United Ghosts residency at Silverlake lounge

FREE RESIDENCY every Thursday in May at Silverlake Lounge

United Ghosts residency at Silverlake lounge

Nightmail, Seven Saturdays

Thu, May 30, 2013

Doors: 7:00 pm / Show: 8:00 pm (event ends at 2:00 am)

Silverlake Lounge

Los Angeles, CA

FREE

This event is 21 and over

United Ghosts
United Ghosts
There is something to be said for the adage "The sum is greater than its parts." But there's also something to be said about having the right parts. Last year Los Angeles musician Axel Steuerwald began searching for a collaborator for a new project. After a chance meeting with Sha Sabi, a recent transplant from the Bay Area, the pair clicked immediately. Sha was enraptured with Axel's Silverlake garage studio, a seemingly remote locale at the end of a cul-de-sac. On her first visit, the pair laid down vocals on one of Axel's tracks and immediately, hearing the fusing of their voices, knew they should write together.

The duo culled their disparate musical backgrounds and predilections into cohesive, compelling new songs in Axel's studio. For the first few months the musicians didn't even know each other's last names; they just got together and wrote and played. Sha's indie electro stylings merged with Axel's pulsating, psychedelic tendencies, seamlessly fusing into complex numbers that bring in varied elements of shoegazy alt-rock, lo-fi electronica and soundscape-driven psychedelia.

"It's unpredictable," Axel says of the band's songwriting process. "Ideas can come from anywhere. Songs can start with a voicemail or iPad app. Sometimes it's just a lyrical image with a little melody snippet. If one of us can't fill the space, the other steps in with something cool. We definitely spur each other on. I think it opened up a whole dream-like, atmospheric side to my writing and playing that was always there but I couldn't reach before."

Axel and Sha added guitarist Jason O, who also writes with the duo, and drummer Sean Burgess to the mix by 2011, both of whom Axel had worked with in his previous band Mere Mortals. The instrumentation is often unusual, originating away from birthplaces of typical guitar-based rock. United Ghosts employ instruments like a 12-string electric guitar, vintage organs and synths, a Glockenspiel and even an iPad to generate their droning, propulsive sound.

The group's first release, a 7-inch single, will be out in early fall. The first offering, a vinyl- and digital-only release, features "Holes In the Night," an explorative Kraut-rock number propelled by a beat-driven forward motion, as its A-side and soaring, hazy companion track "Mainline To the Sun" as its B-Side. Much of the tracks were laid down in Axel's garage, but the band partnered with producer Scott Gilman to work on parts in his Eagle Rock studio The Hobby Shop, where they also did the final mixing.

A full-length album will likely arrive in early 2012 and United Ghosts recently brought their visceral sound to the stage, performing live around the West Coast. The goal, as it's always been for the band, is to allow the music to develop naturally, an evolution that's allowed Axel and Sha to create songs that both embody their vision for the group and have organic life.
Nightmare Air - (Set time: 10:00 PM)
Nightmare Air
Huge and relentlessly propulsive rock from start to finish." —Ben Raynor, Toronto Star

NIGHTMARE AIR is a rock band from Los Angeles, California, fronted by the dynastic duo of Dave Dupuis (guitar, vocals) and Swaan Miller (bass, vocals).

As Nightmare Air, Dupuis, a veteran of L.A. shoegazers Film School (Beggars Banquet) and Miller, whose stark early-2000s acoustic album on Important Records melted hearts and faces everywhere, meticulously layer boy-girl harmonies, psych noise loops, fuzz-ripped bass and howling rock power into a fresh, upbeat sound all their own. With Detroit-raised heavy hitter Jimmy Lucido on drums, Nightmare Air put on a live show that's earned them heaps of praise at home — "possibly L.A.'s loudest band" (Scott McDonald, Surfing on Steam) — and across the pond — "awesomely epic layered sounds" (ArtRocker magazine, U.K.).

In their many combined years of touring, these road veterans have supported heavyweights from Smashing Pumpkins to The Jesus and Mary Chain, Swervedriver to TV on the Radio. In 2010, Nightmare Air toured North America on the heels of their debut EP — headlining four nights of Toronto's Canadian Music Week, earning spins on the BBC and holding Top 10 status on college and indie radio. Recently, Nightmare Air opened for Sonic Youth legend Lee Ranaldo, and The Cult at their SXSW 2012 showcase.

Nightmare Air have just completed their debut studio full-length due out March 2013 on Saint Marie Records. The record was mixed by Dave Schiffman (Nine Inch Nails, Black Rebel Motorcycle Club, The Mars Volta) with mastering by Howie Weinberg (Nirvana, Sonic Youth, The White Stripes, Metalica). The album, still untitled and as-yet-unreleased, has already gotten its first kick of momentum — landing the track "Escape" on Under the Radar's spring sampler and Filter magazine's "Discovering the Undiscovered"

The band is now gaining great momentum after just finishing their first major world tour.
Nightmail - (Set time: 9:00 PM)
Nightmail
Nightmail grew amongst friends sometime between Halloween and Christmas 2010 in Los Angeles. Over the course of their years of friendship, their love of post-punk/darkwave evolved from sharing records together in high school to finally making music together. Members Tammy Herrera, Nicki Nevlin, Dvin Kirakosian, Gabriel Fernandez, and Brian Ramirez create a blend of dream-pop, shoegaze, new romantic sound, weaving otherworldly analog synths, bendy guitars, and ethereal emotive vocals acknowledging influences like The Cure, The Pixies, David Bowie, Siouxsie and the Banshees, and Gary Numan.

"'Dream pop. It's all we think about,' the band writes on its ReverbNation page, a truth reinforced by its murky bass lines and vintage synthesizers. The Cure is one clear influence on songs such as "S.O.S.," while the more nightmarish energy of "Architects" evokes more modern genre practitioners such as Warpaint. But there's nothing sleepy about singer-keyboardist Tammy Herrera, who leads the songs with a determined, slightly melodramatic alto." - The LA Times: Pop & Hiss/ LA Unheard - David Greenwald
Seven Saturdays - (Set time: 12:00 AM)
Seven Saturdays
"Dntel is an obvious reference point from the mix of organic instruments and programmed swirls, but the seasick strings and sad little Rhodes piano lurking about hint at Sigur Ros."
- LA Times

"Talk about air-conditioning for the soul." - Buzzbands LA

"Serene and beautiful. It's the kind of music to stare out of aeroplane windows to." - NME

"Expansive, yet emotional compositions, causing crescendo's to be juxtaposed with chiasmic atmosphere. A psychedelic journey taking in may aural attractions, from bleak Godspeed depths to uplifting Explosions In The Sky influences." - Q Magazine

Jonathan D. Haskell's work as Seven Saturdays is informed by the desolation of afterhours Los Angeles. From dimly lit Mulholland Drive to the isolated streets of Downtown, it is in these quiet moments symphonic landscapes emerge; coming together to form the headphone-centric Seven Saturdays.

Seven Saturdays began as a creative concept in 2010 when Los Angeles musician/producer Jonathan D. Haskell wanted to sharpen his engineering skills on off days during the recording of his first two EPs (Seven Saturdays - which Stereogum described as "gripping and mellowly epic" - & The Snowflakes That Hit Us Became Our Stars).

Over seven consecutive Saturdays, Haskell challenged himself to write, play and record an entire song each day. Not only did this exercise lead to the band's namesake and a full-length album (2011's Love In The Time Of Anticipated Defeat), it also grew into something Haskell had not anticipated. "It was really cathartic because not only did a fully realized ambient record emerge from this experience, but that vision ultimately expanded the boundaries of what I initially thought my musical direction would be," Jonathan explains, "whereas the first EPs were more structured and orchestrated, these 'ambient' recordings were free and sonically expansive."

On the eponymous new Seven Saturdays album due out in May, Haskell merges these two creative approaches—the structured and the ambient-- into one holistic vision. "The fusion really played a part in the recording of the new record," explains Haskell, "It is a combination of structured orchestration with continuous loops and arithmetic glitches—and vocals layered throughout." The addition of the human voice is a significant change from Haskell's past work. "The way I approached Seven Saturdays in the beginning was to build the most dense, sonically adventurous sound possible." Jonathan states, "Occasionally instrumental work can feel detached. I began to notice the minute a voice was introduced, I felt a more profound resonance with the music. For Seven Saturdays, the thick beds of ambient noise needed to be there on my end, amped up as much as possible, while the vocals needed to be front and center to really emphasize that human connection to the underpinning of the instrumental base."

Haskell recruited more than just guest vocalists for Seven Saturdays. The list of collaborators on the new release is vast, and rich with talent; it includes Daniel Farris (St. Vincent), Colin Stetson (Tom Waits, Arcade Fire), Rain Phoenix (papercranes), Rachel Stolte (Great Northern), Dan Schwartz (Sheryl Crow, Jon Hassell), Jerry Marotta (Peter Gabriel, Hall & Oates), Jim Evens (Helen Stellar), Vanessa Fernandez (Octover), Alex Lilly (Bird and the Bee), Matt Rollings (Lyle Lovett, Billy Joel), Genevieve Artadi (Pollyn), Jacqueline Santillan (Wait.Think.Fast), and Mike Garson (David Bowie, Smashing Pumpkins).

For Haskell personally, this Seven Saturdays album will forever be a signpost marking a significant turning point in his life. In the middle of recording of the album Jonathan left Los Angeles to pursue a MBA at the University of Edinburgh in Scotland, planning to continue to work on the album remotely. It took ten days to drop out and return to LA to finish the record. Says Haskell, "Seven Saturdays required everything I have in me physically and emotionally to complete. I needed those ten days to reaffirm my path and realize that music is where it begins and ends. My only regret is that it took me ten days longer to finish the record."
Venue Information:
Silverlake Lounge
2906 Sunset Blvd
Los Angeles, CA, 90026
http://thesilverlakelounge.com/