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Elysian Fields w/ Hannah Cohen |
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About This Event
Minimum Age:
18+
Doors Open:
6:30 PM
Show Time:
7:30 PM
Description:
This is a general admission event. Seating is limited and available on a first come, first seated basis. There is a two item minimum per person at all tables. Standing room is also available. We recommend arriving early.
LPR offers a membership program that guarantees members seating for future shows. Click here for more info.
Artists
Elysian Fields
"I felt myself falling/under a spell/I knew very well I might never return/to the land of the living/and then I was giving myself to the light/then I took flight/I shot up like a kite/it was my last night on earth..."
Legendary cult heroes Elysian Fields have always travelled in mysterious waters. Led by the enigmatic New York co-composers Jennifer Charles (vocals) and Oren Bloedow (guitar), the music born of their collaboration is impossible to categorize. They carry a torch for nature, sex, love, the cycle of death and rebirth, and the sounds of folk and jazz ballads, no wave and classical music, seamlessly interwoven into a style that is at once languorously romantic and tough. Long known to European audiences where they have been lionized, the paradox is that in their home country, their art has gone largely unnoticed, but to the musical cognoscenti and in the know music Hop-heads.
But the fact is, more than anything, Elysian Fields is a New York band, as much a part of the cities tapestry as New York Marble Cemetery, or The Frick. Maybe you've heard of them, but likely you haven't experienced them. Oren Bloedow, a New York maverick, who grew up in the 70's at 53rd and 3rd Avenue no less, brings not only his masterly and unique command of the guitar to the stage, but his unparralled finesse of song craft. Co writer Jennifer Charles is possessed of unusual songsmithery and spirit; she seems to be channneling the songs from a mysterious source. She is both poet and siren, her rich voice of velvet, flush with emotion, entwining around one's heart. Behind these two have always been the finest of Downtown music's demi monde.
Hannah Cohen
Hannah Cohen comes from a family of poets and musicians, broadcasters and booksellers. She left home as a teenager to travel the world working as a model, soon finding herself in New York and becoming over the next few years something of a muse to the city’s art scene, posing for Richard Prince, Terry Richardson, David Salle, Will Cotton, and Ryan McGinley. Working on the other side of the lens, Hannah shot album covers and music videos for friends, and her first book of photography, “Fotografias Brasil”, was published earlier this year.
She also immersed herself in NYC’s music scene, becoming friends with singers, writers and producers. And quietly, privately, she started teaching herself guitar and writing songs. They were simple songs, sung to herself, private reflections on love and loneliness. But when she did start sharing them with her friends, usually in the wee hours as a party was winding down, rooms were hushed, jaws dropped, and it became clear to everyone who heard them that these songs were something very special indeed.
Hannah’s debut record, “Child Bride”, was produced by Thomas Bartlett, aka Doveman, known for his keyboard work with artists like The National and Antony and the Johnsons, and also producer of upcoming records by Glen Hansard and Julia Stone. Drawn from Hannah and Thomas’s mutual friends, the core band is a small but potent group of some of New York’s finest musicians, including Sam Amidon, Rob Moose (Bon Iver, Antony and the Johnsons), Brad Albetta (producer for Martha Wainwright and Teddy Thompson), Doug Wieselman (Laurie Anderson, the Lounge Lizards), and Kenny Wollesen (John Zorn, Bill Frisell). Together they have created an expansive, haunted album, lush and welcoming, but also at times almost painfully intimate. Hannah’s strikingly distinctive voice and casually assured phrasing are at the centre of it all, from the heartbroken outpouring of “The Crying Game” to “California”, an irresistibly catchy love letter to Hannah’s home state, with a sunny disposition that can’t quite hide the undercurrent of melancholy and homesickness. |
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