Sun Nov 12 2017

8:00 PM Doors

Imperial

319 Main Street Vancouver, BC V6A 2S7

Ages 19+

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Timbre Concerts proudly presents Noah Gundersen With Guests Phoebe Bridgers.

  • Spotify Presale: Wed July 12 @ 9am - Thurs July 13 @ 10pm
  • Timbre Presale: Thurs July 13 @ 10am - 10pm
  • General Onsale: Fri July 14 @ 9am

For more info on Timbre Concerts and their upcoming concerts visit www.timbreconcerts.com.

 

www.timbreconcerts.com
Noah Gundersen, Phoebe Bridgers

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  • Noah Gundersen

    Noah Gundersen

    Pop

    In America today, anyone can engage in spiritual surrender. Performing the rite is simple: one first gathers with their community in a room of mirrors (in peripheral vision these mirrors appear as windows). Next, the agendas, hopes, and grievances of each individual are written down and cast along pulsed radio frequencies to data centers. From here they are automatically sifted through a neural network of graphics processing units, and contributed to an artificial intelligence engine. The principal aim of the ritual is to preserve the cosmic movement of collective perception. Secondary aims include catharsis, prosperity, and (occasionally) procreation. Because of the persistence of social stresses and mounting political dread, the ritual’s cyclic performance is necessary (twice daily, once at dusk and once at dawn).

    Paradoxically, even those who question the efficacy of this tradition must do so from within the same framework, in the form of status updates, tweets, or blog posts. In the early part of 2017 Noah wrote:

    “This is our voice. The Aether. An invisible platform. A maze of wires and boxes safely containing our proclamations… While white men with pens close their doors, stuff their ears with cotton, and break the world... we piss in the ocean… we drown in white noise.”

    (Once upon a time, Noah Gundersen poetically sang that the storms which make us tremble also “fill our organs up with air,”...allowing us to sing “honest songs”. What of our songs now? Are they just piss in the ocean? White Noise?)

    A longtime fan responded via Facebook, referring to the entry as “a goddamn dumpster fire of a post”.

    “Your early records are masterpieces,” he commented, “...but this scramble to be anything but what your parents are is killing your authenticity.”

    Authenticity can be a fickle mistress it seems. Noah has been peddling sincerity and introspection in musical form for almost a decade; songs that give listeners a taste of the emotional nectar in the pit of another human’s gut. He’s been dredging up viscous fistfulls of his own being and shaping them into little waxen votives, candles meant to illuminate the territory between shameless confession and hopeless redemption, for all of the other twenty-somethings who’ve been groping around in that long existential shadow.

    At some point this whole process must have lost its charm. It was two years ago that Noah, like some artistic ouroboros, began to sing the words “Am I earning the right to live by looking in a mirror? There’s nothing more sincere than selfish art?” The cyclic ritual of selfinduced nausea, staring in the mirror mouth agape, waiting to wretch new words and sounds, was catching up with him. Not long after, in the early part of 2016, he sat down for a show and felt like he was dying.

    “Instead of my life up to that point flashing before my eyes, it was my future. A future playing songs I didn’t believe in... pouring my soul out into a vehicle I no longer recognized or loved.”

    Noah turned to a fellow songwriter, who shared this mote of reassurance from dancer and choreographer Martha Graham:

    “No artist is pleased... There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”

    This crisis was an opportunity for the serpent to relinquish hold of its own tail, for forward motion. To turn his gaze away from reflection, and maybe instead at the mirror itself, alternate voices and distorted perceptions that throw their weight onto the human psyche in powerful ways, but evade expression in introspective storytelling.

    So, that’s White Noise, I think: the fluorescent glow of queer divine dissatisfaction. The distorted buzz manufactured by dumb metal phalluses thrust into a vacuum of waves and signals. It doesn’t dwell on (and in fact seems uninterested in) introspection. Not a guiding light. Not the reasoned problem-solving of the ego, but the muddled demands of the id. It’s a myriad of interpolated signals, symbols, and voices, like a tube-TV greedily flipping through channels on auto-program:

    “Heavy Metals” is cosmic dismay that’s been pasted over with a sugary synth veneer. “Cocaine, Sex, and Alcohol (From a Basement in L.A.)”, like a messy public broadcast, leverages a din of drunken band sounds and disoriented muttering, “I’ve got all this alcohol… do you wanna see my show?”

    The decadent yearning of “Bad Desire” sits between the other songs of dissolution like a soap opera broadcasting alongside the evening news. Just as Noah finishes crooning the final honey-sweet chorus, “...and I wanna see you tonight, one last time,” we transition into night sweats, the frantic yelling of sleep terrors, all heralding the cathartic industrial funeral dirge of “Wake Me Up, I’m Drowning”.

    Noah is no longer lighting votives, but dumpster fires—big, bright, symbolic and chaotic. Musical vignettes of combustion, rubbish, degeneracy and, perhaps most comfortingly, warmth; because sometimes overlooked in the mad grasping for heady, introspective Authenticity is music that’s heartfelt. In “The Sound”, Noah scourges a source of entitlement that is entirely ambiguous, but does so with a sort of exasperated conviction that is only ever reserved for one’s nation, one’s God, or one’s self. The words “How many times will you shit on what you’re given? How many times till you shut up and listen?” escape his throat with a desperation that (bafflingly) surpasses even his most vulnerable songs about heartbreak, addiction, or loss of faith. 

    Whether the voices he channels are symbolic or literal, paralyzed with fear or pushing a manic brand of salvation, each amounts to something laced with warm, ruddy veins (I have a feeling that Noah’s music always will). If you listen closely you’ll hear the spiritualist, who takes solace in the fact that when he’s gone, the water in his body may be the beginning of something new. There’s also the doomsayer, certain of his fate, but still so afraid, who can’t help but ask of his own violent trembling, “Are these my feet attempting to dance?” Then there’s mortality, trying to shout through all of the noise, “Send my love to everyone.”

    White Noise was produced by Nate Yaccino and features long-time band-members and collaborators Abby Gundersen, Jonny Gundersen, and Micah Simler. It will be released into the Aether on September 22nd, 2017. 

  • Phoebe Bridgers

    Phoebe Bridgers

    Singer-Songwriter

    Don’t let the somber tone of her music fool you: the Los Angeles-based singer-songwriter Phoebe Bridgers has a sunny disposition. 

    “I’d hate for someone to think I’m sipping an espresso somewhere judging people or feeling sorry for myself. OK, I definitely do that once in a while, but I don’t consider myself an intense person.” 

    Bridgers grew up in the rose-colored city of Pasadena, attending the prestigious Los Angeles County High School for the Arts to study music. From an early age, she found encouragement from a close-knit artistic community of friends and family to follow her dreams, and at school she forged relationships that would teach her as much about her craft as her classes.

    “I think most of my musical education had to do with being around a ton of teenagers who listened to music all the time,” she says. “At school I had classical training for my voice, but I think being surrounded by people who were really enthusiastic about art and going to concerts all the time was the real education.”

    “I met Carla Azar of Autolux - and she showed me Elliott Smith for the first time, which was my first personal connection to music that one of my parents hadn’t showed me,” she says. “It seemed so different from anything I’d listened to before. It is so personal, so intense.” Bridgers’ work would be heavily influenced by Smith’s sparse lyrics and subdued emotional style, in addition to that of her other favored singer-songwriters like Joni Mitchell, Tom Waits, and Leonard Cohen. 

    “Los Angeles is interwoven into my music inherently,” she says. “I don’t necessarily try to reference it, but because I’m pulling from experience it just appears. A lot of shit goes down wherever you may grow up.” After graduating from high school, Bridgers spent a year gigging around the city, playing as often as she could, making mistakes and learning while on her feet. “I’ve always been very appreciative of the LA thing,” she says. 

    But of course the truth is that the unique ingredient at play, the calling card that has drawn all this interest and intrigue, is simply Bridgers’ music itself. Her powerful, lilting voice and her haunting, introspective songs light the torch that shows the way, and are what have inspired artists like Ryan Adams to produce her 2015 single, or Julien Baker to bring her on tour in 2016, as well as John Doe and Conor Oberst to sing with her on her debut album. There is a delicate balance to her work, a dance between veiled narratives and earnest emotions, between whispers and shouts. And according to Bridgers, everything you hear has arrived by feeling; her music is what comes when she is at her most honest, without specific intention, and she aims to be in her songs the person she is in the world.

    Stranger in the Alps opens with the one-two punch of “Smoke Signals” and “Motion Sickness,” a pair of songs that highlight Bridgers’ abilities. The former, a gorgeous, ethereal tune guided by sparse electric guitar and sweeping strings, toes the line between weary and wistful, using specific anecdotes from its singer to tell its tale. The style highlights the strengths of Bridgers’ unique lyric writing perspective: there are overt references to lost idols, canonical pop songs and actual incidents, but her stories unfold through precise, evocative imagery sung in her subtle, confessional style. The latter is perhaps the most upbeat moment on the album and was written on her baritone guitar and discusses a problematic relationship from her past. “I feel like I’m getting more focused when I write,” she says. “My songs are super personal.”

    “Scott Street” is a song about inserting distance between intense personal relationships via new friendships and was inspired by East Los Angeles where Bridgers now lives. “Killer” is a song originally appearing on her Adams-produced single but is re-recorded here by the album’s producer, Tony Berg (Andrew Bird, Aimee Mann, Blake Mills), with John Doe singing alongside Bridgers. That song in particular inspired her to be more honest in her approach. “I wanted to be more genuine with my lyrics, and to me that meant being self-deprecating or a little more self-aware, and not using words that just sounded pretty,” she says. “I had an epiphany that I can be honest with myself and with other people when I’m writing. 

    Elsewhere, Conor Oberst joins her for the duet “Would You Rather,” a singer chosen for his unmistakable voice, and the Mark Kozelek cover “You Missed My Heart,” which ends the album. As with any singer’s debut, the songs here comprise a wide swath of Bridgers’ life, dating from the oldest, “Georgia,” which she calls the most different-sounding on the LP, to the opening pair, which were written after the recording process had already begun. Berg and co-producer Ethan Gruska worked with Bridgers to record in on-and-off stretches in between tours over 2016 at Berg’s studio in Brentwood.  Phoebe went into the studio with the majority of the material written, however “Smoke Signals” and “Motion Sickness" were written in a cabin in Idaho, while Bridgers was waiting for a tour to begin.  The pair were the last songs written for the LP. 

    “I’ve gotten a lot happier since making my album and have a strong sense of purpose,” she says. “I wasn’t trying to be too lo-fi, too hi-fi, too self-serious, too disingenuous…I feel pretty confident that I’m finding my voice. I wanted the album to completely represent who I am and these songs are representative of what I set out to do.”

www.timbreconcerts.com

Noah Gundersen, Phoebe Bridgers

Sun Nov 12 2017 8:00 PM Doors

Imperial Vancouver BC
Noah Gundersen, Phoebe Bridgers
  • Sorry, you missed this event.
  • Check out other similar events on TicketWeb.

Ages 19+

Timbre Concerts proudly presents Noah Gundersen With Guests Phoebe Bridgers.

  • Spotify Presale: Wed July 12 @ 9am - Thurs July 13 @ 10pm
  • Timbre Presale: Thurs July 13 @ 10am - 10pm
  • General Onsale: Fri July 14 @ 9am

For more info on Timbre Concerts and their upcoming concerts visit www.timbreconcerts.com.