PREACHERVAN and Oginalii
The Great Dying, Nikki & the Phantom Callers
Thu · May 16, 2019
Doors: 8:00 pm / Show: 9:00 pm
Rooftop @ Georgia Theatre
Tickets at the Door
This event is 21 and overhttp://www.georgiatheatre.com/event/1859618/
Behind the (MUSIC INDUSTRY WORD FOR MUSIC) is a (POSITIVE ADJECTIVE) force that tosses grooves around like ocean waves and blends genres fluidly, with a keen respect both for the music of the (NOSTALGIA-EVOKING MUSICAL DECADE)--the depth of the blues, the energy and abandon of rock--and for the awful pop music of our horrible modern times. This is all new, man, with songs that capture the transience of our age while hugging the mind and body solidly in a moment of present abandon. However, as we all know by now, we don’t have much time left. What is here today will not be tomorrow. Please, for your own sake, enjoy.
Vocals, Guitar / Brooks Mason
Bass, Vocals / Lane Kelly
Guitar / Gavin Deleshaw
Drums / Colin Dean
Born into a family of musicians, Emma describes her childhood as one that allowed her to deeply explore and express her emotions from a very young age. She was taught that the best thing a person can be is raw, authentic … human. This experience and outlook permeates through Cause & Affection, an album that cuts its heart open and bleeds itself dry.
Oginalii is comprised of Emma Hoeflinger on vocals and guitar, Ryan Quarles on guitar, Simon Knudtson on drums, and Emma Lambiase on bass and vocals. Together, they create a sound that can’t be pinned down; sludgy-psyche-rock meets technical talent that surpasses initial expectations.
The ethos of Punk and Desert Rock music has obviously permeated the band’s upcoming album deeply as an influence. Not only the song, but more importantly the unexplainable feeling, the intangible energy and gritty passion that reverberates through the air at Oginalii’s live shows. Head bang to your heart’s desire, but the message of the music is something much deeper. Cause & Affection is the beginning of the focused, forward motion of the band: where they’ve been, where they are, and what is yet to come. As Hoeflinger says “I wouldn’t be myself if I didn’t say this… There and back again, an Oginalii tale, that is Cause & Affection.
The record is about growing up, losing yourself, finding yourself again, and wishing you were elsewhere - all while learning to love who you’re looking at in the mirror and understanding that the greatest gift we have as humans is empathy”.
Emma describes the writing and recording process with her bandmates as one that is not JUST collaborative, but celestial, a feeling that surrounded them as soon as they joined forces. The most important factor in this is an environment that allows both vulnerability and honesty.
When their perspectives and influences collaborate, something new is born.
Cultivated in a bedroom and recorded in the same house, Cause & Affection was created and engineered in the neighborhood of Crieve Hall just south of Nashville, TN, where the band met and currently resides. The serendipitous meeting of Ben McLeod, of All Them Witches, with Oginalii was one that was meant to be, a stepping stone on the way to honing in on what Emma calls “the sound and feeling we’ve been chasing from the start”. The combination of Ben’s direction and the sonic connectivity among the band shaped a record that gathers all the mountains and valleys the Tennessee landscape has to offer, but the sound created is one much more ethereal and reminiscent of what Emma says “was the beckoning of the mountains of Mordor.”
At its conception, every band is on a journey to discover what their creative mission is. The start is full of mania and the need to scream everything you can into the air waves. Over time the push, pull, and progressive movement on this mission caused the seed to bloom and realize its potential. For Oginalii, songwriting is at the core, and as Hoeflinger puts it, “you don’t know what you’re looking for until you find it.” A band is about the songs, yes, but what really matters is HOW they are heard. In reference to the sentiment, “It all starts with a song,” Hoeflinger thinks differently: “It may start with a song, but it ends with a sound and feeling you’ve created collectively.” Oginalii has found their voice, one that is uniquely theirs in origin, blossoming into a true picture of their creative mission.
Nikki & the Phantom Callers’ first release, their new 7-inch single “Prodigal Daughter” / “Mamas Should Know” (out July 27) features Aaron Mason on lead guitar, Russell Owens on drums, and Speake’s Shantih Shantih bandmate Anna Kramer—also of Anna Kramer & The Lost Cause and, most recently, newly resurrected Merge Records band The Rock*A*Teens—on bass & backing vocals. Speake and Kramer’s voices are front and center on these two new songs, calling to mind artists like Alvvays, Best Coast, and especially Neko Case singing in lockstep with her longtime backup singer, former Rock*A*Teen Kelly Hogan.
For the sessions, Nikki & the Phantom Callers assembled at Toco Electric Recording with co-producer/engineer Randy Michael (Mattiel, Black Linen, The Booze) at the helm, cutting everything straight to tape with a vintage eight-track. Which was plenty—they only ended up needing six tracks. The band worked quickly like The Beatles or Stones would have back in their early years—one day to record, one night to mix.
For Speake, these new songs are about that unique relationship between a mother and a daughter. While she was able to experience a deep bond with her adoptive mother (her maternal grandmother), she lost her own mother at a young age. “Prodigal Daughter” and “Mamas Should Know” explore the ensuing sense of confusion, of feeling lost without answers, and eventually growing up to put together the puzzle pieces of your own identity.
A feminist twist on the Biblical story of the Prodigal Son, that classic tale about how all sinners can come home again, on “Prodigal Daughter” Speake sings lead on verses two and four, and Kramer on one and three, with plenty of impressive vocal interplay along the way. Over the strum of a single guitar, the song begins with the confession, “Kissed a lot of misters, but only loved one / Went back to kissin’ when the love was gone.” Then the drums count off and the band kicks in, the song trucking along to the steady backing of Owens and Kramer, with Mason’s cool but simple guitar leads bobbing and weaving in between Speake and Kramer's vocal lines.
With its foreboding opening cymbal hits and dark, almost gothic guitar intro (a dead ringer for Sam the Sham’s sinister early-‘60s classic “Little Red Riding Hood”), “Mamas Should Know” is both a plea and a warning. It plays out with plenty of loss and yearning, as if a long-missing, freshly unearthed Flannery O’Connor short story. “What to reap, what to sow, what to leave for the crow, write it down so we’ll know,” Speake sings in sly rhyme, Mason’s ensuing guitar solo a perfect complement, Kramer’s bass line underscoring the creeping dread of growing up and realizing that you'll have to learn everything on your own.
Rooftop @ Georgia Theatre
215 N. Lumpkin St
Athens, GA, 30601