The Bowery Presents: Son Lux w/ Natalie Prass, Stranger Cat Sunday March 22 The EARL 8pm Doors // $10 ADV Tix: http://bit.ly/SonLuxATL Twitter: @sonlux @natalieprass Son Lux - http://sonluxmusic.com/ Son Lux is Ryan Lott. His debut recording, At War With Walls and Mazes (2008), earned him the title of “Best New Artist” by NPR’s All Songs Considered. In 2011 he followed up this release with We Are Rising which Consequence of Sound described as “the dark, operatic middle ground between Owen Pallett and In Rainbows-era Radiohead or Wild Beasts’ fantastic, operatic heights.” In the last 4 years Lott has built an impressive list of collaborators including everyone from indie-rock darlings such as Sufjan Stevens, Peter Silberman (The Antlers), These New Puritans, My Brightest Diamond; to composers and classical world institutions such as Nico Muhly, Richard Perry (Arcade Fire), Judd Greenstein, yMusic, ETHEL, and Pulitzer Prize winner Caroline Shaw; to rappers Serengeti, Busdriver and Beans (Antipop Consortium). Production credits include arranging and programming for four major feature films, most notably Looper (2012), plus his recent score for the forthcoming Disappearance of Eleanor Rigby (2013). In addition to his commissioned work, the Son Lux catalog has been licensed for both film (The Romantics, Looper) and television (Parks and Recreation, American Horror Story). As a composer Ryan has scored commercials for a long and impressive list of clients such as Absolut, IKEA, Coca-Cola, Audi and many others. Recently Son Lux has performed at Carnegie Hall with the Young People’s Choir of New York, held a weeklong residency at the Joyce Theater with Stephen Petronio Dance Company, performed with the Indianapolis Symphony Orchestra, and has shared the stage with Laurie Anderson, Philip Glass, Kate Davis, and Dose One. He will be collaborating this summer with Serengeti and Sufjan Stevens and world renown visual artist Jim Hodges for a musical accompaniment to a traveling retrospective of Hodges work debuting at the Walker Museum of Art in February of 2014. Son Lux will be releasing his third full-length release via Joyful Noise Recordings (Kishi Bashi, Sebadoh, Talk Normal), which positions Son Lux at the helm of a diverse and impressive ensemble of instrumentalists and singers including Chris Thile (The Punch Brothers), Peter Silberman (The Antlers), Lily & Madeleine, Ieva Berberian (Gem Club), as well as other previous collaborators. Meditative and heaving with energy, the album weaves disparate elements into a singular vision of a world both strange and welcoming. Natalie Prass - http://natalieprassmusic.com/ Natalie Prass is the kind of artist Spacebomb was created for–a songwriter’s songwriter and performer’s performer blessed with a golden voice and universal appeal–a singer who understands the vision and brings an undeniable talent to the process. She’s a joy for any listener to discover–a lover and a fighter and old-soul trader in genuine energy, aiming straight for the heart. Prass turns a sly eye to the pageantry of emotion, the drama of love and the mysteries of everyday life with a disarming mixture of sincerity and cosmic insolence, unapologetically romantic, spinning golden threads of lyric and melody, each inflection and melisma planned and considered, each word tailored for meaning and effect–the pop gesture as artform. She delivers it all with carefree charm and nearly divine intuition. Her voice, at times so ethereal, is shot through by strength and sinew and just a hint of transient grit. The feeling is soft, but it cuts so deep, leaving any listener with a trace of a soul, thunderstruck and enchanted. Born in Cleveland, in the heart of the 1980s, Prass entered the teenage slipstream back on the east coast, past the haunted houses, surf shops, and burger joints of Virginia Beach, a mid-tier, rough-around-the-edges resort town. There is an inevitability to every biography, a myriad of strange narrative palm lines that twist and intersect, and she followed hers bravely to a seam of alternative beach culture, living close to the Atlantic Ocean but studying a less bronzed way of life. With her pet bird on her shoulder, she took intensive music and visual art courses all through high school. Going to a good music school was the next logical step, but after a year in cold, snowy Boston, Prass dropped out of Berklee and returned to the beach. She spent a spell working and playing shows in boardwalk clubs before moving out to Nashville where she has spent close to the last decade developing her craft, collaborating with some of the better characters on the edges of Music City culture, building a reputation with her radiant voice, unique performances, and for being a bit of an iconoclast. Prass has carefully avoided the glossy singer-songwriter scene, reaching for something more interesting, more exciting.For her debut performance at Nashville’s storied Ryman Auditorium, she surprised fans by pulling off a guileless reggae set in front of an Isaac Hayes poster she had displayed behind her band. When the time came to record a full length, Prass returned to Virginia to work with Spacebomb Records, a label able to realize big visions and lush productions within the rustic charm of its attic studio. The match made sense musically and her ties to Matthew E. White go back to playing in rock bands in their high school days. The two worked together, selecting nine tracks to run through Spacebomb’s creative machine. With hard work and the alchemy of circumstance, they crafted an unassuming masterpiece–a real stunner that sounds both thoroughly out-of-time and impossibly fresh. Prass is a powerful, beguiling performer and cunning pop composer–one for the moment and one for the ages.
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