MOTHERHOOD with GIANNA LAUREN
Friday Apr 12, 2019
Doors 7:00PM, Show 8:00PM
Tickets: $12 (+SC) adv., $15 doors • 19+
>> BUY TICKETS HERE <<
A trio of deep-thinkin’ rippers, New Brunswick’s Motherhood achieve one very rare and uncomplicated feat: they sound EXCITING on record and stage alike. Unlike so many awkward experiments by peers and ‘adventurous’ contemporary rock outfits, Motherhood’s music explodes with the kind of charm and exuberance you can’t just order. No, it’d take years of late nite couch-crumpled conversations, bathroom stall barfs and parking lot laughter to achieve the kind of chemistry these three exude. Since their 2013 debut LP Diamonds and Gold, Motherhood’s style has walked a twisted path and meandered from anthemic hooks to darker, grimier riffs, and a much more angular and eclectic sound. Described as widely as avant-country, circus punk or black metal fusion, the band has settled reluctantly on art-rock as a catch-all. But as their genre remains illusory, their aesthetic is palpable – if you get comfortable, you deserve to be duped. If we’re calling this art rock, it’s because, in 2019, commitment is a precious art indeed. And make no mistake, Motherhood is all about commitment. Brydon Crain (guitar, vocals), Penelope Stevens (bass, keys, vocals) and Adam Sipkema (drums) have been linking arms and running into rock n’ roll oblivion repeatedly for the past eight years. Like cowpunk without the jadedness, dust rock without the drymouth; a thinkin’ people’s union for the fearless 21st.
“dark like black boot mud” – Sappy Times
“exciting and completely unpredictable” – Grid City Magazine
“a tumultuous tumbleweed of country-laced, spitfire rock ’n’ roll, a cathartic circus wrapped in a sheen of heartfeltly-howled emotional hooks” – AUX
Originally calling Alberta and Ontario home, now-Halifax songwriter Gianna Lauren is a project of atmosphere, guitars, and warm voices. Lush arrangements and measured vocals create a haunting ambiance. Moving Parts is a compelling testament to a band’s chemistry and dedication. Operating a band with 2000km distance in-between members equals a great deal of moving parts. With Lauren in Halifax and the rest of the band in 3 different cities in Ontario, regularly seeing one another and working together wasn’t always easy. As opposed to their previous collaboration which was recorded live-off-the-floor in a couple of days, Moving Parts was recorded in 3 studios, 2 provinces, and sporadically over 5 months. Over 4 years following the release of On Personhood, the band grew apart, took on other projects, pursued other opportunities, making it more and more challenging to come together. As a result of scheduling conflicts, Lauren hesitated to release the album at all. “The challenges to making this band work forced me to re-think whether this band should even be supporting an album,” Lauren says. “So I buried it.” The band is J.J. Ipsen (Hayden, J.J. Ipsen and the Paper Crown), Justin Nace (Andy Shauf, The Wooden Sky, Jenn Grant), and Marshall Bureau (Jill Barber, Great Lake Swimmers). Each song on Moving Parts channels a measured but mighty groove, to psych-folk on the catchy NPR-embraced “Mistakes” and the techno-punk inspired “Innkeeper.” Lauren’s signature idle vocal cadence is particularly highlighted on “Will You Come” and the dreamy reverb-soaked “Death & Beauty.” Despite the album’s darker material, the band warms up with tropical tones on the downbeat “Tricks.” “Take It Slow” was recorded live-off-the-floor with Daniel Ledwell (Jenn Grant) moments after Lauren got the news that one of her mentors was jogging hit by a car and killed, but the lyrics tell the story of Lauren’s grandfather’s demise of an early and tragic death. This heartbreaking moment is instilled in the recording. Throughout the changing temperatures of Moving Parts, the band maintains a cohesive state of marvel and Lauren’s voice maintains a cool assurance, delicate but showcasing a new kind of vigour.
“Gianna’s songs are delicate and somber, yet hopeful. She channels the spirits of early Joni Mitchell and contemporary P.J. Harvey.” – Earshot Online
“…songs are writ large with atmospheric sounds that give a heavy mood to observations on life and love in the time of technology.” – Ottawa Citizen
“Equal parts Cocteau Twins, Beth Orton and Sufjan Stevens, this gauzy leadoff track [‘Become What You Can’tBe’} to one of the season’s most intriguing albums is notable for a sonic template that’s unusually adventurous, especially for a singer-songwriter album.” – Toronto Star