Russian pianist and composer Arsentiy Kharitonov has achieved fame and accolades for his “sumptuous tone, technical mastery, broad dramatic range, and elegant phrasing” (Fanfare Magazine). He is the  first-prize winner of the Franz Liszt International Piano Competition and won the Rachmaninov Competition in the Russian Federation. He has appeared at major concert halls in Europe and America.

PROGRAM
Arsentiy Kharitonov, Piano

Bach/Siloti 2 Preludes
R.Schumann Arabesque
F. Chopin Sonata #2
– Intermission –
S.Rachmaninoff (Preludes in D major, Gb major, Etude-Tableau op.39 #5)
A.Kharitonov Selective works (Sonata (I,II movements), Morceau, Waltz)
M.Ravel “Alborada del Gracioso”

Program Description
Brevard Music Center presents an evening treat for cinephiles and music aficionados alike. Following “White Lotus,” Min Xiao-Fen‘s acclaimed score for the 1934 classic Chinese silent film “The Goddess,” she received a commission from the Smithsonian Institution to compose new original soundtracks for “Romance of the Fruit Peddler” and “Romance of the Western Chamber,” two historical Chinese silent films from the 1920s. Known for her innovative approach to traditional music and her ability to seamlessly integrate diverse musical styles, Ms. Min will perform with master percussionist River Guerguerian, a leading figure in classical, jazz and world music. Together they bring a unique cross-cultural expression and artistic vision to the stage. Both films will be shown during the performance.

Featured Instruments
Min Xiao-Fen: pipa, ruan, sanxian, guqin, finger piano, sound effects, and voice.

River Guerguerian: Middle Eastern and Indian frame drums, hand drums, kanjira talking drums, berimbau, doumbek, Chinese gongs, hand-pan, didgeridoo, rain stick, and voice.

About the Artists
One of the key instruments in Chinese music, the pipa has a rich and storied legacy stretching back nearly two thousand years. Few artists have done more to both honor and reinvent that history than renowned pipa soloist, vocalist and composer Min Xiao-Fen. Classically trained in her native China, Ms. Min was an acclaimed traditional music soloist before relocating to the United States and forging a new path for her instrument alongside many of the leading lights in modern jazz, free improvisation, experimental and contemporary classical music.

In Ms. Min’s music, east and west, tradition and innovation, discipline and spontaneity, ancient past and unexplored future all flow together like streams joining in one vibrant river. NPR Weekend Edition lauded Ms. Min as “one of the world’s greatest virtuosos” and JazzTimes hailed her as “a pioneer in integrating her ancient instrument with modern jazz and improvised music.” The New York Times raved that her singular work “has traversed a sweeping musical odyssey.” Min’s expressive, uncategorizable voice has found her collaborating with such inventive luminaries as Wadada Leo Smith, Derek Bailey, Randy Weston, John Zorn, Christian Marclay and Björk.

River Guerguerian has been inspiring audiences with his ecstatic and versatile percussion for over 30 years. Whether collaborating with world-class artists, supporting symphonies or creating his own dynamic explorations of rhythm, River’s devotion and attention to the vibrant life of the drum reverberates through the mind and soul of the listener. In 1988 he began working with Grammy and Oscar-winning composer, Tan Dun. Over the next several years he continued performing with several artists, which placed him in the prestigious concert halls of most major cities of the globe, including Carnegie Hall, The Sydney Opera House, and Lincoln Center.

As a highly regarded studio musician, River has recorded on over 300 albums and film soundtracks, including the John Cage documentary film, “I Have Nothing to Say and I Am Saying It.” Over the whole of his prolific career, he has performed and/or recorded internationally with such individual and groups as the BBC Concert Orchestra, Paul Winter Consort, Lizz Wright, Chuck Berry, Sophie B. Hawkins, Ziggy Marley, Gipsy Kings, New Music Consort, Omar Faruk Tekbilek, Tibetan Singing Bowl Ensemble, and Talujon Percussion Ensemble. River also engineers his own percussion tracks for artists at his recording studio.

ARTISTS

Min Xiao-Fen, pipa
River Guerguerian, percussion

Auditorium seating is reserved.

Genevieve’s. Now in its sixth year, the Fine Arts Center concert series prepares student musicians for a career in the arts and entertainment industry by giving them a resume-building, professional opportunity to perform in paid settings.

Wanna hear the best local music ​and​ drink the best local beers? Hop aboard LaZoom’s Purple Bus and rock out with a local band while we take you on a journey to Asheville’s premiere local breweries.

A native of West Virginia, Charles Wesley Godwin makes cinematic country-folk that’s as gorgeous and ruggedly raw as his homeland. It’s Appalachian Americana, rooted in Godwin’s sharp songwriting and backwoods baritone. With 2021’s How the Mighty Fall, he trades the  autobiographical lyrics that filled Seneca — his acclaimed debut, released in 2019 and celebrated by everyone from Rolling Stone to NPR’s Mountain Stage — for a collection of character-driven songs about mortality, hope, and regret, putting an intimate spin on the universal concerns we all share.

“I started a family around the time Seneca came out,” he remembers. “After my son was born, I remember sitting in the hospital, thinking about how that very experience would eventually become one of those life moments that flash before my eyes when I’m old. I realized that time is passing, and my time will pass, too. Becoming a father made it all sink in.”

Those realizations quickly found their way into his writing. If Seneca painted the picture of a southern son in the middle of American coal country, then How the Mighty Fall — produced once again by Al Torrence — zooms out to focus on wider themes of time, transience, and the choices we make. Songs like “Strong” “Bones” and “Blood Feud” are roadhouse roots-rockers, driven forward by fiery fiddle, lap steel and plenty of electric guitar. Godwin does most of his painting with more subtle shades, though, often waiting until How the Mighty Fall’ssofter moments to make his biggest impact. On “Cranes of Potter,” he delivers a murder ballad with finger-plucked acoustic guitar and elegiac melodies, unspooling the narrative with a storyteller’s restraint. Meanwhile, “Temporary Town” finds him returning to West Virginia after spending five years in the midwest, celebrating his homecoming not with barely-contained enthusiasm, but with measured excitement, light percussion, and a steadily-building arrangement. “I try to write with a sense of place,” he explains. “Up until now, that setting has always been my home, but I don’t think this new album is as locally-focused as my previous release. I hope these songs will connect with people wherever they live.”

The son of a coal miner father and a schoolteacher mother, Godwin began forging those musical connections in 2013, while studying abroad in Estonia. He’d learned the acoustic guitar several years earlier, looking for a diversion after failing to secure a spot on the West Virginia University football team. Halfway across the world in Estonia, he started strumming songs in his apartment, summoning the sights and sounds of West Virginia for a group of new friends who’d never laid eyes on the state. Fans were made, gigs were booked, and Godwin launched his full-time music career shortly after graduation.

Marriage soon took him to Ohio, where his wife worked as a fundraiser. Even so, West Virginia remained at the forefront of Godwin’s mind, and he saluted the area’s influence with his 2019 debut. Seneca was a hit, with Billboard praising the album’s “the vivid language and scenic ambience,” and Rolling Stone enthusing, “His voice, with its tight, old-world vibrato, is perfect.” Godwin hit the road in support of its release, touring domestically one minute and selling out shows in European destinations like Stockholm the next. When the global pandemic brought his touring to a halt, he set his sights on How the Mighty Fall, creating the album during a period that also witnessed the arrival of his son and the migration of his growing family back to West Virginia.

Charles Wesley Godwin has never been afraid to blur the lines, and How the Mighty Fall proudly straddles the borderlands between several genres. It’s a country album by an Appalachian-borne folk singer and blue-collar believer, laced with enough electricity to satisfy the Saturday night revelers and enough scaled-down acoustic balladry to soundtrack the slow, gentle pace of Sunday morning. For every “Lyin’ Low” — a driving folk anthem, its larger-than-life melodies flanked by banjo — there’s a softly sweeping song like “Lost Without You,” which finds Godwin’s voice echoing between stretches of pedal steel and symphonic strings. This is music for campfires and car rides, for pool halls and mountain peaks, for big-city diehards and small-town loyalists. It’s Charles Wesley Godwin at his best, diving into character studies and richly-created fiction while still offering glimpses of the man behind the music.

Eulogy Presents: Mary Lattimore + MANAS & E.M.M. (a collaborative project between Manas and Efrim Manuel Menuck of Godspeed You! Black Emperor)

with Topographies and Jon Mueller

ASHEVILLE SWIFTIES, living for the hope of it all? Cancel plans just in case they’d call? Come scream it out at the ultimate Taylor Swift Dance Party on Nov 10th!

– ALL AGES
– STANDING/DANCING ROOM ONLY

TAYLOR SWIFT DANCE PARTY: TIS’ THE DAMN SEASON

DJ playing Taylor through her eras, costume contest, lipsync battle, themed photo areas, free koozie, bracelet trading, and more!

Wanna hear the best local music ​and​ drink the best local beers? Hop aboard LaZoom’s Purple Bus and rock out with a local band while we take you on a journey to Asheville’s premiere local breweries.

In recordings as well as live performances, Asheville based band Tina & Her Pony (queer fronted indie Appalachian folk) always strives to provide the listener with a deep oceanic counterpoint balanced with an earthy, time-honored musical approach. It’s an apt metaphor for the dark and the light of life, for the transformation of life’s joys and sorrows into songs that Tina & Her Pony has strived to create since 2010. Playing songs and telling stories from their latest album “Marigolds” (March 2023) as well as even newer songs, this concert will feature Tina’s 4-piece band, which weaves a fascinating web of sound and intention that draws the audience in. Listening to Tina & Her Pony offers a window into an interior landscape that begs to be explored.

Avey Tare

You remember how it was, don’t you, back in the Spring of 2020? Knowing so little about what any of us should do, so many of us crawled inside our quarters to find new obsessions or indulge the familiar ones, unencumbered by anything else we could do. At home in the woods on the eastern edge of Asheville, N.C., Avey Tare took the latter path, sequestering himself in his small home studio to sort the songs he’d written and recorded with friends in the instantly distant before times — Animal Collective’s Time Skiffs, of course, their astonishing document of communal creativity a quarter-century into the enterprise. He often worked there for 12 hours a day, tweaking mixes alone, save the birds and bears and his girlfriend, Madelyn. By Fall, though, it was done, so what next? How else should Avey now occupy himself in his cozy little room? The answer became 7s, his fourth solo album (and first in four years), an enchanting romp through the playground of his head. He wasn’t, however, going to do it alone.

During the first week of January 2021, Avey began making regular drives to his friend Adam McDaniel’s Drop of Sun Studios to give guts and flesh and color to the skeletal demos he’d made at home. They turned first to “Hey Bog,” a tune Avey had been tinkering with since he wrote it to have new material for a rare live performance years earlier. The inquisitive electronic meditation — all tiny percussive pops and surrealist textures at first — slowly morphs into a gem about surrendering cynicism and accepting the world a bit more readily, the call buttressed by trunk-rattling bass and spectral guitar. It feels like a lifetime map for new possibilities, encapsulated in nine absorbing minutes. The plot for 7s, then, was set: trusting, intuitive, exploratory collaboration among friends, after a Winter without it. These songs are like overstuffed jelly jars, cracking so that the sweetness oozes out into unexpected shapes. Still, the sweetness — that is, Avey’s compulsory hooks — remains at the center, the joy inside these Rorschach blots.

If Animal Collective has forever been defined by its charming inscrutability, Avey surrenders to a new intimacy and candor with 7s. Take “The Musical,” a bouncing ball of rubbery synths and wah-wah guitars that contemplates what draws someone to sound and how turning that calling into a profession can alter the source. “I can hear the mountains singing,” he counters with an audible smile wiped across his face, painting a postcard of his home amid one of the United States’ folk hubs, “and I do believe they could do that forever.” Obligations aside, this is a self-renewing love, he realizes, the source as captivating as it was the first time. “Have you ever felt a thing and known that’s how you felt about it all along?” he ends this guileless love song for everything.

Geologist

As Animal Collective’s resident sound manipulator, Brian “Geologist” Weitz has played an integral role in one of the most innovative bands of the 21st century. Weitz’s earliest musical forays were with fellow Animal Collective members Dave “Avey Tare” Portner and Josh “Deakin” Dibb as Auto Mine, a high school indie rock project that predated the formative jam sessions with Noah “Panda Bear” Lennox a couple years later. The quartet formed Animal Collective in NYC in 2000, with Weitz joining Portner and Lennox for live shows and first contributing to the band’s recorded catalog on 2001’s Danse Manatee. He split time in the early 00’s between playing in Animal Collective and working in environmental policy, getting his degree in the latter while studying at the Biosphere 2 Center in Oracle, AZ. After completing an ocean policy fellowship with the US Senate in 2005, he turned his attention to Animal Collective full time.

You can hear his love of sound collage and horror film soundtracks in the band’s creaking-door ambience, and his appreciation for natural soundscapes in their use of field recordings. He’s performed internationally as a solo artist, and released the Live in the Land of the Sky cassette, and the New Psycho Actives Vol.1 split release with Portner. He has scored Coral Morphologic’s short film Man O War, as well as sound installations at Desert Daze in 2017 and Iceland’s List i Ljosi festival in 2018 with visual artist and director Danny Perez. In 2018 he collaborated with artist Kyle Simon on The Sirens, a live performance/art installation at Joshua Tree’s Integratron, in which the duo converted moonlight into sound through Geologist’s modular synthesizer. Weitz’s collaboration with Coral Morphologic, as well as his own background in ocean conservation and environmental policy, played a role in Animal Collective’s latest album, 2018’s Tangerine Reef, an audiovisual collaboration with Coral Morphologic that drew attention to coral reef preservation. He also drew inspiration from his environmental studies while creating the original score to Marnie Ellen Hertzler’s film Crestone, using his time at the Biosphere and the sensory memories of the Sonoran Desert to guide the sounds.

Deakin

Josh “Deakin” Dibb has explored a variety of sounds in his work as part of Animal Collective and in his own solo material—shaping the band’s directional shifts he’s been a part of and consistently contributing a unique flavor to their boundary-breaking career. Growing up in Baltimore with future bandmate Noah “Panda Bear” Lennox, the pair began writing and recording songs together in middle school. In high school, Dibb met Dave “Avey Tare” Portner and Brian “Geologist” Weitz, later joining the pair’s band Automine. By the end of high school, Dibb had connected Lennox to Portner and Weitz and the foursome began to collaborate. By 2000, Dibb was running the band’s record label, Animal, which released their first album Spirit They’re Gone, Spirit They’ve Vanished. He first appeared musically on the band’s 2003 releasesCampfire Songs and Ark; his guitar-centric approach played a pivotal role in the freaked-out rock of 2005’s Feels and the experimental pop of Strawberry Jam in 2007. While sitting out the Merriweather Post Pavilion (2009) album and touring cycle following the sudden death of his father, Dibb stayed involved in studio projects (Water Curses, 2008) and the development, filming, music, and sound design of the band’s first visual album ODDSAC (2010). In 2010, Dibb began playing his first solo shows, worked with Portner to engineer and produce three albums (Avey Tare’s Down There, Tickley Feather’s 123, Prince Rama’s Shadow Temple), and was involved in the band’s collaborative performance with Danny Perez at the Guggenheim, which lead to the 2012 release of Transverse Temporal Gyrus. After a temporary stent away from the band, Dibb returned to begin writing and touring for Centipede Hz (2012) before stepping back again to focus on his solo album Sleep Cycle (2016), a meditative collection of experimental pop songs and his first solo effort since contributing to the band’s Keep cassette mixtape in 2011. Along with mixing and production work on solo albums from Lennox (Young Prayer) and Portner (Down There, Eucalyptus, Conference of Birds EP), and contributing a variety of remixes to artists ranging from M83 and Phoenix to Tinariwen, Steve Spacek, and Goldfrapp, Dibb’s recent projects as part of Animal Collective include 2018’s Tangerine Reef, an audiovisual collaboration with Coral Morphologic that drew attention to coral reef preservation, a 2018 performance at the Music Box Village in New Orleans which inspired the music the band is currently making, and last year’s Bridge to Quiet EP, a selection of improvisations from 2019 and 2020 that the band remixed, collaged and built into songs. Most recently, Dibb and

Weitz scored Marnie Ellen Hertzler’s debut film and documentary Crestone (2021).

All ages

With rich harmonies, powerful vocals and an electrifying stage presence, this contemporary gospel group creates an unforgettable and uplifting musical experience that’s gained them viral success, amassing millions of fans and followers from all corners of the globe. Whether performing traditional standards, hits from musical theatre or their own original music, these prolific singers deliver jubilation as they transcend genre and speak to the heart of every listener.

The performance by Trey McLaughlin & the Sounds of Zamar is funded in part by a grant from South Arts in partnership with the National Endowment for the Arts and the North Carolina Arts Council.

Lee Mills, conductor
Simone Porter, violinist

Program:
Mary D. Watkins: Soul of Rememberance
Philip Glass: Violin Concerto No. 1
Robert Schumann: Symphony No. 2

To learn more about the conductor and guest artist, please visit www.greenvillesymphony.org.

Lee Mills, Conductor
Simone Porter, Violinist
Mary D. Watkins: Soul of Remembrance
Philip Glass: Violin Concerto No. 1
Robert Schumann: Symphony No. 2

Philip Glass and Robert Schumann are composers separated by two centuries.  One, an American from Baltimore whose music defies genre: it’s two parts driving rhythm and one part rich string texture.  You could even say it’s got a hint of rock n’ roll.  Add a true rockstar of the violin, the one and only Simone Porter, and the fear of missing out factor is on another level.

Robert Schumann, best friend of Johannes Brahms and husband of the legendary Clara Schumann was a musical celebrity in 19th century Germany who struggled with mental illness. He found relief and sanctuary in music and the result is some of the most complex and fascinating compositions of the German Romantic period. Despite the composer’s depression, this symphony cuts through the darkness and leaves us feeling hopeful and uplifted.  This energetic and elegant second symphony turns the traditional structure on its head by opening with a quiet first movement. Don’t take it from us—come hear this revolutionary and redemptive work for yourself.

CLICK TO LEARN MORE ABOUT THE CONDUCTOR & GUEST ARTIST

The 4SCO is pleased to present an exquisite program featuring influences of Spanish and Latin American cultures. This dance inspired concert is titled “Danzón,” and features works by Arriaga, Márquez, and Piazzolla.

Jack of the Wood : Sunday-Irish Session 

Sundays

1 till who knows when?

Traditional Irish music is kept alive at Jack of the Wood with our unplugged Sunday session.

Jack of the Wood

95 Patton ave

Asheville, NC 28801

(828) 252.5445

http://www.jackofthewood.com/

Lee Mills, conductor
Simone Porter, violinist

Program:
Mary D. Watkins: Soul of Rememberance
Philip Glass: Violin Concerto No. 1
Robert Schumann: Symphony No. 2

To learn more about the conductor and guest artist, please visit www.greenvillesymphony.org.

Lee Mills, Conductor
Simone Porter, Violinist
Mary D. Watkins: Soul of Remembrance
Philip Glass: Violin Concerto No. 1
Robert Schumann: Symphony No. 2

Philip Glass and Robert Schumann are composers separated by two centuries.  One, an American from Baltimore whose music defies genre: it’s two parts driving rhythm and one part rich string texture.  You could even say it’s got a hint of rock n’ roll.  Add a true rockstar of the violin, the one and only Simone Porter, and the fear of missing out factor is on another level.

Robert Schumann, best friend of Johannes Brahms and husband of the legendary Clara Schumann was a musical celebrity in 19th century Germany who struggled with mental illness. He found relief and sanctuary in music and the result is some of the most complex and fascinating compositions of the German Romantic period. Despite the composer’s depression, this symphony cuts through the darkness and leaves us feeling hopeful and uplifted.  This energetic and elegant second symphony turns the traditional structure on its head by opening with a quiet first movement. Don’t take it from us—come hear this revolutionary and redemptive work for yourself.

CLICK TO LEARN MORE ABOUT THE CONDUCTOR & GUEST ARTIST

Kate Steinbeck flute • Katherine Haig cello • Andy Jurik guitar

Dana Wilson Luminescence
Vivian Fine Canciones y Danza
Radamés Gnattali Sonata for cello and guitar
Dana Wilson Sing to Me of the Night

Doors open at 2:30
Music starts at 3

We appreciate your advanced reservation!

Pan Harmonia offers donation-based, pay-as-you-can community concerts. All are welcome.

Legendary artist Graham Nash, as a founding member of both the Hollies and Crosby, Stills and Nash, is a two-time Rock and Roll Hall of Fame inductee. He has seen rock history unfold at some of its seminal moments – from the launch of the British Invasion to the birth of the Laurel Canyon movement a year later. An extraordinary Grammy Award® winning renaissance artist – and self-described “simple man” – Nash was inducted twice into the Songwriters Hall of Fame, for his work with CSN and his work as a solo artist.

Towering above virtually everything that Graham Nash has accomplished in his long and multi-faceted career, stands the litany of songs that he has written and introduced to the soundtrack of our lives for nearly six decades.

Nash’s remarkable body of work began with his contributions to the Hollies opus from 1964 to ’68, including “Stop Stop Stop,” and “On A Carousel,” among others.

The classic union of Crosby, Stills & Nash (& Young) yielded songs that are lightning rods embedded in our DNA, starting with Nash’s “Marrakesh Express,” “Pre-Road Downs” and “Lady of the Island,” from the first Crosby, Stills & Nash LP and his iconic “Teach Your Children” and “Our House” from CSNY’s Déjà Vu.

Nash’s career as a solo artist took flight in 1971, beginning with two landmark albums, Songs For Beginners and Wild Tales which further showcased the depths of his abilities as a singer and songwriter, yielding such favorites as “Chicago/We Can Change the World” and “Military Madness”. His latest effort, “Now”, will be released worldwide on May 19.

Graham Nash will be joined on stage by his longtime musical partners, Shane Fontayne (guitar and vocals) and Todd Caldwell (keyboards and vocals), performing favorites from across his sixty-year career.

RUNNNER

For the last five years, Los Angeles-based musician Noah Weinman has been Runnner, and for much of those five years, Runnner has been working. Working on his 2021 collection album, Always Repeating; working as a producer on the Skullcrusher records; and, of course, working towards his debut full-length, Like Dying Stars, We’re Reaching Out. From LA to Ohio and the Northeast and back, he’s been deep in the craft of sound. This is music made at home, using anything and everything: cell phones and handheld tape recorders, the hum of an a/c unit, voicemails from friends. Rubbing cardboard together, stretching acoustic sounds out to near liquid, or stacking delay pedals at random to scramble the smoothness of a song can make something known into something unknown — something ordinary into something cosmic. These are songs where the edges have been left deliberately rough because perfection invites predictability, and imperfection imbalances, and those imbalances ask the listener to listen again, and again. And in that listening, the sound can become earnest, can ask a question, can hold a conversation.

“I was sifting through my demos trying to decide what songs would go on the album, and I sort of started to notice this theme about the limits of language,” explains Weinman. “You’re trying to articulate something to someone, and it either doesn’t come out right or you end up not saying anything at all. It’s a pattern I see in my life, just having a hard time expressing myself to the people I’m close with.” So it’s no surprise that from a young age, Noah was drawn to other modes of expression: first studying trumpet and jazz, then falling into guitars, banjo, pianos and synths, and along with them discovering a love for stitching together songs and recordings. “It wasn’t until I got out of the studio environment and started recording at home that it became something I really love doing,” he says.

Like Dying Stars, We’re Reaching Out is the result of years of writing, recording, and tinkering in Weinman’s home, a lovingly crafted patchwork of organic instrumentation and otherworldly digital manipulation. The unexpected sounds and lush production elevate Weinman’s already impressive skill for melody and warm vocals, always pivoting between sparse intimacy and sweeping grandeur at the right moments. “I think I just want to try to make sounds that are a little original, that you couldn’t easily identify,” he explains. “But I get there by keeping my options pretty limited. I only have one input, so I don’t record things in stereo; I only have about three microphones and a few instruments, and I try not to use MIDI. I keep the ingredient list short, but that pushes me to be more creative in the genesis of certain sounds.”

This musical approach is reflected in Runnner’s lyrics as well, where the familiar is made unfamiliar, and then familiar again. With humor and heart, Weinman sifts through isolation and anxiety in the everyday: ruining the rice, buying shampoo, the way boredom and loneliness are tangled up together. And from these fragments, he makes something new, but also something already known and felt at once. “A lot of the songs have this narrative arc of rising tension that just leads to me not saying or doing anything,” he says. “It’s like there’s a signal loss between thought and speech.” Tracks like “I Only Sing About Food,” “Raincoat,” or “Chess With Friends” explore these different mental and sometimes even physical barriers to communication, while skittering drum beats and scrappy acoustics guide the listener through Weinman’s crowded thoughts. On mid-album standout “Running In Place At The Edge of The Map,” Weinman likens his catatonic self on the couch to a video game avatar stuck at the end of its digital space with nowhere left to go — tying the image to our desperate attempts to be who we want to be, despite knowing that our attempts will fall short.

Often Like Dying Stars, We’re Reaching Out sounds like life caught inside a moment, unsure of what comes next, but there is hope and lightness here too. The album’s final track “A Map For Your Birthday” closes with the lines “like dying stars, we’re reaching out / so much i can’t say / but you nodded anyway.” Despite our inability to be what we want to be, to know where we are going, feel we belong, to be present, and to present ourselves fully and completely to the world, Runnner offers that perhaps it’s this longing to know one another, to understand each other when we’re incoherent or when the words just don’t come, that just might connect us.

SUN JUNE

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick’s ‘Song to Song’, the pair were immediately taken by the city’s bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside.

Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city’s esteemed Keeled Scales label in 2018. The band coined the term ‘regret pop’ to describe the music they made on the ‘Years’ LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach.

Sun June returns with ‘Somewhere’, a brand new album, out February 2021. It’s a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it’s had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. “We explore a lot of the same themes across it,” Colwell says, “but I think there’s a lot more love here.”

Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing.

Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. ’Real Thing’ is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. “Are you the real thing?” Laura Colwell questions in the song’s repeated refrain. “Honey I’m the real thing,” she answers back.

They’ve called this one their ‘prom’ record; a sincere, alive-in-the-moment snapshot of the heady rush of love. “The prom idea started as a mood for us to arrange and shape the music to, which we hadn’t done before,” the band explains. “ Prom isn’t all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss – all the highs and all the lows.”

It’s in both those highs and lows where Somewhere comes alive. Laura Colwell’s voice is mesmerising throughout, and while the record is a document of falling in love, there’s still room for her to wilt and linger, the vibrancy of the production creating beautiful contrasts for her voice to pull us through. Opening track ‘Bad With Time’ sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. “I didn’t mean what I said,” Colwell sings. “But I wanted you to think I did.”

Somewhere showcases a gentle but eminently pronounced maturation of Sun June’s sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

Greg Freeman

Greg Freeman deals in biblical deluges, apocalyptic fever dreams, Floridian miscreants, and green mountain malaise. On his excellent debut LP “I Looked Out,” Gregs’s voice takes center stage, creaking, crooning, and cutting through clouds of static. The songs are linked together by a palpable urgency, whether it is the punch-in-the-face, careening momentum of “Tower,” the country-gazing guitar squall of “Souvenir Heart,” or the singalong finale of “Palms.” Careful arrangements and production choices bring out the best of the 7-piece band that ornament the album with pedal steel, horns, eerie strings, and tape warbles. Greg’s strong narrative songwriting is equally effective chronicling the demise of a 1920s ocean liner as it is documenting his own interpersonal uncertainties. The sounds on the record conjure up the feeling of driving around Chittenden County in the middle of winter, high beams on, slush on the floor mats. It’s hard for me to imagine a more promising debut record, and I can’t wait to see where this band goes next.

This is an 18+ event