Sat · December 30, 2017
Doors: 8:00 pm / Show: 9:00 pm
Gateway City Arts
This event is minors under 18 with parent or legal guardian
Food and drink available from the Bistro at Gateway City Arts from 4pm throughout the show.
The Bistro at Gateway City Arts serves fresh, locally-sourced New American Cuisine for lunch, dinner and Sunday brunch. They also have a complete bar and seasonal outdoor beer garden that serves beer, wine, and classic as well as signature cocktails. For menus and more details please go to:
To contact the kitchen please call 413-650-0786 or firstname.lastname@example.org
In summer 2015, after finishing a year of intense touring, Rubblebucket’s Kalmia Traver and Alex Toth began the process of bringing their next record to life. As an experiment, Kalmia asked Alex (her longtime romantic partner) to move out while they worked on the album, then accepted the marriage proposal he made during a recording session just a month later. Although Alex soon moved back in, their 11-year relationship ended when the two chose to ‘consciously uncouple’ the following spring—a decision they honored by ceremoniously giving each other matching triangular daisy tattoos (a nod to the title track from Rubblebucket’s 2010 EP). But despite all the sadness brought on by their breakup, Kalmia and Alex kept on writing and recording together, ultimately creating Rubblebucket’s most transcendent album to date.
Co-produced by Kalmia and Alex, Sun Machine documents the pain of ending their romantic relationship, yet emerges as an unbridled and often-euphoric celebration of their lasting connection. While the breakup inspired much of the album, Sun Machine is deeply informed by several other life-changing occurrences in recent years: Kalmia’s diagnosis with ovarian cancer in 2013 (followed by a round of surgeries and chemo treatments), Alex’s decision to get sober after a long struggle with alcoholism, and the couple’s three-year-long attempt at maintaining an open relationship. The result is a strange and beautiful paradox: a party album rooted in radical mindfulness, a breakup record imbued with each partner’s palpable love for the other.
With its airy melodies and lavish textures, dream-logic sensibilities and dancey rhythms, Sun Machine radiates the bright and joyful energy encapsulated in its title. “It’s a reference to the sun as this abundant natural resource we all have available to us—but it’s also about the inner sun, the magma in our hearts,” says Kalmia. “When you can access that, you’re able to get through really hard moments, and evolve and develop creatively. I think that’s the best way to explain how I was able to work through the process of the two of us transforming our relationship in a positive way.”
It's been a few years since the New Yorker labeled Cuddle Magic’s music "high concept chamber-pop.” At the time, that was a fair statement about a band known to utilize 12-tone rows, odd meters, and extended techniques; a band which had collaborated with new music pianist Phyllis Chen and Third Stream master Ran Blake. But with Ashes/Axis, the band’s forthcoming new full-length record, listeners are less likely to hear echoes of the academy. All sorts of heady compositional devices, both musical and literary, are still present, but the members of Cuddle Magic have learned to bury those influences deeper in the substrate of the music.
Ashes/Axis features songs written by three of Cuddle Magic’s band members–Christopher McDonald, Benjamin Lazar Davis and Alec Spiegelman–all of whom take turns as lead vocalist. In addition, Kristin Slipp, whose voice is prominent from the very start of the album, takes the lead on “Slow Rider,” “The First Hippie on the Moon, Pt. II” and “Voicemail.”
The album also features several co-writes: “The First Hippie on the Moon, Pt. II” was co-written by Lazar Davis and his brother Tim Davis; “The First Hippie on the Moon, Pt. I” was co-written by McDonald and Davis; “Voicemail” was co-written by Lazar Davis and Spiegelman; “Spinning” and “Round And Round” were co-written by Lazar Davis and Sarah K. Pedinotti of Lip Talk, and three of the songs on the album were co-written by Lazar Davis and longtime collaborator Bridget Kearney of Lake Street Dive. Those tracks, “Slow Rider,” “Trojan Horse,” and “Getaway,” are all pop songs hung over the frame of Bawa music from Northwestern Ghana. Parts of these songs were conceived just for the gyl, a type of wooden xylophone, and can be heard translated for this sort-of-rock band.
As with past Cuddle Magic records, the studio process for Ashes/Axis began with live full-band arrangements. Grooves were orchestrated with a set of unusual electro-acoustic timbres including a finger-picked, overdriven acoustic guitar, a bass clarinet with a cheap microphone nested in the bell, junk-shop percussion run through a vocoder, and a slew of Casio keyboards (bought, urgently, from an unnervingly tense family in rural Maine). After tracking the arrangements, several elements were then removed to allow for one final stage of recomposition. With Cuddle Magic’s Benjamin Lazar Davis at the helm, Bryce Goggin (Pavement, Swans, Antony & The Johnsons) and assistant engineer Adam Sachs chopped, distorted, distressed, and delayed elements in each song. The end result is a sound that is warm and precise, raw yet sophisticated–a set of infectious pop songs from either an alternate reality or a paradoxically familiar near-future.
Gateway City Arts
92 Race St.
Holyoke, MA, 01040