About This Event
Doors Open:6:30 PM
Show Time:7:00 PM
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
In their lifetime EF have spawned dozens of imitators, but their consummate blend of no wave, jazz, folk and rock, to name a few of the prominent strands of their tightly woven style, has kept them at the top of their own category: music that relentlessly rejects the passing trend in favor of a higher artistic goal.
Singer Jennifer Charles, like the priestess of an ancient rite, transports audiences to the other side of reality’s veil, guiding and freeing them with her incantations and gestures. Her voice, adored by thousands of fans the world over, possesses one of music’s most unique and unmistakable tones. Her lyrics, spanning the transcendent, personal and political, reflect her wide reading but also come from a deep wellspring of language that is redolent of profound inspiration, incomparable to anything else in music, but in which can be discerned a lineage tracing through Leonard Cohen to Federico Garcia Lorca — at whose family homestead the band was invited to perform.
The main architect of the group’s sound, guitarist Oren Bloedow, employs a powerful arsenal of musical effects to plant each lance of Jennifer’s vocals deep in the listener’s ear and heart. His harmony, taste and restraint have made him a weapon of choice for such artists as Antony, Doveman, Meshell Ndegeocello and Regina Spector, among countless others, but it is in his own Elysian Fields where his playing and writing truly shine.
In their private, under-the-radar existence, EF have been quietly making music and putting out records for close to two decades. This ‘we do what we do’ ethic has made them a cult band with legions of devoted followers across the globe, a league of loyalists who have stayed with Jennifer and Oren from their first Eureka moment, “This is the music I have been waiting for all my life!” being a common fan letter refrain.
EF are freshly back from six week in Europe, where they’ve been touring their latest (and ninth!) album release ‘For House Cats And Sea Fans’ and where the new record and live concerts have been receiving unanimously glowing reviews.
This LPR live performance will be a special scaled down trio show, where Oren and Jennifer will be joined by bassist extraordinaire Danton Boller, and will be an intimate setting to recreate their indelible performances from the album, as well as a selection of classics from the EF catalogue.
“A voice you would follow straight into Hades.” “Her music sounds as somber as ever here, and her distant air remains one of the most absolutely haunting things you’re likely to find anywhere near indie rock.” – Pitchfork. “She has a voice that, in mythological times, could have lured men to their deaths at sea, an intoxicating soprano drenched in gauzy reverb that hits bell-clear heights, lingers, and tapers off like rings of smoke.” The Boston Globe. Her six full length records have garnered critical acclaim throughout the world over the past decade and she returns to NYC to play a special, rare set.
Ramona Lisa is the current side-project alias of Chairlift’s Caroline Polachek. Over the past year she has been performing as Ramona Lisa in New York unannounced, incognito, with fully choreographed and costumed sets. Arcadia is Polachek’s first self-produced solo record. Completely composed in MIDI, it is a concept album of love songs that are nature allegories, and vice versa, which Polachek calls “Pastoral Electronic Music”. The making of Arcadia was a year-long process that began and ended in an empty studio in Rome’s Villa Medici and while on tour with her band, Chairlift. The record was made entirely on a laptop without instruments or external microphones — all vocals were sung directly into the computer, making use of hotel closets, quiet airport gates, and spare dressing rooms. Although the album was created in a non-space, the result is a lush and uncannily tangible world of warm textures, reminiscent of analog tape processes rather than a hard drive. Virtual oboes and organs interweave with synthetic insects and quivering sine waves, animated by Polachek’s vocal at it’s most delirious and intimate yet.
Ramona Lisa official site
Ramona Lisa on Facebook