Photos: ArtSee @ Tabula Rasa

Name: Mansionair
Start: 2019-3-20T19-19-00-00
End: 2019-3-20T23-23-55-00
Location: U Street Music Hall

Ben DrozAugust 27, 2013

Art 04 min read

Photos By Ben Droz

Local artists showcased their wares at last weekend’s ArtSee event at Tabula Rasa. All art was available for under $250 and made by one of fourteen artists. Scroll through the post for some art you can see.

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20mar7:00 pmMansionair9:30 Club Presents7:00 pm U Street Music Hall

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Sydney-based trio Mansionair made their debut with breakout hit ‘Hold Me Down’ which made radio waves from the clubs of Australia, over to Paris and across the ocean to Brooklyn. It all began in 2014 when singer Jack Froggatt, who had been playing the local music scene, accepted an invitation to top-line a suite of production beats by producer/guitarist Lachlan Bostock and drummer/producer Alex Nicholls. “Hold Me Down,” a mélange of ethereal falsetto and ambient-synth-pop, hit one million views in just two months, brought together the individual talents of each musician and solidified the formation of the three-piece band now known as Mansionair.

Soon after, the band signed to Glassnote Records and were handpicked by genre-bending trio CHVRCHES to open on their headline tour across the USA, UK, and Europe. Mansionair went on to join Alt-J and Florence & The Machine on the road, most recently wrapping up a tour with London Grammar.

At the tail end of 2016, Mansionair released bristling track ‘Easier,’ which has now reached over 12 million streams, a testament to the fan-base they’ve created in such a short period of time. While working on their latest offering, the band collaborated with Seattle duo Odesza on their lead single ‘Line Of Sight,’ which has since climbed Billboard’s Alternative and Dance/Electronic charts and has amassed millions of streams.

Their expansive almost cinematic textured production meld Froggatt’s intimate, honest lyrics. Stories of longing, hope and letting go meet careening sing-a-long choruses and smooth downtempo ballads, held by Bostock’s sleek production and Nicholl’s beats. Their collaboration is equal and assured.

Now, their breakout turn for the group, ‘Astronaut (Something About Your Love)’ is a genre-splitting shot from the soul; as playful as it is a sincere exploration of loneliness and distant affections. The song starts with a suite of otherworldly harmonics, “We shoved a microphone deep inside a piano and recorded all the atmospheric noises that came out,” Bostock tells. “Like what I imagined an astronaut felt as if he was looking back at Earth.”

It’s the juxtaposition between Froggatt’s intimate vocal delivery and the geographic stretch of Mansionair’s production that makes them so intriguing. Another way to view their compositions might be as micro explorations of the grand internal; miniatures writ large. “I love that stream-of-conscious style of songwriting,” Froggatt says. “As though you’re sitting in the back of a party on a couch and you’re just in your own head, overthinking everything.”

Nicholls; rhythms bridge both live and programmed percussion: danceable and unpredictable, his beats draw the listener inward rather than blast out. Bostock describes the group’s writing and production style (for the most part, done all on their own) as one in which each member is responsible for his instrument but all have a voice in the whole. “We see each of us a dimension in the band. We’re three equal parts,” Bostock says.

Not only have Bostock, Nicholls and Froggatt expanded their early chemistry into a self-sufficient writing and recording project, but theirs is also a partnership philosophically built on synergy. “We’ve grown up through this band and we’ve seen a lot already,” Froggatt explains. “I want people who listen to us to know that even though life can throw punches, you can push back through anything and come out the other side.”

Time

(Wednesday) 7:00 pm

Location

U Street Music Hall

1115 U Street NW Washington, DC, 20009

Cost

15$

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21mar6:00 pmNorm Macdonald6:00 pm Lincoln Theatre

21mar6:30 pmMeek MillLive Nation Presents ... 6:30 pm The Anthem

21mar6:30 pmMartha Rosler6:30 pm National Gallery of Art, East Building Auditorium

21mar7:00 pmJungle Houses7:00 pm 9:30 Club

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The first Houses release in five years, Drugstore Heaven, marks a major artistic shift for L.A.-based songwriter/producer Dexter Tortoriello. Abandoning the heady concepts of his previous records for some of his tightest songwriting yet, Tortoriello is embracing the most fascinating character in his musical universe: himself.
In 2010, Houses released their full-length debut All Night via Lefse Records — a Portland, Oregon-based label who signed the band two weeks after Tortoriello shared the project’s first single via Tumblr. The following year, Diplo tracked him down after finding his more darkly-charged project Dawn Golden on Bandcamp. In addition to signing Dawn Golden to Mad Decent, Diplo began bringing Tortoriello into co-writing sessions, which soon led to his work as a writer/featured vocalist for such artists as Martin Garrix, Ryan Hemsworth, and What So Not.

The past five years have been undeniably busy for Tortoriello. After relocating from Chicago to LA, he released Houses’ sophomore album A Quiet Darkness via Downtown Records in 2013, along with a debut full-length as Dawn Golden the following spring. A slate of high-profile remixes for Major Lazer, Kings of Leon and Odesza established him as a dance world heavyweight, while writing and producing for artists like Lil Yachty, Kali Uchis, and Kiiara refined his songcraft. And while he initially compartmentalized his creative efforts, Drugstore Heaven finds him drawing from these experiences, creating Houses’ most fully realized and complexly detailed output to date – a selection of songs matching graceful experimentation with raw emotion and unprecedented vulnerability.

“All of the Houses material to date has been very escapist,” Tortoriello says. “You can fall into a spell where real life is something you tune in and out of, something you feel no authorship over. I’ve focused my efforts over the last few years on building and reinforcing things I don’t wish to escape from: relationships, groups, creative outlets, ideas, workflows. I found a much deeper type of freedom in taking ownership over my life and committing myself to really living it.”

Drugstore Heaven delivers a dynamically textured sound partly shaped by Tortoriello’s exploration of rave and drum-and-bass artists from the late ’90s. “At the time all that stuff was coming out, electronic music was just being discovered, so there was this really pioneering sense of what was possible,” he says. The lead single “Fast Talk,” featuring backing vocals of longtime Houses member Megan Messina, unfolds in hazy rhythms formed from chopped-up breakbeats and live percussion from timpani, glockenspiel, and a couple bottles of antidepressant medication. “That song is meant to be a memorial for a group of friends I had back in my late teens,” explains Tortoriello, adding, “Thematically it’s almost like a ballet where you keep driving around the same blocks, and people start disappearing from the car because they’re going to jail or dying.”

Growing up outside Chicago, Tortoriello first started making music in his early teens, mostly by attempting to emulate the drum-and-bass-meets-speed-metal freakouts of Atari Teenage Riot. (“I’d record myself playing drums onto cassette, then double-speed the tape and play synthesizers over it,” he recalls. “It was an abomination.”). Sonic references to his teenage experimentation make melancholic rave workout “Years” all the more poignant, as Tortoriello examines the anxiety of ageing and the ennui of early adulthood in his lyrics.

On Drugstore Heaven, embracing the personal also has its joyful side. The EP’s punchiest moment, “Left Alone,” emerges as bright and bouncy anthem celebrating the bliss of solitude, while closer “Pink Honey” is a lavishly romantic number built on ethereal vocals, delicate guitar tones, and luminous synth. “I was trying to turn that one into a sweeping love song, like something out of Casablanca,” says Tortoriello.

For Tortoriello, the deepest achievement of Drugstore Heaven lies in building a body of work that feels entirely true to the world in his head. “In the past I’ve felt self-conscious about the person I put forth in my music, but these songs feel very reflective of who I really am,” he says. Being this open still feels new to him, but for the listener, it’s a rewarding glimpse into the mind of a vital and forward-thinking artist.

Time

(Thursday) 7:00 pm

Location

9:30 Club

815 V ST NW, Washington, DC 20001

Cost

$25

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21mar7:00 pmThe Comet is Coming9:30 Club Presents7:00 pm U Street Music Hall

22mar(mar 22)7:00 pmRailroad EarthAll Good Presents...7:00 pm 9:30 Club

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There’s a great scene in The Last Waltz – the documentary about The Band’s final concert – where director Martin Scorsese is discussing music with drummer/singer/mandolin player Levon Helm. Helm says, “If it mixes with rhythm, and if it dances, then you’ve got a great combination of all those different kinds of music: country, bluegrass, blues music, show music…”
To which Scorsese, the inquisitive interviewer, asks, “What’s it called, then?”
“Rock & roll!”
Clearly looking for a more specific answer, but realizing that he isn’t going to get one, Marty laughs. “Rock & roll…”
Well, that’s the way it is sometimes: musicians play music, and don’t necessarily worry about where it gets filed. It’s the writers, record labels, managers, etc., who tend to fret about what “kind” of music it is.
And like The Band, the members of Railroad Earth aren’t losing sleep about what “kind” of music they play – they just play it. When they started out in 2001, they were a bunch of guys interested in playing acoustic instruments together. As Railroad Earth violin/vocalist Tim Carbone recalls, “All of us had been playing in various projects for years, and many of us had played together in different projects. But this time, we found ourselves all available at the same time.”
Songwriter/lead vocalist Todd Sheaffer continues, “When we started, we only loosely had the idea of getting together and playing some music. It started that informally; just getting together and doing some picking and playing. Over a couple of month period, we started working on some original songs, as well as playing some covers that we thought would be fun to play.”
Shortly thereafter, they took five songs from their budding repertoire into a studio and knocked out a demo in just two days. Their soon-to-be manager sent that demo to a few festivals, and – to the band’s surprise – they were booked at the prestigious Telluride Bluegrass Festival before they’d even played their first gig. This prompted them to quickly go in and record five more songs; the ten combined tracks of which made up their debut album, “The Black Bear Sessions.”
That was the beginning of Railroad Earth’s journey: since those early days, they’ve gone on to release five more critically acclaimed studio albums and one hugely popular live one called, “Elko.” They’ve also amassed a huge and loyal fanbase who turn up to support them in every corner of the country, and often take advantage of the band’s liberal taping and photo policy. But Railroad Earth bristle at the notion of being lumped into any one “scene.” Not out of animosity for any other artists: it’s just that they don’t find the labels very useful. As Carbone points out, “We use unique acoustic instrumentation, but we’re definitely not a bluegrass or country band, which sometimes leaves music writers confused as to how to categorize us. We’re essentially playing rock on acoustic instruments.”
Ultimately, Railroad Earth’s music is driven by the remarkable songs of front-man, Todd Sheaffer, and is delivered with seamless arrangements and superb musicianship courtesy of all six band members. As mandolin/bouzouki player John Skehan points out, “Our M.O. has always been that we can improvise all day long, but we only do it in service to the song. There are a lot of songs that, when we play them live, we adhere to the arrangement from the record. And other songs, in the nature and the spirit of the song, everyone knows we can kind of take flight on them.” Sheaffer continues: “The songs are our focus, our focal point; it all starts right there. Anything else just comments on the songs and gives them color. Some songs are more open than others. They ‘want’ to be approached that way – where we can explore and trade musical ideas and open them up to different territories. But sometimes it is what the song is about.”
So: they can jam with the best of them and they have some bluegrass influences, but they use drums and amplifiers (somewhat taboo in the bluegrass world). What kind of music is it then? Mandolin/vocalist John Skehan offers this semi-descriptive term: “I always describe it as a string band, but an amplified string band with drums.” Tim Carbone takes a swing: “We’re a Country & Eastern band! ” Todd Sheaffer offers “A souped-up string band? I don’t know. I’m not good at this.” Or, as a great drummer/singer/mandolin player with an appreciation for Americana once said: “Rock & roll!”

Time

22 (Friday) 7:00 pm

Location

9:30 Club

815 V ST NW, Washington, DC 20001

Cost

$28

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22mar7:00 pmVHS Collection9:30 Club Presents7:00 pm U Street Music Hall

23mar2:30 pmBlack Dreams at Sea: The Sardine Fisherman’s Funeral and An Opera of the World2:30 pm National Gallery of Art, East Building Auditorium

Photos: ArtSee @ Tabula Rasa

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