House & Land (Thrill Jockey) /Dylan Golden Aycock

House & Land (Thrill Jockey) /Dylan Golden Aycock

Tuesday, 3 October 2017 (All day)

Whelanslive.com & Enthusiastic Eunuch Promotions presents

House and Land
plus support
Dylan Golden Aycock

Whelan's Upstairs
Tuesday 3rd October, 8pm

Whelanslive.com & Enthusiastic Eunuch have become seedy bedfellows in promotion of this magnificent double bill; Thrill Jockey's HOUSE & LAND and from Tulsa, OK, American primitive guitarist DYLAN GOLDEN AYCOCK. Tickets are on sale now from Whelanslive.com.

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HOUSE AND LAND

<a href="https://thrilljockey.com/artists/house-and-land">https://thrilljockey.com/artists/house-and-land</a>
<a href="https://www.facebook.com/houseandlandmusic/">https://www.facebook.com/houseandlandmusic/</a>
<a href="https://www.instagram.com/houseandlandmusic/">https://www.instagram.com/houseandlandmusic/</a>

Facebook event: <a href="https://www.facebook.com/events/823334497841564/">https://www.facebook.com/events/823334497841564/</a>

House and Land is the duo of Sally Anne Morgan (fiddle, shruti box, banjo, vocals) and Sarah Louise Henson (vocals, 12-string guitar, shruti box, bouzouki). Sally and Sarah started playing together after Sarah opened for The Black Twig Pickers for whom Sally plays the fiddle. The duo quickly discovered that they were both interested in the same very specific forms of traditional music. Additionally, they both viewed it through the lens of their shared love of modern, experimental and minimal music. “We honor what two voices and bodies can do in one moment in time. It totally shapes our sound.”

Their playing together is wholly unmediated, without amplifiers and using just two sets of hands and voices. With a minimalist approach, their music considers the space between notes as much as the notes themselves. The material on their debut is drawn from traditional southern hymns and Appalachian ballads that originated in England and elsewhere hundreds of years ago. Microtonality is as essential to certain Appalachian vocal styles as it is to a Tony Conrad composition and the often spare adornment to their singing puts these complexities on full display. The songs, however, are not entirely unadorned. Sally and Sarah are both masters of their instruments and on several tracks they bring in percussionist Thom Nguyen, who plays with an improviser’s ear.

DYLAN GOLDEN AYCOCK

<a href="https://dylangoldenaycock.com/">https://dylangoldenaycock.com/</a>
<a href="https://www.facebook.com/dylangoldenaycock/">https://www.facebook.com/dylangoldenaycock/</a>
<a href="https://twitter.com/talk_west">https://twitter.com/talk_west</a>

“Dylan Golden Aycock’s lineage is clear: the fingerpicked blues of John Fahey, the swirling compositions of Robbie Basho and the outward-looking Americana of Jim O’Rourke’s Bad Timing and The Visitor. That’s not a bad crossroads to meet your demons at, especially when so much of what we call American Primitive now is in a state of transformation. Church Of Level Track kicks up dream dust in a positively lush collection of cosmic rags, ambient country tunes and steel-string ragas.” -NPR (Lars Gotrich)

”Each song is a jewel box of subtly shifting textures and moods centered on Aycock’s expert fingerpicking, and layered with dreamy pedal steel drifts, percussive touches and interlocking arrangements. Church of Level Track switches between crystal clear visions of the country and pleasingly disorienting and dissonant moments, Aycock guiding us through the journey with a sure hand. An album that keeps on giving.” – Aquarium Drunkard

”vagaries are what make Aycock’s work endlessly fascinating. The dude is excelling at creating lovely music that continually questions where one sound ends and another begins (if a new sound begins at all), while marrying folk simplicity to sonic complexity.” -Tiny Mix Tapes

TICKETS

€11 available online from WAV Tickets or Lo-Call 1890 200 078 (1-7pm M-F)

- 50c per ticket service charge applies on phone, internet or credit card bookings. Final ticket price may be higher from other outlets.

Published on 13 September 2017

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