MONO

MONO (10:00 PM)

Helen Money (9:00 PM)

Wed, April 30, 2014

8:00 pm

adv tix $15.00 / day of show tix $18.00

This event is all ages

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MONO - (Set time: 10:00 PM)
MONO
This instrumental band was formed in February of 2000 in Tokyo, Japan. Since then, MONO has quickly piqued interests in both audience and critics alike by staging overwhelming, emotionally splendid, atmospheric performances. In September of 2000, MONO released a 4-song EP called Hey, You. EP, released on Forty-4 Records, which received exceptional reviews in both Japan and the US. In March 2001, MONO performed at SXSW, broadening their fan base. In December 2001, the band’s long-awaited debut full-length album, Under the Pipal Tree, was released on John Zorn’s TZADIK imprint. The album was well received by a variety of influential underground media outlets.

In March 2002, MONO embarked on their fourth North American tour. They hit 10 cities, including Seattle, Portland, Philadelphia and Boston, and shared the stage with Jim O’Rourke at Tonic in NYC. They wrapped up their tour by performing at SXSW for the second year in a row. They followed with numerous festival appearances, including the industry-centric Popkomm Music Festival in Cologne, Germany and Fomoz Fest, the Largest music in festival in Taiwan. They also found time to record their second full-length album entitled One Step More and You Die which was released October 2, 2002 in Japan, and was supported by a 30-city tour throughout Japan and North America, sharing bills with Kinski and Black Dice, among many others. This led to the band signing a deal (excluding Japan) with the ARENA ROCK RECORDING COMPANY, followed by a worldwide release of One Step More and You Die in early 2003.

Following their most successful US tour to date in the fall of 2003, MONO signed a deal with one of their all-time favorite labels, TEMPORARY RESIDENCE LTD. Since 2003 MONO have released three full-length studio albums: Walking Cloud and Deep Red Sky, Flag Fluttered and the Sun Shined (2004), You Are There (2006), and Hymn To The Immortal Wind (2009). Additionally, they have released a singles and rarities collection called Gone (2007), and collaborated with acclaimed experimental electronic artist World’s End Girlfriend for the melancholy Palmless Prayer/Mass Murder Refrain (2006).

Within the rage of distortion and bombardment of feedback, you are just as likely to experience sadness and beauty, light and darkness, chaos and peace, happiness and melancholy. It is MONO’s ability to combine, intertwine and swing back and forth from two such opposite extremes to create an emotional phantasmagoria that makes this band worth experiencing.

Takaakira “Taka” Goto: guitar Tamaki: bass Yasunori Takada: drums Yoda: guitar
Helen Money - (Set time: 9:00 PM)
Helen Money
“A Chicago classical-cellist-turned-Avant-Metal virtuoso.” – Boston Phoenix

“Alison Chesley [aka Helen Money] brings her classical training on cello into realms occupied by heavy metal extremists and guitar deities. Nobody rocks a cello like Alison Chesley.” – Chicago Tribune

“[Helen Money’s] raw, minimalist stylings make her the lo-fi Xasthur to Apocalyptica’s Dimmu Borgir bombast.” – Decibel Magazine

“[Helen Money] conjures up truly majestic music from her bow. Lovers of modern minimalists, of folk music, and of doom metal should all find something to thrill here.” – Los Angeles City Beat

Who is the singular figure that definitively transforms the cello into a thrilling, cathartic rock instrument? Alison Chesley, that’s who. That is, if you can even call the acclaimed music Chesley makes under the moniker Helen Money “rock”; that’s a little too pigeonholing for the relentless, maverick sounds she creates. As such, on Arriving Angels – the third Helen Money album, to be released February 5th, 2013 on landmark heavy-music label Profound Lore – she shatters genre limitations with groundbreaking fervor anew.

Recorded by iconoclastic recording engineer Steve Albini with brutal precision, Arriving Angels embraces any number of sounds and references – organic, ambient doom à la SunnO))), prismatic noise/post-rock evoking Sonic Youth and Rachel’s, new-music minimalism spanning Górecki to Branca, sinister orchestral trills that would give Bernard Herrman pause – all the while becoming none of them, creating a new whole out of Chesley’s distinct point of view. And while Helen Money has up to this point consisted of Chesley performing primarily solo, on Arriving Angels she’s joined on various tracks by Jason Roeder, the thundering drummer/percussionist for legendary Bay Area post-metal ensemble Neurosis. Roeder’s spiraling rhythms and relentless attack give Helen Money’s already ominous, intense compositions new drive and dimension like never before.

Of course, going to uncharted sonic waters is to be expected for Chesley, for whom Arriving Angels tops an incredibly diverse, surprising career in music. She first came to national consciousness via the ‘90s alt-rock revolution as a member of beloved Chicago band Verbow, which she co-founded with guitarist Jason Narducy (who would go on to play with Bob Mould, Guided By Voices, and Telekinesis). Verbow would play with the likes of Frank Black, Liz Phair, and Morrissey, and put out two albums on Epic Records, one of which was produced by Amerindie icon Bob Mould. Chesley would go on to play on Mould’s own solo efforts, launching her career as a studio musician/arranger for a startlingly varied collection of the most influential, vanguard artists working today. As such Chesley’s cello has appeared on recordings by Broken Social Scene (the Canadian collective’s great Forgiveness Rock Record), Japanese post-rockers Mono, pioneering metallicists spanning Anthrax to Russian Circles, and the solo recordings of The Sea and Cake’s Archer Prewitt. Fugazi bassist Joe Lally has also taken Chesley on tour for his solo shows, with her playing in Lally’s band and opening the shows as Helen Money. Indeed, support for Helen Money among her peers proves noteworthy. Ferociously independent indie-noise trio Shellac had Helen Money open a series of West Coast dates with her volcanic, sonorous live show. As well, Shellac included Helen Money in the prestigious All Tomorrow’s Parties festival the band curated in England for winter 2012, as did Portishead when they put together their version of ATP in July 2011. Helen Money has also shared stages with Earth, Meshell Ndegecello, and Nina Nastasia, indicating the broad stylistic range of her appeal.

That unconventional aspect is clear on the prismatic, challenging, affecting sounds captured on Helen Money’s latest effort, Arriving Angels, arriving highly anticipated after the renown of previous album, 2009’s In Tune, which Greg Kot of The Chicago Tribune called one of the “Best Independent Releases of the Year By A Chicago Artist.” Arriving Angels showcases Chesley’s willfully irreverent approach to the cello, which she aggressively amplifies, loops, and distorts with an array of pedals and audio equipment like none other. Opener “Rift” commences with a series of Eno-esque undulating hums before the calm is disrupted by slashes of mid-range violence and abrupt dynamic shifts. The title track, meanwhile, hums like an onslaught of locusts looming in the distance until it devolves into a kind of twisted boogie; likewise, “Upsetter” builds tension unspeakably with torturous repetition until exploding into orchestral release. Arriving Angels also continues Helen Money’s tradition of unexpected covers. On In Tune, Chesley performed a raucous, symphonic version of The Minutemen’s art-punk classic “Political Song for Michael Jackson to Sing”; on Arriving Angels, meanwhile, she essays a disarmingly minimal, human take on Pat Metheny’s “Midwestern Nights Dream,” reducing the famous jazz guitarist’s original to its stark compositional essence, its plucked notes resonating into unexpected open spaces.

The addition of Jason Roeder on drums on four of Arriving Angels’ tracks, however, provides the album’s revelation, taking Helen Money’s sound into unheard dimensions of power. On “Schrapnel,” Roeder’s loping beat stalks Chesley’s deliberate scrapes of the bow like a vulture circling a carcass, adding untold dread and propulsion. Elsewhere, Roeder infects moody Chesley compositions like “Radio Recorders” with tribal, jazzy deconstructions of blast beats, creating a hybrid groove that proves pointedly individual. Is it metal? Ambient? Post-rock? Classical? Avant-garde? No, none of these labels apply. This music remains just Helen Money: intense, brutal, emotional, virtuoso yet playing by its own rulebook – as such, Arriving Angels just may be unlike anything else you’ll hear this year.
Venue Information:
Troubadour
9081 Santa Monica Blvd
Los Angeles, CA, 90069
http://www.troubadour.com/

All lineups and times subject to change