Xeno & Oaklander
Tiers, Public Memory
599 Johnson Ave.
Brooklyn, NY, 11237
Doors 8:00 PM
This event is 16 and over
Xeno & Oaklander
Xeno and Oaklander are a minimal electronics girl/boy duo, and they are based in Brooklyn, NY. They began writing music and soundtracks in 2004. Miss Liz Wendelbo is French / Norwegian and Sean McBride is from Maryland. They record their songs live in their studio and play analogue synthesizers and instruments exclusively. They have toured Europe and the West Coast extensively, and they have played on the East Coast in music venues, lofts and festivals. They have also performed at SF Moma, PS1 Warm Up, Miami Art Basel, the Zürich Kunsthalle and the New Museum in New York. Sean McBride has created original music for artists Annika Larsson, Jonah Freeman, Annee Olofsson and Dara Birnbaum. Xeno & Oaklander have recently scored a soundtrack for artist Fabian Marti. Their latest Remix is for John Foxx and the Maths
TIERS came about rather nebulously in the hazy hours when late becomes early and when consciousness yields to instinct. It is in these bleak hours that Jennifer Mears (vocals, synth, electronics) and Cult of Youth‘s Glenn Maryansky (electronics, synth, bass) write songs that ride the line between sterility and blissful grime, often going from stark airy synthpop to dense, almost industrial fuzz within the same song. It is this dynamic that separates Tiers from the myriad other male/female duos out there and it would be ill-advised to attach any labels to them since they are intent on defying expectation.
Public Memory is the solo project of Brooklyn’s Robert Toher, recorded over the course of a year as he lived in Los Angeles temporarily. Previously of the group ERAAS, Robert places a greater emphasis on electronics in this new project. Rhythm is at the forefront, with the tone informed by stripped down, narcotic impressions of krautrock, hypnotic percussion, and subtly layered atmospherics.
To call it minimal would, on the surface, seem appropriate. Wuthering Drum does not need an abundance of flashes and frills to illustrate its point, nor does it need smoke and mirrors to mask a lack of vision. However, repeated listens yield layers of tonal variations, textural nuance, and tastefully placed overdubs. The Korg MS-20 does the lion’s share of tonal work, but listen carefully to the percussion and try to see where electronic ends, organic begins, and vice-versa.
There is a slightly religious or spiritual element at Wuthering Drum'’s core; a sense of being in an existential crisis, while simultaneously being uplifted, in the face of change. The focus is on a kind of renewal, but not in the New Age, aggressively positive sense. This is the search for redemption in a far away place, away from comfort; it is adjustment to an inner dissonance, rather than the washing over of past fears and regrets with sterile holy waters.
Wuthering Drum was released in March of 2016.