Brokeback / Tara Jane O'neil / L.A. Takedown at FilmBar
Brokeback / Tara Jane O'neil / L.A. Takedown
GADABOUT PRODUCTIONS PRESENTS
Brokeback
Since 1995, Brokeback has been the project of Douglas McCombs (Tortoise, Sea & Cake, Eleventh Dream Day). McCombs creates cinematic pieces that pull from minimalist jazz, post-rock and "spaghetti western" film scores.
Initially conceived as a solo outlet, the Chicago group has taken on new dimensions over the past two decades, morphing from the lean, pastoral ambience of the first album, Field Recordings from the Cook County Water Table, to the more muscular, taut arrangements and dynamic swells of the last release, Brokeback and the Black Rock. Each album develops with exacting detail, revealing McCombs’s gift for dialing in the essence of a mood, feeling, or distant locale with a handful of reverb-laden guitar tones, elegant and sustained, strategically placed and sparingly deployed. The instrumental landscapes he creates on Illinois River Valley Blues are utterly transportive, evoking familiar open-frontier soundtracks and charting out new sonic territory.
Thematically this is McCombs’s most personal offering yet, reflecting on his early years growing up along the Illinois River corridor between Peoria and Chicago. The sepia-toned opener “Ride Ahead and Light the Way for Me” is drawn from memories of evening rides on the river with his father, while the noir album bookend “Night Falls on Chillicothe” is named for a river town north of Peoria near where McCombs’s grandparents lived. “I remember hearing the trains at night while I was in bed and knowing they had just come from Chillicothe,” he says.
McCombs’s singular approach to guitar and bass, characteristic of his work with Tortoise, is expertly enhanced here by James Elkington (Tweedy, Steve Gunn) on second guitar (moving over from drums on the last record). The two salute one of McCombs’s favorite bands, Television, with latticed dual leads on the stately yet aggressive “On the Move and Vanishing,” while Elkington’s subtle layers of pedal steel and organ burnish more ruminative forays like “Andalusia, IL” and “Ursula.” Their intertwining flights are anchored by the sturdy yet versatile rhythm team of bassist Pete Croke (Exit Verse, Tight Phantomz) and drummer Areif Sless-Kitain (the Eternals), the newest member of Brokeback.
Tara Jane O’Neil
Anyone who is able to make music that functions as both poem and song possesses something that warrants a special sort of regard. Eclectic multi-instrumentalist Tara Jane O’Neil has been doing just that since ’92.
L.A. Takedown
L.A. Takedown align the moody grandeur of a film score with the pure melodicism of pop. Led by Los Angeles-based composer/multi-instrumentalist Aaron M. Olson, the live band delivers a guitar-driven take on synth-pop that’s inspired its own genre.
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Brokeback
Since 1995, Brokeback has been the project of Douglas McCombs (Tortoise, Sea & Cake, Eleventh Dream Day). McCombs creates cinematic pieces that pull from minimalist jazz, post-rock and "spaghetti western" film scores.
Initially conceived as a solo outlet, the Chicago group has taken on new dimensions over the past two decades, morphing from the lean, pastoral ambience of the first album, Field Recordings from the Cook County Water Table, to the more muscular, taut arrangements and dynamic swells of the last release, Brokeback and the Black Rock. Each album develops with exacting detail, revealing McCombs’s gift for dialing in the essence of a mood, feeling, or distant locale with a handful of reverb-laden guitar tones, elegant and sustained, strategically placed and sparingly deployed. The instrumental landscapes he creates on Illinois River Valley Blues are utterly transportive, evoking familiar open-frontier soundtracks and charting out new sonic territory.
Thematically this is McCombs’s most personal offering yet, reflecting on his early years growing up along the Illinois River corridor between Peoria and Chicago. The sepia-toned opener “Ride Ahead and Light the Way for Me” is drawn from memories of evening rides on the river with his father, while the noir album bookend “Night Falls on Chillicothe” is named for a river town north of Peoria near where McCombs’s grandparents lived. “I remember hearing the trains at night while I was in bed and knowing they had just come from Chillicothe,” he says.
McCombs’s singular approach to guitar and bass, characteristic of his work with Tortoise, is expertly enhanced here by James Elkington (Tweedy, Steve Gunn) on second guitar (moving over from drums on the last record). The two salute one of McCombs’s favorite bands, Television, with latticed dual leads on the stately yet aggressive “On the Move and Vanishing,” while Elkington’s subtle layers of pedal steel and organ burnish more ruminative forays like “Andalusia, IL” and “Ursula.” Their intertwining flights are anchored by the sturdy yet versatile rhythm team of bassist Pete Croke (Exit Verse, Tight Phantomz) and drummer Areif Sless-Kitain (the Eternals), the newest member of Brokeback.
Tara Jane O’Neil
Anyone who is able to make music that functions as both poem and song possesses something that warrants a special sort of regard. Eclectic multi-instrumentalist Tara Jane O’Neil has been doing just that since ’92.
L.A. Takedown
L.A. Takedown align the moody grandeur of a film score with the pure melodicism of pop. Led by Los Angeles-based composer/multi-instrumentalist Aaron M. Olson, the live band delivers a guitar-driven take on synth-pop that’s inspired its own genre.
GADABOUT PRODUCTIONS PRESENTS
Brokeback
Since 1995, Brokeback has been the project of Douglas McCombs (Tortoise, Sea & Cake, Eleventh Dream Day). McCombs creates cinematic pieces that pull from minimalist jazz, post-rock and "spaghetti western" film scores.
Initially conceived as a solo outlet, the Chicago group has taken on new dimensions over the past two decades, morphing from the lean, pastoral ambience of the first album, Field Recordings from the Cook County Water Table, to the more muscular, taut arrangements and dynamic swells of the last release, Brokeback and the Black Rock. Each album develops with exacting detail, revealing McCombs’s gift for dialing in the essence of a mood, feeling, or distant locale with a handful of reverb-laden guitar tones, elegant and sustained, strategically placed and sparingly deployed. The instrumental landscapes he creates on Illinois River Valley Blues are utterly transportive, evoking familiar open-frontier soundtracks and charting out new sonic territory.
Thematically this is McCombs’s most personal offering yet, reflecting on his early years growing up along the Illinois River corridor between Peoria and Chicago. The sepia-toned opener “Ride Ahead and Light the Way for Me” is drawn from memories of evening rides on the river with his father, while the noir album bookend “Night Falls on Chillicothe” is named for a river town north of Peoria near where McCombs’s grandparents lived. “I remember hearing the trains at night while I was in bed and knowing they had just come from Chillicothe,” he says.
McCombs’s singular approach to guitar and bass, characteristic of his work with Tortoise, is expertly enhanced here by James Elkington (Tweedy, Steve Gunn) on second guitar (moving over from drums on the last record). The two salute one of McCombs’s favorite bands, Television, with latticed dual leads on the stately yet aggressive “On the Move and Vanishing,” while Elkington’s subtle layers of pedal steel and organ burnish more ruminative forays like “Andalusia, IL” and “Ursula.” Their intertwining flights are anchored by the sturdy yet versatile rhythm team of bassist Pete Croke (Exit Verse, Tight Phantomz) and drummer Areif Sless-Kitain (the Eternals), the newest member of Brokeback.
Tara Jane O’Neil
Anyone who is able to make music that functions as both poem and song possesses something that warrants a special sort of regard. Eclectic multi-instrumentalist Tara Jane O’Neil has been doing just that since ’92.
L.A. Takedown
L.A. Takedown align the moody grandeur of a film score with the pure melodicism of pop. Led by Los Angeles-based composer/multi-instrumentalist Aaron M. Olson, the live band delivers a guitar-driven take on synth-pop that’s inspired its own genre.
Brokeback
Since 1995, Brokeback has been the project of Douglas McCombs (Tortoise, Sea & Cake, Eleventh Dream Day). McCombs creates cinematic pieces that pull from minimalist jazz, post-rock and "spaghetti western" film scores.
Initially conceived as a solo outlet, the Chicago group has taken on new dimensions over the past two decades, morphing from the lean, pastoral ambience of the first album, Field Recordings from the Cook County Water Table, to the more muscular, taut arrangements and dynamic swells of the last release, Brokeback and the Black Rock. Each album develops with exacting detail, revealing McCombs’s gift for dialing in the essence of a mood, feeling, or distant locale with a handful of reverb-laden guitar tones, elegant and sustained, strategically placed and sparingly deployed. The instrumental landscapes he creates on Illinois River Valley Blues are utterly transportive, evoking familiar open-frontier soundtracks and charting out new sonic territory.
Thematically this is McCombs’s most personal offering yet, reflecting on his early years growing up along the Illinois River corridor between Peoria and Chicago. The sepia-toned opener “Ride Ahead and Light the Way for Me” is drawn from memories of evening rides on the river with his father, while the noir album bookend “Night Falls on Chillicothe” is named for a river town north of Peoria near where McCombs’s grandparents lived. “I remember hearing the trains at night while I was in bed and knowing they had just come from Chillicothe,” he says.
McCombs’s singular approach to guitar and bass, characteristic of his work with Tortoise, is expertly enhanced here by James Elkington (Tweedy, Steve Gunn) on second guitar (moving over from drums on the last record). The two salute one of McCombs’s favorite bands, Television, with latticed dual leads on the stately yet aggressive “On the Move and Vanishing,” while Elkington’s subtle layers of pedal steel and organ burnish more ruminative forays like “Andalusia, IL” and “Ursula.” Their intertwining flights are anchored by the sturdy yet versatile rhythm team of bassist Pete Croke (Exit Verse, Tight Phantomz) and drummer Areif Sless-Kitain (the Eternals), the newest member of Brokeback.
Tara Jane O’Neil
Anyone who is able to make music that functions as both poem and song possesses something that warrants a special sort of regard. Eclectic multi-instrumentalist Tara Jane O’Neil has been doing just that since ’92.
L.A. Takedown
L.A. Takedown align the moody grandeur of a film score with the pure melodicism of pop. Led by Los Angeles-based composer/multi-instrumentalist Aaron M. Olson, the live band delivers a guitar-driven take on synth-pop that’s inspired its own genre.
Brokeback / Tara Jane O'neil / L.A. Takedown
GADABOUT PRODUCTIONS PRESENTS
Brokeback
Since 1995, Brokeback has been the project of Douglas McCombs (Tortoise, Sea & Cake, Eleventh Dream Day). McCombs creates cinematic pieces that pull from minimalist jazz, post-rock and "spaghetti western" film scores.
Initially conceived as a solo outlet, the Chicago group has taken on new dimensions over the past two decades, morphing from the lean, pastoral ambience of the first album, Field Recordings from the Cook County Water Table, to the more muscular, taut arrangements and dynamic swells of the last release, Brokeback and the Black Rock. Each album develops with exacting detail, revealing McCombs’s gift for dialing in the essence of a mood, feeling, or distant locale with a handful of reverb-laden guitar tones, elegant and sustained, strategically placed and sparingly deployed. The instrumental landscapes he creates on Illinois River Valley Blues are utterly transportive, evoking familiar open-frontier soundtracks and charting out new sonic territory.
Thematically this is McCombs’s most personal offering yet, reflecting on his early years growing up along the Illinois River corridor between Peoria and Chicago. The sepia-toned opener “Ride Ahead and Light the Way for Me” is drawn from memories of evening rides on the river with his father, while the noir album bookend “Night Falls on Chillicothe” is named for a river town north of Peoria near where McCombs’s grandparents lived. “I remember hearing the trains at night while I was in bed and knowing they had just come from Chillicothe,” he says.
McCombs’s singular approach to guitar and bass, characteristic of his work with Tortoise, is expertly enhanced here by James Elkington (Tweedy, Steve Gunn) on second guitar (moving over from drums on the last record). The two salute one of McCombs’s favorite bands, Television, with latticed dual leads on the stately yet aggressive “On the Move and Vanishing,” while Elkington’s subtle layers of pedal steel and organ burnish more ruminative forays like “Andalusia, IL” and “Ursula.” Their intertwining flights are anchored by the sturdy yet versatile rhythm team of bassist Pete Croke (Exit Verse, Tight Phantomz) and drummer Areif Sless-Kitain (the Eternals), the newest member of Brokeback.
Tara Jane O’Neil
Anyone who is able to make music that functions as both poem and song possesses something that warrants a special sort of regard. Eclectic multi-instrumentalist Tara Jane O’Neil has been doing just that since ’92.
L.A. Takedown
L.A. Takedown align the moody grandeur of a film score with the pure melodicism of pop. Led by Los Angeles-based composer/multi-instrumentalist Aaron M. Olson, the live band delivers a guitar-driven take on synth-pop that’s inspired its own genre.