Owen

Owen (9:30 PM)

Birthmark (8:30 PM)

Thu, September 22, 2016

8:00 pm

$20.00

This event is all ages

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Owen - (Set time: 9:30 PM)
Owen
In the past decade, Chicago's Mike Kinsella has played a variety of instruments in a handful of bands including Cap'n Jazz, Joan of Arc, The One Up Downstairs, American Football, Owls, Maritime, and Aloha. Owen is his solo project.

The impetus for Owen was a direct result of the demise of American Football. Up to that point, having been associated with a number of bands, Mike sought a project where he could have complete creative control over all aspects including songwriting, recording, album artwork, and overall artistic direction.

When it came time to record his solo album, Mike approached Polyvinyl with the idea to take the money that normally would be spent on a recording studio and instead spend it on software so he could record the album on his own. He ended up heading to his mother's house in Chicago and turned his old bedroom into a recording studio. Wishing to avoid the connotations associated with solo singer-songwriters, Mike began recording under the pseudonym, 'Owen.'

Owen's debut, Owen was a stark departure from previous Mike Kinsella projects. There no longer existed a need to play odd time signatures just for the sake of being different or writing parts that were technically challenging purely for the sake of being technically challenging. What remained was an artist finding his way through his home studio for the first time while recording all instrumentation on his own.

For 2002's No Good For No One Now, Owen's second full-length, a similar arrangement of purchasing recording equipment instead of studio time was agreed upon. This time the money went towards the purchase of microphones. No Good For No One Now was more realized than the first album owing in part to the experience of self-recording Owen. The most notable distinction between the two albums was Mike's increased use of lyrical, literary devices: each song told a story.

In 2004, in collaboration with Cale Parks (of Aloha), Bob Hoffnar, Jen Tabor, and Paul Koob, Mike began recording again. What resulted was (the ep). The joint effort marked a turning point of sorts for Owen. Rumors began to swirl that a live band would be taken on the road for the first time but these rumors never materialized as Mike again rejoined Joan of Arc and became a touring member of both Maritime and Aloha.

(the ep) had been written as a companion piece to a scheduled full-length. In summer 2004, Mike again began recording and collaborating, this time with cousin Nate Kinsella ( Make Believe, Joan of Arc) who lent assistance both on instrumentation and engineering. The results of these efforts were I do perceive., Owen's third full-length.

On At Home With Owen, Mike figuratively leaves the at-home bedroom that has characterized so much of Owen's past musical output. His step away from bedroom recording allowed for an alternative approach to the songs recorded on At Home With Owen. "I've always hated how two dimensional the other Owen albums have sounded, and I think this one's finally got a third dimension," says Kinsella. The new approach to recording involved a fraction of pre-recording at Mike's mom's house, followed by sessions at Semaphore Studios with cousin Nate Kinsella (Joan of Arc, Make Believe) and finally at Engine Studios with Brian Deck (Iron & Wine, Red Red Meat). This newfound transient approach to recording allows the music of Owen to reach a new depth; one that sways between organic overtures and fervent, lush ballads.
Birthmark - (Set time: 8:30 PM)
Birthmark
For Nate Kinsella, the music he plays as Birthmark creates a place for his mind to go to get away from the real world. On his last album, 2012’s achingly intimate Antibodies, he explored quiet, contemplative terrain. But on his fourth LP, How You Look When You’re Falling Down, Kinsella actively sought to create a more positive and energized place.
Much of the album’s inspiration came from Kinsella’s move from Illinois to NYC, which pushed him out of his Midwestern comfort zone in every imaginable way. He discovered an electrical charge in the sudden anonymity he found in his new home, especially after spending so much time in the Chicago music scene, where the Kinsella name is a big deal and he’s still better known for playing with his cousin Mike in American Football and Owen and his cousin Tim in Joan of Arc and Make Believe.
Kinsella began creating How You Look When You’re Falling Down by setting up a drum kit at a friend’s carpentry shop and improvising beats at randomly selected BPMs. Over the next two years, he and producer Jason Cupp (who also worked on Antibodies) fleshed out the record’s eight tracks with horn arrangements by members of the iconic New York Afrobeat group Antibalas and TV On the Radio’s touring band, strings by the acclaimed contemporary classical Mivos Quartet, and harp by the up-and-coming Brandee Younger.
And yet, even with this impressive list of collaborators, Kinsella provided most of the album’s instrumentation – including all of the drums, bass, guitar, piano, organ, keyboards, vibraphone, and marimba – to produce his own signature blend of intimate acoustic sounds and gently psychedelic electronic textures.
More than just the sounds you hear, How You Look When You’re Falling Down is truly the product of Kinsella’s circumstances and environment. No matter where he happened to be – an apartment in San Francisco, a studio in Williamsburg, an isolated farmhouse in Indiana, a tiny closet inside a friend’s condo in Chicago – Kinsella took full advantage of every opportunity to work on the album, wherever life took him.
This tendency to incorporate diverse experiences and sounds extended to Kinsella’s honeymoon in Bali, where he had the unique opportunity to hear live Gamelan music and practice his own playing with a village priest. The influence of this traditional Indonesian ensemble music can be heard in the interlocking vibraphone patterns on “Sounds Can Be So Alarming” and the Javanese gong, kenong, gender, and bonang that Kinsella plays on the album’s instrumental closer, “Body Aches and Butterflies.”
Throughout his latest record, Kinsella leads his explorations with his heart and his experimentation turns out to be as accessible as it is daring. He’s discovered a new space that music can take him mentally — an idyllic vacation spot with warm brass, shimmering strings, gracious pop hooks, and a touch of harp.
Put on How You Look When You’re Falling Down, close your eyes, and join him there.
Venue Information:
Troubadour
9081 Santa Monica Blvd
Los Angeles, CA, 90069
http://www.troubadour.com/

All lineups and times subject to change