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Aquarium Drunkard Presents: Kevin Morby and Jessica Pratt Living Room Show
To Be Announced (Long Beach, CA)
Long Beach, CA
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Event

Aquarium Drunkard Presents: Kevin Morby and Jessica Pratt Living Room Show
This is a small, secret show. Full details on the location will be provided at the end of ticket purchase.  

TICKETS:
No paper tickets will be sent.  

ADMISSION:
Print and bring your confirmation which will include the address and other details. Please don't share this info with anyone! In addition, your name will be on a list at the door. No additional tickets will be sold at the door. You must buy tickets here to get into this show.

SHOW DATE:
February 27th, 2015
DOORS: Please arrive between 7:30PM and 8:00PM
SHOWTIME:
8:30PM

SEATING:
This show will be general admission floor seating. Feel free to bring a pillow or cushion to sit more comfortably on the floor.

ALL SALES ARE FINAL. SORRY, NO REFUNDS:
Due to the limited number of tickets please make sure you can attend before you make your purchase. If you can no longer attend a show you can give or sell (at face value) the tickets to a friend. Contact us (livingroomshowlbc@gmail.com) before the show to transfer your tickets.  We'll cancel any tickets resold for higher than original price.  

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Kevin Morby:

Kevin Morby's a wanderer, a journeyman: here today, gone tomorrow. Pretty much every song on Still Lifethe second LP in a year's time from the former Woods bassist/Babies co-founderfinds Morby on the move, setting off to sea or motoring away, never to return again. Listening to the rich, reflective Still Life, it's easy to picture Morby with a wineskin under his arm, his every worldly possession hitched to his back, an eye constantly fixed on some faraway point on the horizon. All this wayfaring's clearly taught him a few things; catch him in just the right mood, and he's got stories to share, hard-earned wisdom to impart.

Morby's joined on Still Life by guitarist/bassist Rob Barbato (who also produces), drummer Justin Sullivan, organist Will Canzoneri, andon three songsbassist H. Hawkline. This skeleton crewmany of whom joined Morby on last year's similarly gorgeous Harlem Rivergives Still Life its scrupulous, unshowy sound: deliberate fretwork, sparse percussion, wisps of organ and tinkling pianos dancing around the edges of the frame. Morby's warm, reedy sigh is front-and-center throughout most of these songs, and his halting, ruminative delivery keeps you hanging on his every word. Still Life is steeped in Dylan's back-to-basics period at the turn of the '70s, carefully adorned but never skeletal; from the beating-heart bassline that sits underneath "Drowning" to the drunken horns that close out the eight-minute "Amen", Still Life is sumptuous, slightly rickety, offhandedly gorgeous.

Morby's a judicious lyricist, able to flesh out a scene with just a few carefully-chosen details. The situations on Still Life never quite seem to have a fixed beginning or end, as though Morby's knows it'd take too long to explain exactly where he's been and can't rightly say just where he's going to end up next. Two songs in, we meet Arlo Jones, a drunken lout of Morby's acquaintance. Halfway through the song, Morby quite literally starts listing off everything he can remember of the titular Jones, yet he only gets to number three on this nine-item rundown before he begins to repeat himself. But you come away from "The Ballad of Arlo Jones" learning just as much about the guy telling the story as you do its subject; Morby's impassioned wails of "He was my friend!" suggest a longing for connection, no matter how temporary.

The short, spirited "Motors Running", a none-too-fond fare-thee-well to a fellow traveler, gives you almost nothing in terms of backstory: "We had just gotten started," Morby sings, "with black shadows coming out of your door." But in just a few lines, he manages to tell you everything you need to know: you can stay, Morby seems to be saying, but I've gotta keep moving. Throughout Still Life, Morby will introduce a character or describe a situation, but you never get the sense that these are permanent fixtures in Morby's life so much as markers on the long, oft-lonesome road he's traveling on.

All this roving has Morby thinking long and hard about impermanence; if travel is Morby's favorite subject, death is an awfully close second. "I'm not dead," he assures himself halfway through "Amen", "but I'm dyingso slow, so slow." The song ends with a vision: the phrase "expect death" comes to him "gently, like a leaf on top of water." It's as though Morby, after years on the road, can actually feel himself coming unmoored, and thislike everything elsehe seems to greet with a kind of quiet acceptance, a wisdom well beyond his years. Still Life doesn't dwell on the past, but occasionally, Morby alludes to the things he's left behind with a certain stoicism: "They say all that i've done wrong/ One day is gonna find me" he sings on "Drowning". Morby, forever playing things close to the chest, might not take the time to spell out every mistake. But when he delivers that line, there's an ocean of regret lingering in his throat.

The title Still Life is both a nodto a piece by New York pop artist Maynard Monrowand something of a joke: Morby recently pulled up roots in Brooklyn and became a full-time Los Angelino. Throughout Morby's many travels, you can sense a longing for some stability, a homebase, a place of his own to return to. "If you don't see me in the evening," he sings on the closing "Our Moon", "look at our moon, up in its night." By the song's end, Morby seems to've finally found himself some suitable company, someone to join him as he makes his next move. "Sing to me in the morning," he asks, "keep me warm from the storm outside." In just a few words, Morby manages to say everything he needs.- Pitchfork

-----------------------------
Jessica Pratt

WE ALL WANT THE WORLD TO BE BEAUTIFUL.
We want scribes and songbirds to tell us soand sometimes they do and then it is. They point their pens and focus their lens where they will and surprise us to our soul. On Your Own Love Again is a record that does it to us, with songs from a spine-thrilling new place and a gifted young singer with her own musical logic.

Jessica Pratt's self-titled 2012 debut has been much-murmured about in the time between yesterday and today. People respond to the austere, pristine clarity of the performances, the gentle strength, marveling at how much comes from so little: just a voice and a guitar or two! They remark on the timeless nature of the songs and the voice, scrupulously informed by the folk-rock of ages past, but sung without bags (none in hand, nor beneath eyes). They speculate on just who is the personality behind this Jessica Pratt? It is hard not to respond to the sound of her music, not to want more right away.

Two years on, and Jessica's very new On Your Own Love Again is here for us, playing her further adventures in different pastures. If they feel removed from the first songs, it may help to know that the recordings of the first album were made some years back with no expectation of making an album. They sat quiet on the shelf for a long time, appearing on the internet eventually. It all seemed harmless, but when Birth Records honcho Tim Presley rolled up in his long white limousine
and began to spin tales of folk rock glory, who was she to say no? Sure, Mr. Presley, fence me a record!

The nice part about learning that people dig your sound is that it gives you the chance to think of what else you'd do. After deep consideration, Jessica found new songs within her and an urgency to make another record, marked with a strong sense for rendering it exactly the way she heard it in her head, spending time with her tunes and crafting the smallest details. In this way, she truly was able to inhabit her own skin as a singer of her songs  and make On Your Own Love Again the first Jessica Pratt album constructed to be an album.

What makes On Your Own Love Again new? Everything, and yet everything woven so subtly into the presentation leaves you unaware that you have been modulated upon. The album was recorded entirely by Jessica in the fashion of "Night Faces" and "Dreams," from her first album, and mixed in collaboration with Will Canzoneri. Touched lightly with additional instrumental and vocal parts, the songs ripple beneath the surface with lyrical details that morph almost subliminally from the personal
into fantasy. When Jessica's playful nature bubbles up, she sends her voice traveling into strange places to see what it finds there. The music too is deceptively accomplished, providing subtle hallucinatory
nuances to the tunes. The orchestral organ stop working in the shadows of "Wrong Hand," the reverberant percussion floating through "Game That I Play," the clavinet panned out on the side in "Moon Dude," Jessica's sudden vocal dip into her lower register on "Greycedes" all pull at the ears, highlighting her unique pop sensibilities with craft and humor, giving the album's inherent romance a greater heft. Perhaps most significantly, On Your Own Love Again was recorded at home  at places in Los Angeles and San Francisco, over the past two years. This process sands the surface of her more active multi-tracking approach, allowing a sound as delicate and singular as her former recordings. On Your Own Love Again Jessica is fully alive in a space all her own; with isolation in the breeze, the sound resonant in the natural light and a gauze of clouds in the sky, under which she can relax, unwind and let herself be.

Location

To Be Announced (Long Beach, CA)
Displayed After Purchase
Long Beach, CA 90814
United States

Categories

None

Dog Friendly: No

Contact

Owner: Toby Carpenter
On BPT Since: Jul 17, 2012
 
Secret Show

Attendees

Paige W.
Orange, CA United States
Jan 23, 2015 2:23 PM
Hannah W.
Orange, CA United States
Jan 23, 2015 2:23 PM
Jon P.
Scottsdale, AZ United States
Jan 23, 2015 12:28 PM
Ashley S.
Scottsdale, AZ United States
Jan 23, 2015 12:28 PM
Michael G.
Long Beach, CA United States
Jan 23, 2015 12:08 PM

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