Hey Marseilles

Johnny Brenda's presents

Hey Marseilles

Young Buffalo, Mock Suns

Wed, March 27, 2013

Doors: 8:00 pm / Show: 9:00 pm


This event is 21 and over

All shows are 21+ Proper I.D. required for admission

Hey Marseilles - (Set time: 11:00 PM)
Hey Marseilles
Five miles south of downtown Seattle is the neighborhood of Columbia City—a leafy stretch of old
brownstones and new condos which, according to local legend and loosely interpreted census data,
boasts the most diverse zip code in America. Not far from Columbia City's main drag, amidst a swirl of
languages and colors and food and accents, sits a 100-year-old, two-story house that's home to the
world-weary, six-piece orchestral-pop ensemble known as Hey Marseilles.

World-weary in spirit if not in practice: Hey Marseilles first won hearts across the US with its 2010
debut, To Travels and Trunks, an album that reveled in the education and inspiration only globe-trotting
exploration can provide. With Matt Bishop's lyrical wayfaring abutting an instrumental palette that
embraced folk tradition—accordion, strings, and horns; gypsy, Gallic, and classical—To Travels and
Trunks gave musical
voice to the universal longing for unfettered freedom. NPR called the record "sublime and heartfelt."

A lot has changed in the world since 2010—that house in Columbia City, for instance. The vacillations
of the economy allowed Hey Marseilles violist Jacob Anderson to acquire it in 2011; he and his younger
brother, cellist and producer Sam Anderson, helped renovate it. Since then, most of the band has lived
in it, and the entirety of their new album was written and recorded in it, or nearby. (Other recording
spaces included a tunnel in Seattle's Golden Gardens Park, a mostly abandoned brick office building,
and a church sanctuary, all because of their advantages for the band's acoustic instrumentation.) Not
surprisingly, Lines We Trace is not about going out and searching. It's about finding you're already where
you need to be.

Make your way back home again, Bishop sings on the dusky ballad "Café Lights." I am here still.

"These songs articulate a sense of longing, but it's a longing to appreciate what's in front of you as
opposed to finding meaning in somewhere or someone else, " says Bishop. "It's about finding and
creating home where you're at and as you are." The 12 songs on Lines We Trace represent a band
steady enough in its sound—poignant, panoramic, unreservedly gorgeous—that it can expand beyond it.
The string section that hums throughout "Elegy"—quintessentially sweeping, Hey Marseilles style—shifts
into finely composed abstraction for the song's final minute. Colin Richey's skittering rhythm on "Bright
Stars Burning" is a gentle breakbeat, a sly nod to atmospheric drum 'n' bass. "Madrona" and the album-
closing "Demian" are Hey Marseilles' first fully instrumental songs, a pair of echo-laden piano-and-cello
dirges that are simultaneously solemn and sumptuous. "Dead of Night" trots along on an almost funky,
waltzy swing and gives the album its titular lyric, trumpet triumphant as Bishop sings, The lines we trace
have a thousand ends/We'll count the ways we can't begin/And stay in our homes, remain on our own…

Throughout, Philip Kobernik's accordion is less pronounced than previously, Nick Ward's guitar more
so. The result is less old-world, more new school. "With our first record, we were inspired by traditional
folk instrumentation and arrangements, but at our core we were trying to make solid pop songs," Bishop
explains. "We see this album as a continuation of that goal, but we hope the arrangements reflect our
maturation as musicians and songwriters." An update. A progression. A musical analog to a line in
"Looking Back": If you're looking back that's all you'll ever see.

Six years after Bishop first got together with Kobernik and Ward to jam at Seattle's Gasworks Park,
Hey Marseilles is an experienced band with a slew of major festivals (Bumbershoot, Sasquatch!) and a
national tour under its belt. They've come a long way—only to find themselves back home. Put another
way, as Lines We Trace suggests, sometimes you don't have to go far to find a meaningful experience.
Young Buffalo - (Set time: 10:00 PM)
Young Buffalo
In Vietnamese culture, particularly in that of their farmers, the buffalo is a symbol of quality. The Water Buffalo is a common sight in Vietnam, and to your average Vietnamese citizen, the mention of this noble beast calls to mind the qualities of being hardworking, dedicated and of making the best of every situation that you are faced with.

Young Buffalo had no clue this was the case when they picked their name…

Nevertheless, the symbolism works well for the character of this young Oxford Mississippi based band, consisting of Ben Yarbrough and Jim Barrett. Oxford may not be known widely as a creative hub, but the thoughtful songwriting and multi-instrumental proficiency exhibited by Ben and Jim on their upcoming self-titled EP are prime examples of the artistic diversity that exists in their hometown.As Barrett is quick to point out, Oxford is a "cool mixture of a lot of different kinds of people and it's not necessarily the kind of Mississippi town you would normally imagine."

Born out of the University of Mississippi local music scene, the formation of Young Buffalo took place over several long and sporadic years. Ben and Jim began quietly writing music together when they were teenagers, forming their first band in high school. Although the two maintained their strong friendship, the band went their separate ways for a stint. It was during this time that Barrett self-recorded an EP in the spring of 2009, using the moniker Young Buffalo (a nickname he had for Ben in school). The recording ended up being well received locally, and the duo brought the Young Buffalo project to life.

Ben and Jim each have an eclectic array of interests and personal tastes that, when combined with their impressive musical aptitudes,has resulted in a sound that is both accessible and thoughtfully progressive. This amalgamation of influences is front-and-center on their new Kyle "Slick" Johnson produced EP, which was tracked at his studio in Philadelphia over a whirlwind week of 13-hour days. This EP is a beautiful compilation of two artists finding themselves as musicians and writing partners, and the diversity of the album is refreshing in a world where bands too often commit to one particular sound. From the pysch rock epicness of opener "Baby Demons" to the noise pop of the album's central track "Upstairs" to the more experimental vocal arrangements on "Nature Boy", there is something on the EP that will catch the attention of most discerning music fans, no matter their 'go-to' genre.

Though a central theme of this EP is the sense of urgency and confusion that comes with trying to escape something (as Barrett says "I'm currently living with my parents and this is definitely dealing with that, wanting to get the fuck out"), it was the efficiency of the recording process that the band found most therapeutic. While Yarbrough and Barrett offer a great deal of credit to their production team and the skill of their current bandmates for being able to cut such a quality album in such a short time,their songwriting is clearly at the foundation of this creative step forward for the band.

As Ben and Jim prepare to release their new E.P. this fall, they are seeing Young Buffalo in a more mature light. The band is a more cohesive unit than they have been at any other point in their career, and they are genuinely happy to be playing music together. When asked how the recording of this EP has changed his view of the band's future, Barrett offered this statement: "Two years ago I would've answered like 'we're going to win Grammy's and tour the world'. Now that's just bullshit. I just want to be able to tour and make records, anything else is bonus. I just want an excuse not to be a caterer full time".

Another quality Young Buffalo share with the water buffalo of Vietnamese culture is patience. This EP will serve as a coming out party of sorts for the band, and with the quality it exudes; their patient approach in getting to this point seems well worth the wait.
Mock Suns - (Set time: 9:00 PM)
Mock Suns
Mock Suns began in 2009 as a five-piece band, performing at the time under the name Giant Mind. The band later reformed into a three-piece, shortly after the departure of two members, following the release of their debut EP, Two Frames. As Mock Suns, they set out to reform their style from indie-electronic pastiche to a more focused, guitar-driven, loop-based sound, while still retaining the original spirit of Giant Mind.

Here Nor There debuted on April 3rd, 2012, as the band’s first full-length album, “tipping its cap to 60s psychedelia, heavy rock and jazz” (Chad Huffman, Modern American Weekly). The band’s first single, The Dark, and the accompanying music video garnered much praise from blogs like Discosalt and FensePost for it’s bizarre originality, while their song Getaway made it’s way into regular rotation at XPN2.

Here Nor There’s peculiar promotional efforts also turned heads, from the likes of Guilty People to The Dieline. In addition to planting numerous advance copies of the album around Philadelphia, they equipped select albums with unique codes, each of which were redeemable for one of three custom-packaged, life-sized Mock Suns candy faces, as seen in their video, The Dark. With help from local record store AKA Music, the band was able to distribute these unusual treats to 25 lucky fans. The unorthodox promotion gave the band a favorable local presence, not only for the music, which one fan claimed helped him get laid, but for the chocolate, which another fan said was “much, much larger than I expected, and absurdly delicious. Possibly the best chocolate I've ever had.”
Venue Information:
Johnny Brenda's
1201 N. Frankford Ave
Philadelphia, PA, 19125