H.C. McEntire – Tickets – Jammin Java – Vienna, VA – February 2nd, 2019

H.C. McEntire

H.C. McEntire

Luray

Saturday February 02, 2019

Doors: 7:00 pm / Show: 8:00 pm

Advance GA $12 | Day of GA $15 | Premier Plus $20

This event is all ages

• Full dinner and drink menu available
• The Premier Plus section is a raised area with great views and reserved seats and tables. There is a dedicated server for faster service

H.C. McEntire
H.C. McEntire
On January 26, H.C. McEntire, frontwoman of Mount Moriah, strikes out on her own with her debut solo album LIONHEART, a collection of songs inspired by the American South and a desire to reclaim “country” music from the hetero-normative, homogenous schtick of tailgates and six-packs and men chasing women. Stereogum describes her voice as “weary, wise, and bright as morning sunshine all at once,” and that sunshine glows throughout the triumphant LIONHEART.

For the album, McEntire collaborated with many of her favorite musicians, including Kathleen Hanna, Angel Olsen, Amy Ray, Tift Merritt, William Tyler, Mary Lattimore, and Phil Cook, while remaining bravely devoted to her most authentic self throughout the process. LIONHEART was recorded during the first few months of 2017 with additional recording and mixing taking place on the run as McEntire toured the world as a member of Angel Olsen’s band.

I came from people with machine grease on their hands. Dirt under their nails. The Bible by their bedsides. Cornmeal and buttermilk. People who need a porch to think, a red dirt row to get lost in, a revival to hunger for. But there are things that even a long, soft drawl can’t cover up. There are things you keep from even yourself.

In music, there are no rules. You make your own language. You can be both the Southern rock outlier and the twangy gospel conduit. You can be both the cherubic, honey-tongued innocent and the ardent punk. To get here-to find my lion heart-I had to become them all.
So I sank my teeth into Appalachia. I twisted toward the sky and let the sun blind me. I bought saltines from the dollar store. I shook dust off the hymnal. I set the silo on fire. I hemmed my lover’s dress. I pried white quartz from river banks and ridges. Wheeled them up the hill, barrow after barrow, in a fever. I had to mine for the truth.

LIONHEART was largely recorded in my living room, and it was mixed in the control room next to my bedroom by my best friend. If you listen close enough, you can probably hear some hound howls, some creaky wooden floors, some trains running their routes. All that’s in there. Some big grins, too, and high fives. A few tears, but the good kind-the kind that let you know you’re doing something hard. Something good and right, even if it’s swallowed you up so deep you forget what you’re making. Some days I felt so small, like the lizard on the front porch. Even smaller, like the spider in the lizard’s sight. But I kept on. I left some holes, too. Asked some friends to help fill them with whatever they were feeling-from Ojai to Atlanta, Lisbon to L.A. It was a joint effort: the yellow roses, the lamb, the dove, the wild dogs, the prickly pear.

I want this record to be, for you, whatever it needs to be. Over time, it’ll all change, come to mean something else. And that’s fine, too. Just know that it was born from a good shaking (thanks, Kathleen) and a little farmhouse at the end of a long, winding gravel road in the woods, where I gave in to the unknown, the written script, the blues, the joy-to the wild, wild world.

-H.C. McEntire, October 2017
Luray
Luray
Shannon Carey, the woman behind Luray, is a banjo player, singer, and songwriter, but the music she’s created for her debut album, The Wilder, moves the banjo into uncharted territory. The long melodic banjo lines she creates to embroider her songs have the feel of a rock guitar, while the rhythmic layers she adds to the music by strumming and fingerpicking bring in elements of folk and country, creating a sound that’s both traditional and futuristic. You could call it ambient folk or electrograss, but the sound doesn’t fit easily into established categories. With the help of her brother Sean (S. Carey of Bon Iver), she’s produced an album that confounds expectations with its ambient, cinematic sweep.

“In grammar school, I played bass, guitar, and clarinet,” Carey recalls. “Somewhere along the way, I put music aside and become a social worker. A few years ago, I had a dream about playing banjo. I got a teacher, learned to play bluegrass and started jamming. When I returned to writing songs, I decided to push the boundaries of bluegrass and see where it took me.”

Carey made demos for the songs that became The Wilder in her basement by layering her vocals and playing all the parts she heard in her head on the banjo. When she had enough songs for an album, she asked her brother Sean to help her record and produce it. “We stripped away everything but my vocals and the banjo melodies, then built up the tracks, creating arrangements as we went along. Coming from bluegrass and folk, I didn't know how drums and keyboards were going to work on the songs, although I did know I wanted an ethereal quality to the vocals.” With the help of her brother, Carey shaped the album’s gentle, easygoing sound, producing something unique and compelling in the process.

The Wilderwas recorded in five days at S. Carey’s attic studio in Eau Claire, Wisconsin, with a group of close musical friends - often working throughout the night, since they had such a short amount of time to record.Sean spent about six months in post-production, adding instruments to flesh out the songs. “The Wilder” opens with Sean’s ambient synthesizer, subtle percussion and Shannon’s wistful vocals producing a dream-like aura until a simple repeated banjo line brings things down to earth. . “Luray” is a ballad that combines Shannon’s unique combination of strumming and fingerpicking, Sean’s minimal drumming and Shannon’s elegant, understated vocal. “Promise of Lakes” is a good example of the unusual arrangements the Careys fashioned for the record. Ambient vocals, subliminal banjo, xylophone and acoustic guitar, funky handclaps, quiet electric guitar and understated percussion create a blissful portrait of a balmy summer afternoon. “I resonate with certain places, and the songs convey the feelings of being alone with the beauty of nature, as well my emotional state. My vocals are more about the sound than the meaning; I like keeping things ambiguous so people can discover themselves in the songs.

When Sean, who records as S. Carey, asked her to add vocals to “In the Stream,” a song on his debut, All We Grow, she took it as an omen and returned to songwriting and performing full-time. Sean helped her polish the demos she’d been making into the burnished vignettes that appear on The Wilder. Carey put the songs up on her website about a year ago and the response convinced her to release the songs on her own label.
Venue Information:
Jammin Java
227 Maple Ave E
Vienna, VA, 22180
https://jamminjava.com/