Note: $14.00 is the day of show ticket price.
Mothers attempt to exist in two places at once – both singular and collaborative, sprawling and concise, present and distant. Kristine Leschper, songwriter and founding member of the project, says that it is in the space between opposites that she finds herself. The multifaceted is, by nature, fragmented – each facet reflecting a slightly different perspective of the whole.
It is in this way that their latest record, Render Another Ugly Method, attempts to gain an expanded view of its surroundings through splintered sound, thought, and image. By conversing with her own experiences of attempting to validate herself through work, Leschper moves toward understanding the harmful and often indulgent nature of inextricably coupling the quality of your creative output to your right to exist.
An arts major who spent her teens listening to formative influences like The Microphones, Neutral Milk Hotel, and Sufjan Stevens, Leschper began exploring songwriting when she moved to Athens, Georgia – the birthplace of the widely admired Elephant 6 Collective, whose sound-collage psychedelia undoubtedly influenced her sensibilities. Inspired by the growth that studying art allowed her and energized by the buzzing southern town, she started to perform publicly in 2013 and quickly developed local acclaim for her stark, unflinchingly vulnerable songs.
During this time, she met many local artists and musicians, among them Matthew Anderegg, whom she quickly recognized as an artistic kindred spirit and friend. The following year they began working together to flesh out and arrange a collection of songs she had written, which would become the project’s debut release, When You Walk A Long Distance You Are Tired. It was recorded quickly and intuitively with help from Drew Kirby and McKendrick Bearden, and engineered by Drew Vandenberg at Chase Park Transduction.
Released in 2016, When You Walk kicked off a sprawling eight months of touring across the US, UK and Europe, as the group honed their take on left-of-center indie rock with an explosive and surprising live show that displayed how forceful the songs translated to a full-band setting. “That first year of touring was an engrossing and resonant jumble of new experiences and unfamiliar music,” Leschper reminisced. During this time, Leschper began absorbing new musical influences: longform records like Musik Von Harmonia and This Heat’s self-titled record, The Fall’s satirical lo-fi Dragnet, the interweaving guitars of Lizzy Mercier Descloux’s Rosa Yemen, and music released by now-defunct experimental label OSR tapes such as Recorded In Heaven by Zach Phillips and Monet In The 90’s by Chris Weisman.
She also began to explore polyrhythmic groups like T.P. Orchestre Poyly-Rhythmo de Cotonou and Lifetones, as well as rhythmically dense Fred Frith records like Gravity and The Technology Of Tears. “Traveling with other people full time was a great way to become saturated in new music,” Leschper explained. “Being in the car 6-10 hours a day forced me to listen to what others were listening to, whereas my relationship with new music at home tended to be more scattered and topical.” Those influences, varying widely from one another in sonics and structure, greatly informed and shaped Render Another Ugly Method, which unfurls slowly and often without total lucidity. Leschper admits that she felt vaguely interested in alienating the listener within these protracted structures, as a way to communicate her lack of clarity during this bustling and inscrutable period.
Within Mothers, Leschper and Anderegg have remained a creative constant, with other collaborators changing over time. Render Another Ugly Method sees the remnants of Leschper and Anderegg, Chris Goggans and Drew Kirby in musical conversation, through cut-up songs that were torn apart and rebuilt over and over again. Sonically, the record is compartmentalized, each song existing in an environment of its own with disjointed linear fragments that feel as if they hang onto one another by a thread. Leschper describes the collection as “an assemblage of personal vignettes and imagined scenarios that examines consent, escape of the body, power and powerlessness, and the act of making.”
Mega Bog is the moniker of song-dribbler Erin Birgy, a Pacific Northwest rodeo child with an unmistakable laugh who was allegedly cursed upon conception. Over the past 8 years the band has stretched and wandered in a crescendo towards musical freedom.
Now based in New Mexico, Birgy has adopted a band of wiggly jazz cartoons lifted from bands like Big Thief, iji, Big Eater, Pillwonder, Causings, Hand Habits, Heatwarmer, Little Angry and others. Melodies always lush, erotic, and free. Chords always dissonant, abstract and evolutionary. Dizzying fusion of lounge, pop and bouncing rocks under poetic tantrums of love gone all the way wrong. Listen closer.
Three bars, two liquor stores, a couple churches, and miles of sprawling hills and fields. Not the background you might expect from Minnesota’s newest bedroom popstar, Sleeping Jesus. The Internet was a distraction for some, but an endless world of exploration in this case. A looking glass into unvisited cities, people, and the brilliance of indie rock. It was like hearing for the first time. The dreamy vocals, hazy weaving melodies, and existential ramblings play out like a series of daydreams more than pop tunes. Maybe an obsession with escapism and a fleeting youth, or simply one getting on.