Visulite Theatre (16+ (Must have ID) - Under 16 with Parent Only)
Doors Open: 8:00 - Show Starts: 9:00
Tickets: $12.00 (Advance) / $15.00 (Day of Show)
ON SALE NOW!
Milo Greene represents an impressive evolution in many ways. What began as a collection of friends is now a four-year musical partnership about to release their second album. In 2009, Andrew Heringer, Robbie Arnett and Marlana Sheetz began making music together and added Graham Fink into the mix after moving to Los Angeles shortly thereafter. As the group made their cinematic debut album, released in 2012, Milo Greene shifted into a fully tangible being, a force created by four distinct songwriters and musicians whose collaboration consistently remains its center.
Last summer, after touring extensively and playing festivals like Lollapalooza, Bonnaroo and Outside Lands in support of Milo Greene, the musicians came home and began writing new music. The band wrote separately, each constructing their own ideas, bringing in varied, individual influences, putting the pieces together as a collective. There was a unified focus on percussion and on creating more up-tempo tracks, specifically ones with rhythmic, dance-inducing grooves.
“The sound has evolved, but this band is the four of us as writers and singers,” Graham notes. “It’s very centered both on our vocal presences and our identities as writers. We come from different perspectives so that cross-section is what makes us distinct from what we would be as individuals. It’s the sum of the parts thing.”
The four songwriters came in with a wealth of material, eventually whittling 17 songs down to the 13 that appear on Control. There was an unintentional through line in the songs as many of the band members were grappling with the end of relationships and with what it means to come of age in a band on the road. The dark, angst-tinged subject matter is juxtaposed with the buoyant sensibility in the music itself, building a dynamic tension between what is said and how it is conveyed. The title of the album represents a spectrum of ideas, reflecting the give and take of control and the shared sense of control within Milo Greene itself.
Start Time: 9:00
Five miles south of downtown Seattle is the neighborhood of Columbia City—a leafy stretch of old brownstones and new condos which, according to local legend and loosely interpreted census data, boasts the most diverse zip code in America. Not far from Columbia City’s main drag, amidst a swirl of languages and colors and food and accents, sits a 100-year-old, two-story house that’s home to the world-weary, six-piece orchestral-pop ensemble known as Hey Marseilles.
World-weary in spirit if not in practice: Hey Marseilles first won hearts across the US with its 2010 debut, To Travels and Trunks, an album that reveled in the education and inspiration only globe-trotting exploration can provide. With Matt Bishop’s lyrical wayfaring abutting an instrumental palette that embraced folk tradition—accordion, strings, and horns; gypsy, Gallic, and classical—To Travels and Trunks gave musical voice to the universal longing for unfettered freedom. NPR called the record “sublime and heartfelt.”
A lot has changed in the world since 2010—that house in Columbia City, for instance. The vacillations of the economy allowed Hey Marseilles violist Jacob Anderson to acquire it in 2011; he and his younger brother, cellist and producer Sam Anderson, helped renovate it. Since then, most of the band has lived in it, and the entirety of their new album was written and recorded in it, or nearby. (Other recording spaces included a tunnel in Seattle’s Golden Gardens Park, a mostly abandoned brick office building, and a church sanctuary, all because of their advantages for the band’s acoustic instrumentation.) Not surprisingly, Lines We Trace is not about going out and searching. It’s about finding you’re already where you need to be.
Make your way back home again, Bishop sings on the dusky ballad “Café Lights.” I am here still.