This is a past event.
Windstorm & OK Productions presents:

Yo La Tengo and Calexico

Fri January 25, 2013

Doors: 7:30pm / Show: 8:30 pm
Cost: $24 Adv/$27 Day Of Show

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About the Event:

Can it get any better than a co-bill with Yo La Tengo and Calexico? The answer is no.  It cannot.

Artist Bios

Yo La Tengo

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Yo La Tengo is one of the most beloved and respected bands in America. For nearly thirty years, Ira Kaplan, Georgia Hubley and James McNew have enjoyed success entirely on their own terms – travelling the world, dominating critics lists, doing a Simpsons theme, playing the Velvet Underground in I Shot Andy Warhol, even creating a holiday tradition onto themselves with their yearly series of Hanukkah shows at Hoboken, New Jersey’s legendary club Maxwells.

Their track record has been so stellar, their consistency so weirdly effortless, that it’s sometimes a little too easy to take them for granted. Do not make that mistake with Fade. If ever a Yo La Tengo record “mattered” – musically, emotionally, even historically – this is that record.

Fade is the most richly textured, thematically cohesive album of the band’s career. Sonically, it recalls high-points like 1997’s I Can Feel the Heart Beating As One and 2000’s …And Then Nothing Turned Itself Inside Out – a tapestry of fine melody and elegant noise, rhythmic shadow-play and shy-eyed orchestral beauty, songfulness and experimentation.

But Fade attains a lyrical universality and hard-won sense of grandeur that’s rare even for them. It weaves themes of aging, personal tragedy and the emotional bonds that keep us sane in times of crisis into a fully-realized whole that recalls career-defining statements like ‘Blood On the Tracks’ or ‘Call Me’ or ‘I Want To See the Bright Lights Tonight’.

“Nothing ever stays the same / Nothing’s explained”, the band sing in unison on the lushly reflective opening track ‘Ohm’, then add, “We try not to lose our hearts / Not to lose our minds”. It’s a very direct sentiment for a band who usually prefer private intimation to forceful expression, and that’s exactly what makes the song’s sense of struggle-against-resignation feel that much more earned.

This is the first time Yo La Tengo have worked with producer John McEntire, best known for his essential Chicago post-rock band Tortoise as well as his work on great albums by diverse artists from Bright Eyes to Stereolab to the Spinanes. He’s helped the band hone a set of songs as richly diverse as they are seamlessly sequenced – flowing from the low-key shimmy of ‘Well, You Better’ to the autumnal Sixties melodicism of ‘Is That Enough’ to the muted motorik kick of “Stupid Things” to the cozy-duvet distortion of ‘Kiwi,’ right on through to the cagey groove, horns and strings of the beautiful album-ending ‘Before We Run’, in which Hubley and Kaplan sing “Take me to your distant lonely place / Take me out beyond mistrust.”

If you’ve got the guts to go with them, you won’t be let down.

 

Calexico

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They call New Orleans a melting pot. When one thinks about it like that, it’s hardly surprising that this is where CALEXICO reconvened to record their seventh full-length album, ALGIERS. Joey Burns and John Convertino have long called upon an extended range of musical influences, blending them together so distinctly that the results have almost become a genre of their own. Nonetheless, the choice

of New Orleans may still come as a surprise to many. CALEXICO are, after all, associated with a style that their name – borrowed from a small town of less than 40,000 inhabitants on the border between the US and Mexico – has always defined with an unusual precision. Their work has spoken of dusty deserts and the loners that inhabit them, mixing America’s country music heritage with that of a Latin persuasion. In other words, it isn’t obviously affiliated with the sounds that have made New Orleans one of the premiere tourist destinations in the US. What’s emerged as a result of this decision, however, is arguably the most exciting and accessible record CALEXICO have made. It’s a fact emphasised by the band’s decision to name the album in tribute to the neighbourhood where they worked: Algiers.The feel of ALGIERS is recognisably classic CALEXICO, but their style been revitalised and reborn by the experience of recording in the city. Its influence isn’t necessarily sonically evident, but there’s a strange, powerful connection to the sounds that have always coloured their own, influences Burns has previously identified as including “Portugese fado, 50’s jazz, gypsy or romani music and its offshoots, 60’s surf and twang from Link Wray to country’s Duane Eddy, the spaghetti western epics of Ennio Morricone and dark indie rock singer songwriters.”So, some 22 years since they first met, Joey Burns and John Convertino – joined as ever by a cast of musicians from across the globe – add yet another successful musical adventure to their list. You might think that, after six studio albums and a suitcase of tour CDs, collaborations with the likes of Victoria Williams, Iron & Wine, Willie Nelson, Roger McGuinn and Nancy Sinatra, and soundtrack work to boot, there wasn’t much more they could achieve. But you’d be wrong. New Orleans clearly inspired them to make an album that sees them stretch out more effortlessly than ever but, while you can take the men out of CALEXICO, but you can’t take CALEXICO out of the men…

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