NEED YOU / DON’T NEED YOU An evening of post-feminist experimental/folk/pop and GIRLS GET COLD Album Release Party  with AMY RAASCH MIRANDA LEE RICHARDS CORRINA REPP and comedian SARAH J. HALSTEAD

NEED YOU / DON’T NEED YOU An evening of post-feminist experimental/folk/pop and GIRLS GET COLD Album Release Party with AMY RAASCH MIRANDA LEE RICHARDS CORRINA REPP and comedian SARAH J. HALSTEAD

Thu · August 23, 2018

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


Amy Raasch
Amy Raasch
AMY RAASCH is a media installation artist based in Los Angeles whose interdisciplinary work spans music, film, theatre, and technology. Her animated short film Cat Bird Coyote was named an Official Selection of sixteen film festivals and winner of the Big Apple and Los Angeles International Film Festivals. Her songs have appeared in a variety of projects, including Sony Classics release The Diary Of A Teenage Girl. Her new one-woman show The Animal Monologues, named Best of the Son of Semele Solo Creation Festival, plays New York City autumn 2018 as part of the United Solo Theatre Festival and opens in Los Angeles in late October as part of the Solo Queens Festival at the Bootleg Theater. Kitty Decides, her surreal music video that unpacks the international obsession with the online feline, has amassed thousands of views, garnered funds for no-kill animal shelters, and has become a rallying cry heard at Women’s Marches.

On her most recent project, GIRLS GET COLD, Raasch explores disconnectedness in the era of connection. It includes an album of quirky electronic pop, theatrical storytelling, and videos rife with whimsical cultural references and societal, personal, and sexual commentary. The title evokes both sadness and sexiness; the album’s production is an amalgam of earthy organic instrumentation and adventurous otherworldly electronic textures; plots and subplots rub up against each other; and the album comes to life with a clutch of videos and other media installations.

The album’s ambitious and intrepid production aesthetic belies its homegrown tracking methodology. Amy and producer David Poe (Regina Specktor, Kraig Jarret Johnson, Grace Kelly) recorded the album in her Venice Beach apartment, building evocative soundscapes from a muted piano, an old flute, a messed up electric guitar, and by hitting her radiator with a belt of nails. “That was cathartic,” she says, laughing good-naturedly. “I had to repaint.”

When friends were in town, they lent their many talents on the album. Non-apartment contributions came from Jebin Bruni (Aimee Mann, Me’Shell Ndegeocello) on keyboards, John “Scrapper” Sneider (Curtis Stigers, Angela McCluskey) on trumpet, Louis Schwadron (Sky White Tiger, Polyphonic Spree) on French horn, Victor Indrizzo (Rufus Wainwright, Avril Lavigne) on drums, and Doug Yowell (Joe Jackson, Duncan Sheik) on percussion.
Tracks like “Straight Boys” and “Kitty Decides” lighten the mood with jaunty musicality and hilariously sinister theatricality. “Kitty Decides” is a revelation in absurdist humor and puckishly inventive, retro-futuristic electro-pop. “Straight Boys” is infectiously catchy with springy piano and a playful quandary. A spare yet instantly appealing track, the tune examines unconsciously habituated sexual politics with cheeky humor. “We’re in an unprecedented moment, where men and women alike have a unique opportunity to re-examine entrenched assumptions about how we relate to each other, and make a change,” says Raasch; “I’m excited to be part of the cultural reset.”
GIRLS GET COLD, out now, continues to evolve online and through live performance installations.
Corrina Repp
Corrina Repp

“In early June of 2015 I uprooted my life and home of 21 years in Portland, Oregon and relocated to Richmond, Virginia… for love. The love as it turned out, was not there. It was a vacant stare, and within less than a month I got back in my car and returned west.” — Corrina Repp

* * * * * *

On her fifth full-length LP, How A Fantasy Will Kill Us All, songwriter Corrina Repp charts a path through the unknown. Fueled by a desire to start over and make a clean break with Portland, where she’d lived for 21 years, and where she released a string of albums on HUSH and Mark Kozelek’s Caldo Verde label, played with her band Tu Fawning (City Slang), and appeared semi-regularly on the parody comedy series Portlandia, Repp headed across the country. The promise of a new relationship was waiting for her, but it wasn’t to be. Turning away from the failed relationship after three weeks, Repp made survival a full-time occupation. Stowing her possessions in a storage unit in Woodland Hills, California, and leaving with no real plan, Repp embarked on a nomadic journey that would shade her music for years to come.

The songs on the new record came together over two fitful, unrooted years that found her working at the Sou’Wester motor lodge on the coast of Washington, staying at the Saint-Erme-Outre-et-Ramecourt convent in Northern France where she dedicated herself to playing music, writing songs in a sublet in Los Angeles, and finally, in Louisville, Kentucky, where she holed up with Danny Seim of Menomena to record How A Fantasy Will Kill Us All. Recording during the day and retiring to a small, cold room each night with Phil, a stray cat and bad TV box sets to keep her company, Repp found herself drawn to freedom in ways she’d never experienced it. She made friends with Richard Sullivan, an ex-ball player turned painter. She went to parties and art galleries. She spent large swaths of time by herself.

These experiences blurred into her art. Built on foundational loops and drones, Repp’s songs mingle solid, folk-tinged melodies with distortion, kaleidoscopic pop, and disjointed, cobbled together beats. She buries her resonant anthems under hiss (“Nothing Is On,” “Look For Paradise”), navigates uncertainty with eerie confidence (“Need You / Don’t Need You,” “Lightest Light”) and makes her proclamations of independence sound like faithful hymns (“I’ll Take The Storm”). Sometimes she sounds like a gospel singer, sometimes she sounds like a slightly malfunctioning tape deck, but always, she sounds free.

“Maybe you found it/We’ll just see what happens/see what happens,” she sings over chorded guitar and piano on the album’s title song. The record lives in that sense of maybe, and takes comfort in what happens when illusions and fantasies are replaced with real confounding experiences. The record is a time capsule, Repp writes in her evocative, travelogue-inspired liner notes, “About how having expectations could lead to one bloody, yet delicious downfall.” But the record doesn’t represent what happens when it all falls apart: it’s about finding out who you are without anything unnecessary. Only the essential and elemental, the things needed when the unknown beckons.
Miranda Lee Richards
Miranda Lee Richards
MIRANDA LEE RICHARDS returns with new album EXISTENTIAL BEAST on Invisible Hands Music. This beautifully constructed new release is characteristic of the effortless, 70’s-influenced, country-tinged psychedelia evident throughout the Los Angeles native’s previous work. EXISTENTIAL BEAST was recorded in Los Angeles with producer Rick Parker, best known for his work with BRMC.

EXISTENTIAL BEAST is a political album, examining the issues of our time, but with the intent of tackling these tough and often taboo subjects in a poetic and heartfelt manner. The title is also a mash-up of terms, referencing the existential crisis that has in turn arisen.

MIRANDA says of EXISTENTIAL BEAST, “In essence, we are all still working within those animal urges of fear, competition, survival and sexuality which are deep-seated and manifesting in varying ways and degrees for different individuals, depending on where they are at. But like it or not, these tendencies have been revealed, within our leaders, our countries and ourselves; it is indeed a pivotal and transformational time and there is much work to be done.”

Born in San Francisco after the summer of love and before the dawn of disco, MIRANDA LEE RICHARDS grew up in an artistic and bohemian environment that has informed her adult life and work. After graduating from San Francisco School Of The Arts, she began to pursue a musical career. She met Kirk Hammett from Metallica who taught her to play Mazzy Star songs on guitar. Her early demos reached Anton Newcombe and she joined his band, the Brian Jonestown Massacre. MIRANDA then signed to Virgin Records and released her debut album "The Herethereafter," a mix of folk, psychedelia, country and indie pop, and found fans worldwide. The critically acclaimed follow-up album "Light Of X"–the title of which comes from a dream about harnessing beams of light to travel in time–followed in 2009 via Nettwerk Records. In 2016, MIRANDA unveiled "Echoes Of The Dreamtime" on Invisible Hands Music, which received rave reviews across in the U.K. and U.S., as well as national airplay with Mojo giving the album 4 stars and hailing the first single, “The sublime ‘First Light Of Winter’ is the moment it all comes together, Richards transcending her influences and, no longer constrained, arriving at psychedelia’s higher plane” (1/2016). EXISTENTIAL BEAST is yet another confident and inspiring piece of work from MIRANDA, sure to excite her ever growing fan base.
Sarah J. Halstead
Sarah J. Halstead
SARAH J. HALSTEAD is a comedian, actor and podcaster. Born in Flint, Michigan, Sarah moved to New York shortly after high school, landing plum roles in theatre productions and network daytime dramas. She took a hiatus, however, when her mother was diagnosed with ovarian cancer, and it wasn't till fairly recently that she relocated to Los Angeles to resume her acting career. Since then, she's appeared in over 70 commercials, along with a slew of guest-star roles in both film and television. She's also launched an acclaimed standup career, performing regularly at The Comedy Store and Laugh Factory. She's the creator and host of the podcast Drinking During Business Hours, which has featured guests such as Jon Cryer and Amber Benson. Sarah's brand-new podcast, Jimmy & Sarah on the Sunset Strip (co-hosted with Jimmy Shin), launches this summer. Sarah remains engaged in a variety of charitable pursuits, with a special focus on awareness of ovarian cancer as well as the Flint, Michigan water crisis.
Venue Information:
2478 N Fletcher Dr
Los Angeles, CA, 90039