BRONCHO

BRONCHO

The Shelters, Pearl Charles

Thu, November 19, 2015

Doors: 8:00 pm / Show: 8:30 pm

$12

This event is all ages

Official ID required for those who are 16 +
Anyone under the age of 16 must be accompanied by a parent or guardian.

Broncho
Broncho
Blasted grassland, the thin ribbon line of the freeway unspooling beneath wheels, skies stretched wide between mountaintop. It is dream music, foggy, atmospheric, the melodies you hear while you gazing out through fingerprint smeared windows into a constantly moving, metamorphing - landscape….

It makes sense then, that BRONCHO, born out of out a film project, its initial incarnation sparked when founder Ryan Lindsey was asked to create music, “to set to an early 80s punk film.” “That’s all I knew about it,” he remembers, “they were looking for songs that touched this era. And songs kept coming to me and turned something on inside of me artistically.” Lindsey found himself in the midst of prolific run of songs and he liked the idea “of starting out there and seeing where it could go.”

What’s evolved from those first tracks there has been a steady run of success, critical accolades and two full-length albums; 2011’s Can't Get Past the Lips, 2014’s Just Enough Hip to Be Woman. And beneath it all – the music has been constantly mutating and ceaselessly experimental. From that first inception as a soundtrack in 2010, BRONCHO has taken on a life of its' own – initial inspiration still there, but now pushing far beyond the stiff confines of score. And what began as an ode to ramshackle, high-energy early punk has become something deeper, weirder, and much more nuanced. The undercurrent of early 1980 punk is still there, but The Ramones pogo has been replaced more often by a kind of Love and Rockets inspired, honeyed, cotton-mouthed drift.

Double Vanity is Lindsey and band mates Ben King, Nathan Price and Penny Pitchlynn steadily moving ahead, transforming the raw angst of the first record into a sound decidedly more layered and complex. Tracks like “New Karma" or “Two Step" riff off the later explorations of punk, culling up refracted images of John Hughes prom nights, love songs echoing from a boom box held high. "Jenny Loves Jenae" and "Speed Demon" strut with an when 80s met 50s swagger, discord transformed into a jagged, frenetic pop. "Señora Borealis" is all bad boy sneer - sensual, moody, with a sly and predatory swagger. "I Know You" is simultaneously infectious and brooding, somehow both exalting and heartsick.

The result is a record that veers gleefully from BRONCHO’s roots, moving from graffiti spray backrooms into a sleeker, plusher sound, a place bright with the polished gleam of chrome and bleached white sunlight. Close your eyes and what you feel is the raw wound pulse of adolescence, what you see behind your lids is suburban shopping mall wastelands, glazed eyes, dead grass, lips glossed in bubblegum pink. There is the burst chest thump of teenage longing, the smell of hairspray and cigarette. There is glow of neon and the glint of streetlight rolling across hood.

Double Vanity evokes a shared nostalgia, for the past and for the unknown future, as BRONCHO takes a turn off the wide freeways and into a world of intimate, intricate - but always universal - emotion.
Pearl Charles
Pearl Charles
Pearl Charles lives in the moment, seeking excitement whether it leads her down a dark, dusty road or into the arms of a trouble-making lover. Her full-length debut album, Sleepless Dreamer, describes late night revelry, love affairs, running away and running towards, serenading the sunrise through whirlwind stories of her native Los Angeles, the city, the canyon, the desert, and the road. On a quest to discover the truest version of herself, Charles embraces the feeling of not being settled, a person who always restlessly wants more from life and is willing chase it, wherever it may lead her.

Sleepless Dreamer finds her soulful, often sultry voice gliding through songs tinged with cosmic Americana, a little disco, some classic rock & roll, and a whole lot of that smooth AM gold. Passion, psychedelics and heartbreak inform the highs and lows she rides through the album. Finally able to see clearly through the smoke and mirrors of her surroundings, Charles departs on a consequent journey of questioning and soul-searching, eventually hitting the road in the inevitable search for answers.

As heard in the title track, themes of disillusionment and subsequent realization run through to the album. Examined through the lens of relationships, whether it be the one between her and a lover, a friend, a city, the road, the world, or perhaps most importantly, herself, each experiences helps to shape her developing perspective and worldview.
On “All The Boys,” she contemplates the cyclical nature of toxic attraction. Funky stand-out “Night Tides” looks at the illusion a person presents in the beginning of a romance, only to reveal their true colors once they’ve lured you in. She recognizes the pattern of being drawn to a tempting yet toxic muse over and over, but admits it fuels her creatively.

While many of the songs revolve around romance, they are juxtaposed with more existential/philosophical tracks like “Ghost” and “Only In America”, examining the meaning of life and what plagues her generation of disaffected youth.
Arriving January 2018 on Kanine Records, Sleepless Dreamer was produced and engineered by Kenny Woods (formerly of Beck) at the Haas Brothers studio in West Adams, CA. After working together on some covers for Aquarium Drunkard’s Lagniappe Sessions series last summer, Charles knew Woods was the right person to collaborate with on her full-length album.
Enlisting an all-star band of friends, the album features the work of Father John Misty’s Chris Dixie Darley (guitar), Dan Bailey (drums), Eli Thompson (bass), and David Vandervelde (guitar), Darian Zahedi (guitar) of CRX, Connor “Catfish” Gallaher (pedal steel) of Calexico, Drew Erickson (keys) of Roger Waters, and Maxim Ludwig (guitar). Additional writing collaborators include Stephen McBean (Black Mountain), Jonathan Rice, Jonathan Tyler (Nikki Lane), Carrick Moore-Gerety, and Brian Harding.
Charles has been playing music since she was five years old. At 18, she formed country duo The Driftwood Singers with Christian Lee Hutson, singing and playing guitar and autoharp. At 22, she joined garage rock band The Blank Tapes as drummer. After two fun-filled years immersed in the rock and roll lifestyle, she decided it was time to pursue her own songwriting, and began developing the songs that formed 2015’s eponymous debut EP on Burger Records. Her music career has been a chronological progression from old time music to 60’s garage and psychedelia, and now more 70’s country rock and 80’s smooth rock. Drawn to catchy, poppy hooks and choruses, Charles draws on what she loves about each era while developing her unique style as a musician, singer, and songwriter.
Venue Information:
The Teragram Ballroom
1234 West 7th Street
Los Angeles, CA, 90017
http://www.teragramballroom.com/