This show is sold out, but we have another show on May 2nd.
Tickets: https://www.eventim.us/wafform.aspx?_act=eventtickets&_pky=680120
Gia Margaret
Every artist has to discover their voice. Gia Margaret didn’t find herself until she lost hers. With a vocal injury that kept her from singing for years, she developed other musical languages, mastering the grammar of an intricate, homey form of ambient music pioneered by Ernest Hood and perfected by The Books. Now, her physical voice healed and her artistic voice honed, she comes full circle with Singing, her first vocal album since 2018’s There’s Always Glimmer. Led by soft piano lines that fall like breath on glass, the music on Singing evidences the same jeweler’s sensitivity to detail that she developed in her silence.
“There was a time when I really didn’t know if I would sing again. So once I healed, there was a lot of internal pressure to come back strong,” Margaret says. “I didn’t know who I was anymore. So it felt like beginning again, and reconnecting with these very old, old parts of myself.” This feeling of intermixed alienation and rediscovery is palpable across the album. In opener “Everyone Around Me Dancing,” she watches a party from the wings, aware of how her body keeps her from communal joy while also providing new modes of self-knowledge. Shut out from the scene, she is “closer to the ground, the planet.” In “Alive Inside,” she’s so far away from the source that she’s praying to whoever might hear (“a god, a friend that’s gone, a spirit”). As her voice rises, it seems to be trapped in a web of distortion; it’s as if in her pursuit, she’s pushing at the very boundaries of what can be said.
The process of making Singing was one of learning how to trust each of those feelings. The album was partially recorded in London with Frou Frou’s Guy Sigsworth, who helped Margaret unify the spree of ideas she had for “Good Friend,” an album highlight that includes Gregorian chant by ILĀ and turntable scratches, among many other things. David Bazan and Amy Millan also make appearances, as do Kurt Vile and Sean Carey, while Margaret’s longtime collaborator Doug Saltzman plays on and co-produces much of the record. Deb Talan, previously of The Weepies, lends her voice, piano, and guitar to the album's closing—and definitive—statement, "E-Motion."
Gia Margaret is always singing. Every note of this album sings a warm requiem to her past selves; every layer sings her future self into being. Across the album, she applies the lessons of speechlessness—the quasirational ways we communicate without communicating, the way formless sound can cut to the heart of things like a scalpel—to her own artistic voice.
Brendan Eder Ensemble
Brendan Eder is a Los Angeles composer and drummer best-known for his eponymous genre-bending ensemble of woodwinds, drum set, and bass. In 2023 Eder released his third album, THERAPY, a collection of meditative compositions recorded mostly at a church in Southern California. The self-released album went on to chart at #6 in Billboard's Crossover Classical and was featured in The Guardian's "The Best Albums of 2023 So Far." Following 2021’s Cape Cod Cottage — Eder’s understated-jazz concept album under the guise of Edward Blankman, a retired dentist in the 1970s — for Therapy, Eder drops the alter ego and the drum set and explores more reverberant sounds with his ensemble of woodwinds. The result is a distinctive take on ambient music subtly interwoven with Eder’s affinity for 20th century classical and jazz.
