White Violet, Skye Steele, Sam the Lion – Tickets – The Evening Muse – Charlotte, NC – May 31st, 2017

White Violet, Skye Steele, Sam the Lion

Great young artists playing great music at the Evening Muse

White Violet

Skye Steele

Sam the Lion

Wed, May 31, 2017

Doors: 7:00 pm / Show: 8:00 pm

The Evening Muse

Charlotte, NC

$8.00

Tickets Available at the Door

White Violet
White Violet
AGES (Normaltown Records), the third release from White Violet, is a record of unprecedented pacing. Bandmates Nate Nelson (songwriter, instrumentalist, producer) and Brad Morgan (instrumentalist, songwriter) plan to release tracks in five digital volumes, two tracks at a time, over the course of one album cycle. At the end, the album will be released on vinyl in its entirety. Each volume is a parcel to unpack and take in, a piece of the gradually unfolding puzzle. Each experience is like a bright correspondence with a stranger who, at the end of which, you meet to hear them speak their heart in full. The album will be written over the course of the cycle–amping emotional proximity to the material onstage–giving AGES an authentic narrative. In an age where we have access to endless streaming, sculpting a record into multiple releases is not only strategic and pioneering, but also an invitation to have a conversation; letting the listener join the band in a slow burn experience. AGES is about feeling time: the time between volumes, the time it takes to become comfortable in your work, the time that marks the experiences behind you and still ahead. Justly, White Violet’s first track of AGES Vol. 1 (releasing May 13) is titled “Time” and introduces a musical transition for the band. Drum machines set a beat to cruising through seconds and thoughts; merging into the synths of the second track, “Both of Our Views”, which send out a call for later tracks to respond. Throughout AGES, Nelson’s vocals and Morgan’s guitar playing will seamlessly move in and out, teasing synth pop territories. Like watching landscape shift through the window of a moving car, the sound design for the album will change over the course of the releases. AGES Vol. 1 was recorded in Nelson’s home studio, Cortright Recordings, and The Bomb Shelter in Nashville, and was fully mixed by Nelson. “This is a stream of consciousness release,” Nelson says. "Songwriting and recording are one in the same for me. I don’t finish songs outside of the studio. The whole recorded composition has to be moving and working together before I’ll consider a song finished. By recording and producing it ourselves, we can take the time to explore each song to its fullest potential." The band's live shows, which will take place in tandem with each release, are a blend Nelson’s recording and performing process. The combination creates full sonic stage presence with a stripped down, focused sound. One featuring both live and sequenced drums and bass along with vast looped guitar and synth soundscapes. All highlighted by projected visuals. It is an ever-evolving experience to match the growth of the band. White Violet formed in Athens, Georgia in 2011. Their first record, Hiding, Mingling (2012), was highly conceptual. A struggle within a dreamscape full of spare, sonic references to youthful memories in Georgia. Their second release, Stay Lost (2014), was recorded over the span of a few weeks in Kernersville, NC, with master engineer Scott Solter. The work was focused and isolated making for a satisfying but standardized mode of producing music. Ethereal guitars, airtight melodies, and eccentric and galvanizing rhythms proved creative prowess. But now, with AGES, the creative process is alive as time passes, and it moves and breathes as the band works and lives. It is intimate and artistically immediate. Savor the story; it is one for the ages.
Skye Steele
Skye Steele
Painted upon the wild and surreal backdrop of the Rockies in winter, Up From The Bitterroot is a startling document of personal reflection and transformation.

Embroiled in an unraveling marriage and a crisis of direction, Skye Steele fled New York City to spend a January writing in a cabin deep in the woods of Montana’s Bitterroot Valley. “I was either hiding out or clearing my head, depending on who you ask.”

Steele set about a monk-like daily ritual that included collecting dream-journals at dawn, writing a song each morning, studying Bach’s sonatas for solo violin in the afternoon, and taking nightly runs by flashlight up the icy mountain road.

Returning home to New York in mid-winter and facing the bewilderment of moving on, Steele gathered an idiosyncratic band whose membership was dictated by deep personal trust rather than conventional concerns of instrumentation.

The quartet of multi-instrumentalist-improvisers spent the spring and summer refining the raw materials from the woods, finally entering the studio in early fall and recording basic tracks for an entire album live in two days. Throughout Up From The Bitterroot the band functions like a chamber ensemble, with instruments swirling around each other in improvised counterpoint, switching roles to shape the emotional arc of each song, and four unique voices coloring the fabric they collectively weave.

“Working on this record really became my anchor through a year and a half of bewilderment, loss, and a ton of change, so it was a little hard to let it go and call it done.” Steele explains. “But I see putting the album out as a way to give meaning and value to all that pain.”

A record this unusual should come as no surprise from a musician whose path has been anything but conventional. The son of an army officer and a classical violinist, Steele’s upbringing included years living on military installations, but also home-schooling and months-long cross-country trips in a Volkswagen camper—not to mention violin lessons from age three. Arriving in New York at seventeen to pursue a creative writing degree, Steele soon took to playing his fiddle in the subways for grocery money. His repertoire then ranged from Fritz Kreisler to Thelonious Monk, and before long he had fallen in with a crowd of jazz musicians who encouraged his hunger for improvisation, leading him to enroll in The New School’s jazz program.

From there the fiddler’s winding path twined on, opening myriad sound-worlds to an eager ear. A Belly Dance band played vintage Arabic pop at underground parties. A 20’s-style big band recorded with Rufus Wainwright for a Scorsese soundtrack. A Brazilian roots band wound it’s way from the mangroves of Recife all the way to the stage of Farm Aid where Willie Nelson sat in for a few numbers. A chance meeting with Vanessa Carlton at the Bitter End lead to an ongoing seven-year collaboration. Avant-garde legends Anthony Braxton and Butch Morris as well as Queens of the old Downtown like Joey Arias and Mx. Justin Vivian Bond tapped him for concerts. Gigs in 2014 added Deer Tick, Jolie Holland, and jazz legends Lee Konitz and Henry Butler to Skye’s resume. “I’ve gone from playing in the subways to playing at Carnegie Hall—and loved them both.”

Through a decade of paying dues, a restless spirit was gleaning grist for its mill, and on Up From The Bitterroot he steps forward with an unmistakable voice as singer, poet, and fiddler. Skye Steele’s tale of wrenching heartache, loss, and moving on, burns bright thanks to the broad palette of a well-traveled artist, and the afterimage will hang haunting before your eyes long after you turn away.
Sam the Lion
Sam the Lion
Music with plenty of space-
Lindsey Horne, Chris Lonon, and Chris Walldorf, three former members of Sea of Cortez, joined up with guitarist David Driscoll with the intent to create deep, dark, moody music with plenty of space in which to lose one's self. Named after the Sea of Cortez song, Sam the Lion sounds simultaneously timeless and modern conjuring Portishead, Mazzy Star, and the house band of the Black Lodge.
Venue Information:
The Evening Muse
3227 N. Davidson St.
Charlotte, NC
http://www.eveningmuse.com/