SORRY, THIS IS NOW A NO-HOST EVENT, UNLESS THERE IS A RELIEF ORGANIZER. ON THIS DATE, MY WORK SCHEDULE MAY OVERLAP WITH OR DRAW TO A CLOSE NEAR THE STARTING TIME. IN EITHER CASE, IT PREVENTS MEETING UP BEFORE THE CONCERT. LATE OR LAST MINUTE ARRIVAL, I AM STILL GOING. THANK YOU. - CHARLES, AO
Join me and the L.A. Indie Music gang at The Echoplex to checkout multi-instrumentalist and incomparable artist EMILY WELLS. Recently, I discovered her buying the new "Pillow Fight" (2012) CD, a collaboration with Dan the Automator. Hey, call me late...but, at least I arrived! LOOL
Soon after, I purchased "Mama" (2012), her latest solo offering. Then I caught the fever and sought out her other works. The rather obscure predecessors to "Mama" are ONLY available here...equally good stuff. Oh yeah, her song on the soundtrack to the indie film thriller Stocker (2013), is a gem, too.
411 ON EMILY!
Releasing her own music from a young age, Wells learned to keep her work close, and toured independently while developing her palate and performance across the U.S. It was in a humble garage studio in Los Angeles that Wells' recorded her 2008 breakthrough, The Symphonies: Dreams Memories & Parties.
Three years later, Wells returns with Mama, a collection of songs as richly hued as ever, but imbued with a newfound warmth no doubt owing to the space it was conceived in. Wells rented a tiny cabin on a Topanga Canyon horse ranch and went to work, producing Mama and playing most of the instruments herself (with a little help from longtime touring companions, drummer Sam Halterman and bassist Joey Reina). She recorded the raw tracks to tape without punch-ins or loops, often in one take. In contrast to The Symphonies, these songs are less conceptual and experimental in both sound and content, and more traditional and universal in structure and the studies of love and grief.