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Mary Lattimore + William Tyler
November 24 @ 8:00 pm
7PM DOORS / 8PM SHOW
LIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLE
COVID-19 POLICY: The Grey Eagle requires all patrons attending performances to provide proof of vaccination or negative test within 48 hours prior to the event. Currently Buncombe Co. mandates that masks be worn indoors. THIS MEANS YOU NEED TO MASK UP. Patrons will need to provide physical or digital documentation of COVID-19 vaccination or negative test. Professional negative test results must be dated no more than 48 hours prior to the event. At-home testing will not be accepted.
Mary Lattimore is a Los Angeles-based harpist. She experiments with effects through her Lyon and Healy Concert Grand pedal harp, concocting half-structured improvisations which can include both ambient glitter and unsettling noise. Her first solo record, the Withdrawing Room, was released on Desire Path Recordings in 2014. The solo recordings that followed, At the Dam and Collected Pieces, were released by Ghostly International.
Mary has also recorded synth + harp duo projects with Elysse Thebner Miller (And the Birds Flew Overhead) and Jeff Zeigler (Slant of Light) and has co-written reimagined scores for the 1968 experimental silent film Le Revelateur, directed by Philippe Garrel (who approved of the project), and the Czech New Wave classic Valerie and Her Week of Wonders, and performed these scores live throughout the US with Jeff Zeigler and the Valerie Project, respectively. She has contributed and written harp parts for such artists as Kurt Vile, Thurston Moore, Sharon Van Etten, Meg Baird, Steve Gunn, the Clientele, Hop Along, Jarvis Cocker, Karen Elson, Ed Askew and Quilt.
Ghostly International released her third solo record in late spring of 2018.
An excerpt from the M.C. Taylor-penned bio:
William and I bonded early in our relationship over Barry Hannah, a hellraising writer from Mississippi who practically reinvented the way that words could be assembled on a page. Like Hannah, William Tyler knows the South—as a crucible of American histories and cultures, an entity capable of expansive beauty and incomprehensible violence, often in the same beat—as his native place, the place that holds him and that he runs from. In the music of William Tyler, the South is not apart from America; the South is America condensed. And like Hannah—and this part is important—William moved to California, where Goes West was written. We don’t know how long William will stay—Hannah lasted just a couple of years, writing in the employ of director Robert Altman—but the change of scenery seems to suit him.
Goes West marks a sort of narrowing of focus for William’s music; it sounds as though he found a way to point himself directly towards the rich and bittersweet emotional center of his music without being distracted by side trips. Perhaps this is down to the fact that William only plays acoustic guitar on the album, a clear and conscious decision considering that he is one of Nashville’s great electric guitarists. The band that performs Goes West alongside William—including guitarists Meg Duffy and Bill Frisell, bassist and producer Brad Cook, keyboardist James Wallace, drummer Griffin Goldsmith, and engineer Tucker Martine—is the best and most sympathetic group of players that William could have assembled to play these songs.
With synthesizer, drum machine, and pulsing accordion, it makes for a wild and piercing echo of Henry Flynt, Bruce Haack and/or Arthur Russell that gathers power as it moves along. – LA Record September 2018
Subtly epic pop music built on a simple foundation of gentle drums, winding accordion, and hushed vocals. – Bandcamp Daily October 2018
Lonesome Leash is the solo project of Walt McClements, an accordionist and multi-instrumentalist known for his previous work in Why Are We Building Such A Big Ship?, Dark Dark Dark and Hurray for the Riff Raff. McClements crafts stark yet complex songs, nervous and triumphant hymns to the restless. Despite being anchored by the often anachronistic accordion, the music ends up having less to do with contemporary purveyors of old world idioms, and more to do with an alternate history—one where angular accordion lines take prominence over the guitar in a nervy and strangely cinematic post-punk tradition.
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