Music Hall of Williamsburg
Waxahatchee

Waxahatchee

Girlpool, The Goodbye Party, DJ's Jenn and Liz Pelly

Thu, April 9, 2015

Doors: 8:00 pm / Show: 9:00 pm

Music Hall of Williamsburg

Brooklyn, NY

$14 advance / $16 day of show

Sold Out

This event is 18 and over

Waxahatchee
Waxahatchee
Katie Crutchfield’s southern roots are undeniable. The name of her solo musical project Waxahatchee comes from a creek not far from her childhood home in Alabama and seems to represent both where she came from and where she’s going. Since leaving home, Crutchfield has drifted between New York and Philadelphia but chose to return to Alabama to write her first two albums: American Weekend, her debut filled with powerful lo-fi acoustic tracks full of lament, and Cerulean Salt, a more developed and solid narrative about growing up. Both are representations of a youthful struggle with unresolved issues and unrequited feelings.

Waxhatchee’s latest record, Ivy Tripp, drifts confidently from these previous albums and brings forth a more informed and powerful recognition of where Crutchfield has currently found herself. The lament and grieving for her youth seem to have been replaced with control and sheer self-honesty. “My life has changed a lot in the last two years, and it’s been hard for me to process my feelings other than by writing songs,” says Crutchfield. “I think a running theme [of Ivy Tripp] is steadying yourself on shaky ground and reminding yourself that you have control in situations that seem overwhelming, or just being cognizant in moments of deep confusion or sadness, and learning to really feel emotions and to grow from that.”

Recorded and engineered by Kyle Gilbride of Wherever Audio at Crutchfield’s home on New York’s Long Island—with drums recorded in the gym of a local elementary school—Ivy Tripp presents a more developed and aged version of Waxahatchee. “The title Ivy Tripp is really just a term I made up for directionless-ness, specifically of the 20-something, 30-something, 40-something of today, lacking regard for the complaisant life path of our parents and grandparents. I have thought of it like this: Cerulean Salt is a solid and Ivy Tripp is a gas.”

Crutchfield is accompanied by both Gilbride and Keith Spencer on Ivy Tripp, and the record was produced by all three of them. With the addition of more guitar work, piano, drum machines, and Crutchfield’s vocals in full bloom, we are given a record that feels more emphatic and pronounced. Ivy Tripp opens with “Breathless,” filled with only a distorted keyboard and layers of vocals, showcasing Waxahatchee’s pension for quiet, personal reflection. The record then opens up into “Under a Rock,” a quicker guitar-driven song that lays the foundation for the rest of the album, which as a whole resonates with strong, self-aware lyrics, energetic ballads, and powerfully hushed moments of solitude. Crutchfield’s voice is certainly the guiding force behind Ivy Tripp—commanding and voluminous in the rock song “Poison,” candied and pure in the frolicking “La Loose”—gripping you tightly and then softly releasing you into the wilds of emotion.

As far as her goals with Ivy Tripp, Crutchfield says, “I heard someone say that you have to be the change you want to see. I just want to be the kind of musician I want to see in the world. I want to present myself in a way that reflects that.”
Girlpool
Girlpool
Girlpool is a Los Angeles based two piece made up of Cleo Tucker and Harmony Tividad. Having met at local DIY venue the Smell, the two quickly grew very close. Their sound is comprised only of a guitar, bass and vocal harmonies. The band uses this bare bones instrumentation to accentuate their vulnerable yet powerful lyrics to create honest pieces, tackling concepts ranging from awareness and respect to the simple feeling of being alone at a show.
The Goodbye Party
After spending five years leading DC/Philly-based power-pop band The Ambulars, Michael Cantor needed an outlet for his other songs: the bedroom recordings - noisy lo-fi experiments, meandering somber songs with auxiliary instrumentation (bowed guitar, lap steel guitar, tape collages) all recorded by Cantor in isolation.

He relocated to Philadelphia and started releasing home-recordings as The Goodbye Party. This solo project he would later fully flesh out to create his first full length album under that project, Silver Blues. A true labor of love, Cantor recorded most of the album himself, aided by drummer Joey Doubek (Pinkwash). Learning about recording and production as he went, he spent the better part of a year closed up in a makeshift studio, augmenting his album with cassette and analog 4-track recordings.

The result is an album that exists within its own universe, one that weaves in and out of itself, floats and sinks, held together by its own internal logic. Silver Blues is full of lush orchestral strings, built on top of degrading cassettes and feedback and ecstatic power-pop anthems that bleed out into vocal dirges. Silver Blues is out December 1 via Salinas Records.
Venue Information:
Music Hall of Williamsburg
66 North 6th St
Brooklyn, NY, 11249
http://www.musichallofwilliamsburg.com/