DOORS @ 7:30 / SHOWS @ 8PM, UNLESS POSTED OTHERWISE
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Sat20Apr2019
Fieldings & Caitlin Pasko April 20
7:30 Doors $10.00 Suggested Donation
FIELDINGS
Fieldings is Brooklyn-based (Australian born) producer/songwriter Lucinda Hearn, with Paul Weintrob (guitar) and Alex Kirkpatrick (percussion).Fielding’s latest album Soft Tissue explores vulnerability through gauzy dream pop: imagined death, anxiety, skin, memories of being a kid, seeking oblivion to numb. Its textures wash over and pull at you, from the tense icy piano of Northern Lights, to the scatter-fuck fragility of Soft Jewels.
Soft Tissue was written and recorded between fall 2015 and summer 2017, while songwriter Lucinda Hearn found a new home and new band in NYC. It’s woozy with the loneliness and uncertainty of that time, only showing its soft underbelly from around corners.
CAITLIN PASKO
Caitlin Pasko is a weaver of dreamy elegiac music for voice and piano. Musically her songs drift and float like the work of Satie or Debussy; lyrically they’re clear, simple meditations on tenderness and heartbreak. Pasko’s style is built on this tension: between the looseness of the Impressionists and the simplicity of modern songwriters.The songs on her new album Glass Period — the first to be released under her own name, and her first full length release since 2010 — came out of a headspace where different kinds of loss are collected and confused together: loss of love and loss of life. The album chronicles Pasko’s shifting mental state as she lives through the sudden and unexpected passing of her father as well as a painful break-up, which took place not long after.
On Glass Period, we find a small chapel to personal grief. There’s a chapel’s sense of calm, of refuge from the world, but also its starkness, its lack of cover from fear, its welcoming of the large and the small. There are small terrors that we must occasionally sit with for a while, which can be their own source of strength. There is air and there is time. This feeling, and the open space the album creates, stems partly from the liquid phrasing of Pasko’s voice and piano playing, but it’s also largely the result of the elegant production treatments by producer/composer Henry Terepka (Zula, LEPT).