Blonde Redhead – Tickets – Wonder Ballroom – Portland, OR – July 25th, 2017

Blonde Redhead

Monqui Presents

Blonde Redhead

Porcelain Raft

Tuesday July 25

Doors: 7:30 pm / Show: 8:30 pm


This event is 21 and over

Blonde Redhead
Blonde Redhead
BLONDE REDHEAD is excited to announce a new album set for 2014 release. Another sonic twist in their already adventurous canon…

Blonde Redhead has always been a band that innovates with each album. They challenge themselves with each recording situation, and the results have been stunning every time. Their music is always inspired by the same emotions, but their tastes and ways they choose to execute those emotions are constantly evolving. It was the early conversations about how to make this record that led the band to work with the up and coming Swedish duo Van Rivers and The Subliminal Kid (Henrik von Sivers and Peder Mannerfelt) as producers on the record. Drew Brown (Radiohead, Beck) also came on board to record the tracks that would eventually be used in Stockholm.

This really marks the first time that the band has worked in such a collaborative manner with their producers. Kazu says "it was a real test – it shook everything up quite a bit". In fact, they were very much working outside of their comfort level, forced to move into directions that were completely unexpected, with many different opinions in the mix, which led to many challenges along the way. With friction however – there is also great art. And that's exactly what we have with Penny Sparkle. It's a truly gorgeous album, one that the band is VERY happy with. Although it took over a year to get there, the completion of the record lifted a huge weight off the band's shoulders.

The band initially spent 6 months upstate working on the songs for the album. Despite the beauty of their upstate surroundings, there was no escape. Simone said "I wasn't crazy about being upstate because there is something really sad about it – just being up there, completely secluded – it's really beautiful, but I had no escape – no friends, and nowhere else to go." They couldn't just take a break and go meet friends like they could at home in New York City, so they ended up feeling quite trapped and isolated.

When it came time to record, they decided to do a trial run with Henrik and Peder. Kazu headed to Sweden to work on one song, "Here Sometimes" – to see how it might go. It was a little awkward for her – working away from Amedeo and Simone with people she barely knew in the middle of the grey winter. She really loved being in Stockholm, but she felt very isolated and looked forward to working on the record again back in New York with the twins and getting their thoughts on the collaboration.

Kazu returned and the band spent time working with Drew Brown at The Magic Shop to record some basic tracks, and also to work on incorporating the electronic elements that Henrik and Peder had worked on. It was over Christmas and New Years, and was one of the coldest winters New York had seen. No one celebrated the holidays with their families – they just worked and worked – although at times felt like they weren't accomplishing anything. When they had more tracks recorded, Kazu went back to Sweden again, as it was finally decided that the collaboration would work.

Finally, in February – the band realized that they in fact had accomplished quite a bit. Everyone – the band, Drew, Henrick and Peder met together in New York to finally all work in the same room – Sear Sound. This was just a few months before Walter Sear, the studio's owner passed away. He helped them program the moog for the sessions. This is where the songs finally found their finished form. It took a long time, and it was very difficult, but the journey it took to create Penny Sparkle is well worth it.

The results of everyone's very hard work are found in the 10 songs that comprise Penny Sparkle. It's an emotional album full of discreet electronic flourishes, lush and sultry vocals and interesting sounds you have never heard on a Blonde Redhead record before. Sonically, the album sounds amazing on any stereo – which was also a goal of the bands. They really wanted it to sound perfect on any type of listening device.

It's no wonder that the band has some tensions to release after recording a record like this. In their spare time, Kazu and Amedeo both turn to horse riding, and Simone escapes on his motorcycle. Speaking of spare time, it's a wonder they have any at all. Between the year that it took to make Penny Sparkle, plus the soundtrack work that Simone and Amedeo have taken on, there really isn't much time to spare at all.

Simone first got into motorcycles about 10 years ago. Since then, he has educated himself about their inner workings and can fix his own bikes – Moto Guzzi being the preferred brand.

Kazu spends time upstate, where she rides and takes care of horses, including her own. It's also where she met the album's namesake horse, "Penny Sparkle". The stables that Kazu keeps her horse at are the same place that she had her riding accident at in 2002. It's often surprising to some that she still rides after such a horrible accident, but it really brought her closer to her hobby and made her work even harder at it. Amedeo rides too, but he enjoys more of the training side of it.

Blonde Redhead have ended up with a thing of beauty in Penny Sparkle. Despite the rocky road they went down while making it, Kazu says "I know that we have never made a record this way and if I could go back in time, I would do it exactly the same way again." And if the band is happy, then we should all be too.
Porcelain Raft
Porcelain Raft
Over the course of two albums in four years, and an armful of EPs and singles, Mauro Remiddi has crafted a celestial body of work that drifts in and out of dream states.

Under the name Porcelain Raft, he has been a slippery artist to pin down, perhaps by design. You might think he’s an electronic pop musician adept at sound collages, which is he, but he’s also a singer and songwriter who has trained a gimlet eye on his place in the world.

Set for release on Feb. 3 on his new label (Volcanic Field), “Microclimate,” his latest release, reveals Remiddi at the peak of his songwriting prowess.

As he puts it, his first two albums were exploratory, considering things he had never seen but had envisioned in his mind. On 2012’s “Strange Weekend,” his studio debut on Secretly Canadian, Remiddi was clearly on a quest. “I’ve never seen the desert before, to be close to nothing,” he sang on “Shapeless & Gone.”

But now he has, by way of Joshua Tree, and these 11 new songs are shot through with probing observations about the vast scope of the world and how we are but a miniscule part of it.

“Suddenly, with this new album, I’m in it,” he says.

“It” is shorthand for the broad horizon Remiddi now stares onto, particularly after relocating to California a few years ago. The dictionary definition of “microclimate” – “the essentially uniform local climate of a usually small site or habitat’’ – hardly captures the multitudes Remiddi mined from that notion.

“To me the album starts with nature, but it goes to the place that I always go: to the vivid dreams I have,” he says. “It feels like a last chapter of a journey. I don’t know what I’m going to do next, which doesn’t matter. For now, it feels like a circle has closed.”

The new album was borne out of a series of trips to exotic locales – Barbados, Bali, and California’s Big Sur – all strange lands to this Italian native who grew up in Rome and has since lived in London, New York, and now Los Angeles.

“I’ve always lived in cities where everything is made by humans to isolate yourself from nature, which is a dangerous thing,” he says. “The feeling I had in Barbados and Big Sur and certain parts of Bali when I went to these places, for the first time at 44, I felt like I was part of them. After always looking at nature from the distance, I was finally connecting with it.”

Over washes of pedal steel – which is all over the album, in fact, along with a rather fevered harmonica solo at one point – Remiddi sets the album’s tone with the opening “The Earth Before Us.” Its collision of acoustic textures and euphoric melodies somehow both grounds the song and shoots it straight into the stratosphere. He sounds humbled:

Like a tiny whisper, like a distant shore
Coming out from nowhere, from millions years ago
I never felt like this before, sea lions under the sun
Shapes and colors from heaven, melting into one

“I wasn’t even afraid to be naïve about it,” Remiddi admits. “I think sometimes that’s the best way to approach something. Sometimes you just have to say things the way they are, and sometimes that means the simplest way to say it.”

On “Big Sur,” the album’s centerpiece (and his approximation of a Chris Isaak song, he jokes), Remiddi’s words tumble out like a freeform poem:

Burned leaves beneath the trees it’s getting dark my body spins
The breeze that pushes me down hill, the salty air it feels unreal
Orange flames up in the sky it brings me now

Remiddi shrugs at the suggestion that “Microclimate” burns with a warmer glow than his previous releases, mostly through its luminous instrumentation.

“I never think ahead about what I’m going to use. Never,” he says. “The way it works most of the time is this: If I make an album with certain instruments, I would sell them because I don’t want to make an album that sounds the same. If I have an aesthetic that connects my albums it’s that I use just what I have in front of me.”

His vocals, too, unearth different shadings of his voice, pitched somewhere between hushed and urgent, as heard on “Accelerating Curve.”

“I felt that I was singing as if I was tired, but on purpose. There was an exhaustion in the singing, but then suddenly I would wake myself up and something would come out very clear and loud,” he says. “Compared to my other albums, this one has more dynamics. You hear me half awake and then suddenly in your face.”

“I know it’s a common thing to say, but these albums are like pages in a diary,” Remiddi says. “In 20 years, I want to look back on my albums and say, ‘Yeah, that was me in that moment.’”

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