Girl/Infection Suite," he pours a bottle of drain cleaner into the human heart: "You gave me an infection, just like you meant to," goes one opening line. That's not love, but it sounds true nonetheless. Chris Ziegler (LA Weekly)
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