Wed Nov 20
|Age:||Ages 21+ Only|
The duo's music is characterized by its member's respective love for bumpin' electronic disco & psychedelic blues rock, with the blend of the two showcased on their hit songs "Sad Sad Day" & "Give Me The Beat"!Buy Tickets
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Genre: electronic rock
Ticket Price: $30 advanced / $32 day of show / $53 reserved loft seating (loft seating is available over the phone or in person at our box office)
Ghostland Observatory’s entire approach to music – sonically, aesthetically, conceptually – is essentially a melding of the two distinctly different personalities of its two members, Thomas Ross Turner and Aaron Behrens. Whereas Turner, the producer/drummer/keyboardist of the duo, finds solace in the minimal, bleak cable-patch squawks of Karlheinz Stockhausen and the analog-disco-thump of Giorgio Moroder, Behrens’ interests lie more along the lines of psychedelia, rock and various country and blues artists.
The result is a shimmering, pulsing pop music that is at once kinetically alive with Behrens’ striking vocals and driving guitar work but also anchored firmly by Turner’s percussive beats and Moog-generated melodies and hooks. Common descriptions include “electro-dance rock,” “synth-funk” and “Freddie Mercury-helms-Daft Punk.”
Deciding to produce a style of music that as yet existed only in their collective consciousnesses; Behrens and Turner formed Ghostland Observatory in Austin in 2003 and haen’t looked back since. They now sell out prominent venues across the country, have played at Lollapalooza, Bonaroo, Coachella and the Austin City Limits music festival, which they headlined, and continue to play at various music festivals and venues around the globe to an ever increasing fan base, thanks to their now-famous live shows.
The duo has released four albums to date, all on Turner’s label, Trashy Moped Recordings: Delete.Delete. I Eat Meat., Paparrazi Lightning, Robotique Majestique and their latest offering, Codename: Rondo, which was recorded in Turner’s Austin studio.
The ten-track Codename: Rondo is equal parts psyechedelia, minimal electronic, rock, funk and soul. It was recorded with what Turner calls a more “linear approach” in mind. Rather than layering sound upon sound to fill out a track, the band sought to use fewer sounds while striving to make each of them count.
Highlights on the new album include the first track, “Glitter,” with its loping, fuzzed-out bassline, tremolo-tweaked vocals and Spaghetti Western guitar break. “That’s Right” is a Cars-meet-ZZ Top ripper with the former’s signature synth breaks skipping across the latter’s overdriven, chugging guitar riffs. Another standout, “Miracles,” finds Behrens haltingly phrasing his lyrics in perfect syncopation with Turner’s raw keyboard melody before exploding into an irresistible, hand-clapping chorus that is soon chased by running swells of disco strings. “Codename: Rondo,” the album’s title track, is a perfect example of the band’s efforts toward minimal maximization: a surreal narrative recalling a series of nebulous incidents in Newark, New Jersey spoken over nothing more than a steady kick and some faint electronic warbling while, during the breakdown, deep space satellite transmissions blip intermittently over a loop of what seems to be a robot with hiccups and poor phone reception attempting to leave a voicemail.
With Codename: Rondo, Ghostland Observatory has taken a step in a new direction, both creatively and technically, while still maintaining the essential elements of their unmistakable sound: “sweaty, raw-boned, and direct from the future; committed to electronics, stuck on big beats, yet unmistakably powered by rock ‘n’ roll.”
“I don't really understand how I make music," says Josie Boivin, who records and performs as Munya. "I feel like it's coming from another world." Otherworldly is an apt descriptor for Munya's music. The songs are at turns playful and melancholy, as catchy as they are strange, light and airy but full of powerful emotion.
Born in the small town of Saguenay in Quebec, Josie Boivin is the youngest of nine children. Classically trained as a pianist, Boivin discovered she could sing opera in high school, when she was overheard by a music teacher while jokingly imitating an opera singer. After spending her teens in the highly competitive opera world, she studied jazz at the University of Montreal. Boivin took a year to travel and explore, experiencing life and working odd jobs, trying to find the best outlet for her musical vision. She played keyboards and did backing vocals for local artists in Montreal, honing her skills as a producer, performer, and musician.
It wasn't until September of 2017 that Boivin found her calling, when a friend invited her to play the legendary Pop Montreal festival. At that point, she only had one finished song. "I realized that this was my chance," she says. "If I was ever going to make my own music, it was now. I quit my job and moved in with my sister, just so I could write all day."
After her sister would leave for work every day, Boivin set up her gear, transforming the kitchen into a recording studio, where she wrote and recorded, cleaning everything up before her sister got home at five. These recordings, coupled with a few in-studio days with Miles Dupire-Gagnon and Gabriel Lambert from Anemone, would eventually become a series of three EPs -- a "trilogy," if you will -- each named for a significant place in Boivin's life: 2018's North Hatley (one of her favorite villages in Quebec), Delmano (named for the Hotel Delmano in Williamsburg) to be released in October 2018, with the 3rd EP coming in early 2019.
Boivin's musical process is as fascinating and intuitive as her music. "My music is a collage of first takes, the rawest and best moments, that I transform into something new," says Boivin. "I'll take the drums from one song and a guitar part from another and melody I wrote for something else entirely, and I'll put them together and see how they work." Munya's songs are upbeat but ethereal, built around tight, repetitive drum loops and Boivin's luminous voice. There's a lightness to this music, a glimmering simplicity, but with a sense of sadness lurking underneath that gives these songs their true power.