((folkYEAH!))) Jeff Bundschu and Sarah Lyons Chase present
Real Estate, Charles Bradley & His Extraordinaires, Cass McCombs Band, Marissa Nadler, Doug Tuttle, The Mattson 2, Meg Baird, Mail The Horse, Surf Curse, MV & EE, John Andrews & The Yawns, Cut Worms, Willy Mason, Currituck Co., Driftwood Soldier, Ruth Garbus, Ard
Fri · August 25, 2017 - Sat · August 26, 2017
Doors: 1:00 pm / Show: 2:00 pmChaseholm Farm
$10.00 - $90.00
This event is all ages
Friday 8/25: Doors 2pm, Show 3pm
Saturday 8/26: Doors 11am, Show 11:30am
Featuring Farm Grown Food From Chaseholm Farms and Estate Wines From Gundlach Bundschu Winery, Sonoma CA, & Tasty Suds From Lagunitas
No outside food, or coolers or high back chairs.
Families Welcome! Kids Under 16 Free when accompanied by an adult.
On the new record, the band fine-tunes the winsome songwriting and profound earnestness that made previous albums—2009’s Real Estate, 2011’s Days, and 2014’s Atlas—so beloved, and pushes their songs in a variety of compelling new directions. Written primarily by guitarist and vocalist Martin Courtney at his home in Beacon—a quiet town in upstate New York—In Mind offers a shifting of the gears, positing a band engaged in the push/pull of burgeoning adulthood. Reflecting a change in lineup, changes in geography, and a general desire to move forward without looking back, the record casts the band in a new light—one that replaces the wistful ennui of teenage suburbia with an equally complicated adult version. The record not only showcases some of the band’s most sublime arrangements to date, it also presents a leap forward in terms of production, with the band utilizing the studio as a tool to broaden the sonic landscape of their music to stunning effect.
In Mind offers passing nods to the sanguine qualities of earlier releases while also depicting a band in a state of real change. Since the recording of the band’s last album, Courtney had become a father of two and settled into a newfound domesticity living in Beacon, while bassist Alex Bleeker made the move out to sunny California, creating a complicated new set of logistics for the band to work around. Additionally, after the departure of founding member and lead guitarist Matt Mondanile in 2015, the band—Courtney, Bleeker, and drummer Jackson Pollis—faced the prospect of either closing ranks or embracing the changes that bringing in new people would ultimately bring. “It just seemed like a good moment to move in a slightly different direction,” says Courtney, “The idea of bringing in a stranger seemed too weird, but I wasn’t interested in recording as a four-piece and having some hired gun come out to play shows with us. In the end asking Julian Lynch—who we’d already been playing with and we’ve known since high school—to join the band made the most sense. He felt like a full-time member of the band already.” This was also true of keyboardist Matt Kallman, who previously played with the band on Atlas and on that record’s subsequent tour. Joining the band in a more official capacity before the recording of In Mind, Kallman contributed in both sound and scope, writing the keyboard parts and contributing to the album’s arrangements. With a new lineup secured and armed with an arsenal of songs that Courtney and Bleeker had spent the past six months writing, the band approached the business of fleshing out the songs in an almost workmanlike manner.
“It was good being outside of the city,” recalls Kallman. “We got a little Airbnb in Beacon and we rented a practice space inside an old converted high school. We would walk to the high school and play music all day, then go play basketball, go to the health food store or go out to dinner, then go back to the house. We did that every day for, in total, about three weeks. It was nice not having the headache of our regular lives. It all felt very open, like we were planted there to do a job and that’s all we could do was just work on the songs. I think the music kind of reflects that space we were in—free and open and cautiously optimistic.”
Recorded in Los Angeles with producer Cole M.G.N. (known for his work with the likes of Beck, Snoop Dogg, Dam-Funk, Nx Worries, and Julia Holter), the eleven tracks on In Mind deliver the same kind of warmth and soft-focus narratives that one has come to expect from the band—pastoral guitars, elegantly deployed arrangements, a sort of mindful melancholy—but there is also a newly adventurous sonic edge to the proceedings. Album opener—the ebullient pop number “Darling” — announces itself with a wash of synth tones rather than guitars. Elsewhere, on tracks like “Serve the Song” and “Two Arrows,” guitarist Julian Lynch employs a variety of distorted guitar sounds that might have felt out of place on previous Real Estate records, with the latter track stretching out beyond the six-minute mark—the closest thing to a jam the band has ever recorded. The band’s predilection for crafting airtight pop songs remains in full-effect here, with songs like “Stained Glass” and “Same Sun” occupying the same kind of rarefied universe as fan favorites like “Talking Backwards” or “It’s Real.” ‘Where does one thing ever end and the next begin?’ Courtney asks in the latter, ‘I do not wish to retrace the steps I’ve taken / All that matters now is where I’m going.’
Glittering pop moments aside, the record’s most stunning moments are arguably it’s most restrained— “After the Moon” unspools in waltz-like fashion, while album closer “Saturday” offers In Mind’s most pointed take on moving beyond the fascinations of youth: ‘When a stranger is living in your old house / What does where you were born still say about you? / It’d be best to jettison what you can’t redo.’
Perhaps more than on any other Real Estate record, the lyrics on In Mind seem to reflect a struggle between youth and adulthood, the desire for escapism balanced against the increasing demands of responsibility. (‘There’s no place I would rather be right now,’ sings Courtney on “Stained Glass”, ‘I’d love to never leave but I just don’t know how.’) “I feel like it takes touring a record for a few months and playing the songs over and over for me to really start understanding my own lyrics,” says Courtney, “but so much of this record feels like it has to do with my concerns about taking care of my family. I will often walk my wife and kids to the library and then just go out on my own, wandering around the town for three or four hours and writing the lyrics in my head.” Courtney continues, “We certainly never thought this would be our lives, but now that it is, we all want to protect that and nourish it and keep it safe. I think maybe that’s what this record is about.”
As for the band’s increasingly widespread appeal, both bassist Alex Bleeker and Courtney can only theorize as to what it is about their music that seems to strike such a profound chord with listeners. “I think there’s an earnestness to what we do,” says Bleeker. “It’s coming from a truthful place of human experience, but it’s also kind of raw. It evokes something for people, even though we are often dissecting subject matter that seems super normal and undramatic, it’s also relatable. We all grew up with this common, cookie-cutter kind of American suburban experience and we can’t help but write about that. I think there aren’t a lot of people who actually write about that in a very forthright way.”
Per bassist Alex Bleeker, the songs on In Mind reflect a kind of quiet ambition on the part of the band. A desire not to reinvent themselves, but rather to just be the best version of themselves that they can be. “We’re never looking to overhaul anything in a huge way,” he says, “But we do want to grow and explore new territory and use the studio in a different way. We didn’t want to change anything arbitrarily, but it felt good to reach out into some more exploratory space while still holding on to what makes us Real Estate in the first place.”
However, Mangy Love, his Anti Records debut, is McCombs at his most blunt: tackling sociopolitical issues through his uniquely cracked lens of lyrical wit and singular insight.
McCombs uses himself as a mirror to misguided and confounding realities, confronting them head-on: “Rancid Girl” reads like a ZZ Top study in Kardashian politics, “Run Sister Run” a mantra for a misogynistic justice system, “Bum Bum Bum” displays a racist, elitist government through the allegory of sadistic dog breeding; the album is sewn together by a common thread of ‘opposition,’ most directly articulated in “Opposite House”, with allusions to mental illness. ‘Laughter Is The Best Medicine’ provides a possible recipe for healing, with the help of an authentic medicine man, the legendary Rev. Goat Carson. The severity of his lyrics is contrasted by the music, which ventures into groovy realms of Philly soul, Norcal psychedelia and New York paranoia punk, articulating the spontaneity and joy of his live show better than ever before.
The record is unquestionably a work of great studio aptitude: a carefully arranged, high-fidelity production by veteran Rob Schnapf and Dan Horne. And as usual, McCombs is joined by many notable members of his eclectic musical tribe, whose names are proudly displayed on the back cover.
Mostly written during a bitter New York City winter and while travelling in Ireland, Mangy Love is Cass at the top of his game, reaching new sonic heights, creatively evolving lyrically, and resulting in his most provocative and complete record yet.
In the three years since 2014’s elegiac, autobiographical July, Nadler has reconciled the heartbreak so often a catalyst for her songwriting. Turning her writing to more universal themes, Nadler dives deep into a surreal, apocalyptic dreamscape. Her lyrics touch upon the loneliness and despair of the characters that inhabit them. These muses are primal, fractured, disillusioned, delicate, and alone. They are the unified voice of this record, the titular “strangers.”
Eschewing the jittery, love-lorn anxiety of his first solo outing, "It Calls On Me" presents a decidedly more dreamy journey through softer, sun-burnt landscapes, while still showcasing Tuttle's trademark masterful guitar-work and his very own brand of impeccably-crafted, fractured psychedelic pop.
Written in 2014-2015 in Somerville, MA, It Calls On Me hints at the skewed, wide-eyed '60s folk-pop of Lazy Smoke or Ithaca's, mysterious, fulgent Brit-folk rock, and the zoned '70s soft-rock of 10cc and Bread, neatly winding in and out through Tuttle's panoply of hallucinatory effects, buzzes, and unshakably haunting harmonics to create a richly-textured album of sonic jewels.
Opener "A Place for You" is a rumpled, upbeat, almost solely acoustic jam, featuring Tuttle's winding, sinewy guitar rambles and vocals like well-worn corduroy.
Title-track "It Calls On Me" is a tightly-wound propulsive rocker, recalling his debut's slightly unhinged urgency with a pliant, rubbery, Richard Thompson-esque guitar solo that branches out like plant-growth.
"Make Good Time" is a gorgeous, intimately-crafted gem that gently shimmers with Byrds-ian 12-string against pastoral vocal harmonies and hazy, mellotron strings and flute.
Other key tracks include "Painted Eye," an epic, disorienting stunner that recalls the blurry stupor of '70s West Coast soft rock with a guitar solo needling amidst queasy, bent strings, and "Falling to Believe," a catchy ear-worm that pairs Tuttle's soft, hushed vocals with some seriously heat-blistered guitar-work.
Most reminiscent of his most trance-inducing work with MMOSS, "On Your Way" is an eerie, stately, almost trad-folk dirge that carries all the pageantry of Fairport Convention, backed by brittle, Fables of the Reconstruction-era R.E.M. guitar jangle amongst a tightly-woven tapestry of voices.
"It Calls On Me" shows Tuttle relaxing into his role as a memorable, compelling songwriter, eager to showcase his storehouse of harmonies and dissonances, and delighting in the more fragile and intimate aspects of frayed-at-the-edges song-creation. As a result, this record feels more like a blissful letting go rather than a giving in, allowing the flashing sunlight to create patterns across your closed eyelids as you drive a winding road through a forest of trees.
RIYL: Kurt Vile, Solar Motel Band, Steve Gunn, Gun Outfit, Gene Clark, Byrds, Fairport Convention
As a solo artist, she has toured with many noted fingerstyle guitarists, including Bert Jansch, James Blackshaw, Micah Blue Smaldone, Michael Chapman, Glenn Jones, Michael Hurley, and Jack Rose.
Her vocal style has often been compared to that of Fairport Convention's Sandy Denny and Pentangle's Jacqui McShee, although she has herself cited Celia Humphris of Trees as the more personally influential member of the 1960s and 70's UK folk scene.
The album’s sonic resonance with the rock Gods of the past should come as no surprise to anyone who has seen Mail the Horse live. Their songs simmer with a sincerity and twang that has blown the doors off of basements in Brooklyn and captivated crowds at festivals across the country. Their pedal steel player slinks through the tunes while the band's two crooners belt out anthems and spellbinding harmonies with a casual gaze.
Born in a basement apartment known affectionately as the Gates Motel on Gates Avenue in Bushwick, Mail the Horse has been playing the kind of rock and roll that makes lady-mullets stand on end since 2010 and are set to explode into the summer of 2016. Magnolia is the strike-anywhere match brushing seductively along the dusty edges of the powder keg.
"MV & EE, a Vermont-based trance-folk troupe led by singer-writers Matt Valentine and Erika Elder. The collective makes a loose psychedelia that seems at times on the verge of blissful collapse: soupy-fuzz guitars, fertility-rite boogie and dislocated harmonies that, combined, sound like an iridescent-woodland powwow...the pastoral drone and vocal om will, with time and exposure, feel like shelter from your storms." - david fricke/rolling stone
The songs were written slowly & quietly throughout the winter, usually late at night next to the wood stove for warmth. It was recorded in his barn with the doors ajar, welcoming the springtime. The humble recording gear invites the outside noises in. You can hear the crickets chirping with the occasional truck driving by. The songs themselves lend their hand like slow backwoods Beatles demos covered in a thin blanket of tape hiss. John’s voice lulls us in an earthy calmness as he sits hunched like a scarecrow over the piano.
Andrews’ band, The Yawns, has been crystallized with staples from the New England freak scene; Rachel Neveu & Lukas Goudreault (MMOSS/Soft Eyes) & Joey Schneider. All of who have been playing up in the free country for many years themselves and all of who call the same farmhouse home.
Over the past few years John has played as a session player on records by Woods, Widowspeak, EZTV & Kevin Morby as well as composing & recording with his band Quilt. Yet, the piano compositions on Bad Posture place him as a stand-out voice with this instrument. There are guitar-bands working in a similar territory as Andrews’, yet the focus on keys in many of the songs give the album a different temperament and a unique place amidst his peers. Windmill, Homesick In Heaven & Old News are three of the album cuts that boast this specific sense of multi-instrumentality. They wink at you with a Workingman’s Dead smile. The opener and lead-single, Drivers, showcases an older & wiser Andrews’ coming to terms with a new-found independence, the overdriven guitar echoing his home-state’s slogan, live free or die. “I don’t owe you no more.” Andrews hums.
Bad Posture was mixed with headphones at the foot of Emma Critchett’s grave, who lived in the Yawns’ house during the 1800’s. The record is an ode to her & all who have lived in this house. It also paints a picture of what it feels like to live in the “free-country” on the precipice of a rapidly changing political climate. Some folks go back to the woods to escape the harsh-realities of contemporary society, for Andrews it seems like he is diving head first into nature’s unknown, searching for love in the tundras of seclusion. When the cities become boring, we hop in our vehicles and drive to those places that are always beaming with newness. Bad Posture contains the anthems that will hold us over til’ we arrive.” – Shane Butler
Around the same time, down in Philadelphia, Bobby Szafranski was evolving past the guitar,
shedding strings and dropping whole steps at a time. After working his way through the low end of a couple projects, he joined the psychedelic-swagger band Mountjoy as ‘Lead Bassist and Auxiliary Whiskey-Swiller’ where he further tuned his four-stringed voice.
By 2013 Owen’s itchy feet and thirty-three year old diesel Mercedes had taken him fifty thousand miles down the road and left him in West Philly. On the way he’d added a suitcase kick drum and a whole range of musical influences from spoken word poets and anarchist punks, to blue yodelers and old-time fiddlers. Mountjoy was dissolving and Bobby was looking for a new home where he could flex his unique melodic style of bass. Owen’s rough edged mandolin and baritone growl were just the right fit and they launched into the task of rewiring Owen’s ever-expanding list of songs for a new two-person-five-instrument arrangement.
Out of this collaboration emerged Driftwood Soldier, a child with old eyes, blinking in the dim light of a barroom stage. This is not some nostalgic reproduction of an imaginary past or a feel-good celebration of a rosy future. It’s a bittersweet love song to an imperfect world, a lullaby that leaves you bleeding.
Their 2015 full length debut, Scavenger’s Joy, was a warning shot across the bows, a powerful introduction they chased up and down the East Coast, through living rooms, corner bars and back alleys. With the 2017 Blessings & Blasphemy EP the duo manage to be both unpredictable and consistent, delivering an intricate story of oppression and faith that thunders and whispers. Find Driftwood Soldier, wherever you can.
All of Garbus’ music has an interesting implicit fascination with the recording space that her songs occupy. Where Rendezvous with Rama was full of open space and natural reverb and Ruthie’s Requests contained various bits of tape detritus, Joule EP works with a far more compressed landscape that is highlighted by the doubling of Garbus’ guitar/voice on most tracks. In some ways, this condensing of sound makes the EP seem a bit more straightforward at first but like other Vermont songwriters Chris Weisman and Zach Phillips, Garbus’ music hides complexity behind easy hooks and simple accompaniment. On Joule EP, it takes many listens to realize how truly crazy some of the chords are and similarly, Garbus’ lyrics on Joule EP contain surprisingly political messages that only begin to reveal themselves over time. Joule EP is another great example of how Garbus is creating some of the most forward looking singer-songwriter music around. by M RUBZ
115 Chase Rd
Pine Plains, NY, 12567