Foxygen - Presented by KRCL

Foxygen - Presented by KRCL

Gabriella Cohen

Wed · April 5, 2017

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

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This event is 21 and over

TICKETS MAY BE AVAILABLE AT GRAYWHALE LOCATIONS OR CITY WEEKLY STORE. SUPPLY IS LIMITED. THANK YOU FOR YOUR SUPPORT!

The State Room | 638 S. State St. box@thestateroom.com

We are a 21 and over venue featuring the best in nationally touring artists.  

Thanks for keeping it live!

Foxygen
Foxygen
Foxygen and Star Power is the Los Angeles songwriting duo of 24-year-olds Sam France and Jonathan Rado. In May 2011, France and Rado nervously handed off a CD-R of this homemade mini-opus Take the Kids Off Broadway (Jagjaguwar, 2012) to producer and visionary Richard Swift after his performance in a Lower East Side club. The duo, who had just mixed and burned the disc that very night, had been devotees of Swift's outsider-pop oeuvre since high school, when they first began recording their own pubescent forays into oddball rock n' roll (At least a dozen records were finished before they graduated high school).

Foxygen left the venue that night unsure whether Swift would truly listen or sling the disc into a dumpster on his way out. You're reading this right now because Swift did listen. In fact, he fucking flipped for Foxygen's bugged out, esoteric majesty and called upon them immediately to say as much. Eight months later, Foxygen was holed up for a week-long recording session at Swift's neo-legendary National Freedom studio, creating what became their breakthrough, We Are the 21st Century Ambassadors of Peace & Magic (Jagjaguwar, 2013), a precocious and cocksure joyride across California psychedelia.

2013 saw the mercurial success of 21st Century, and with it, heightened demands for tour planning, added press days, demands on resources, the sacrifice of personal relationships, and the indefinite delay of recording plans. The quick-fire success made for an altogether turbulent 2013 for the band. Foxygen's always captivating live performances shifted from eruptive to sometimes frightening — and then, just put on ice altogether. But at the close of 2013, France and Rado found secret sanctuary in their new studio, Dream Star, and holing up in some of LA's most famous hotels for more recording. Writing music together is what their friendship has always thrived upon. At Dream Star in the northernmost passage of LA's valley, they reformed as a punk band called Star Power. And the result, the svelte, 82-minute …And Star Power, is a morphing, splice-and-paste journey through soft rock indulgences, psych-ward folk, cartoon fantasia, D&D doomrock, and paranoid bathroom rompers. Foxygen, now expanded into a 9-piece touring machine as Star Power, calls the album "a cinematic, auditory adventure for the speedy freaks, skull krunchers, abductees, and misfits…the radio station you can only hear if you believe."
Gabriella Cohen
Gabriella Cohen
Talking about Gabriella Cohen requires a new adjective: when she tells you about a guitar tone she likes, an organ sound she’ s looking for, or the opening bars of The Velvet Underground’ s ‘ I Found a Reason’ , she might tell you these things sound ‘ pink’ . She’ s not describing a synesthetic or aesthetic connection with the colour — instead, it’ s an adjective she’ s coined, all her own. Luckily, after a spin through Cohen’ s debut album Full Closure and No Details, we’ ll all know what ‘ pink’ sounds like: it sounds like this. It sounds like heartbreak and reckless abandon, like quietreflection and raucous teamwork.

Cohen’ s first solo full-length is the product of ten days and two microphones. Co-produced alongside close friend, bandmate, and engineer Kate ‘ Babyshakes’ Dillon, the record is the result of what Cohen describes as the “ ceremony” of reflecting on a relationship. The album’ s raw, personal side could be traced back to its place of birth at Dillon’ s parents’ place in the country, ortothe Brisbane streets the songs were composed in. The songs are soaked in the kind of aching nostalgia that is tinged with equal measures of sadness and triumph. On“ I Don’ t Feel So Alive” , Cohen warns: “ This could be the last time we get together” , and on one hand it’ s melancholy, butit’ s in the spirit of endings that are also beginnings. After finishing the record, Cohen and Dillon hit the road down Australia’ s East Coast, from Brisbane to Melbourne, a truck full of instruments and gear following in their wake.

There are two sides to Cohen’ s coin though — for every moment of raw, cutting emotion, there’ s one of otherworldly ethereality. It’ s what makes the record feel timeless, which doesn’ t mean old-fashioned —it means that the vocoder on“ Feelin’ Fine” and the fuzzy, frenzied drums of“ Alien Anthem” don’ t feel at odds with the dreamy, ambling melodies and old-school ethos at the heart ofCohen’ s songwriting

Full Closure is a definitional labour of love: when Cohen talks about her collaborators she sounds like she’ s talking about her family —her bass player and backing singers, ring-ins that recorded after Cohen and Dillon finished upin the country, are “ dear friends” ; and Dillon is her “ sister” . The songs were written on Cohen’ s grandpa’ s nylon string guitar, and “ Piano Song” was recorded onDillon’ s parents’ old, out-of-tune upright, the same piano she learned onas a child.

Although the songs were recorded initially by two people, a sense of shared experience anden-masse emotion isat the forefront of Full Disclosure. Known to turn upto live shows with a choir intow, Cohen talks about her desire to use music to reach a “ heightened state of feeling” , one that itseems can only be achieved through the true sharing of emotions. The album’ s title is a mirror held upto both the relationship it details, and to the songs themselves: they feel confessional while remaining opaque, full of story-telling but never detail-heavy. Instead, the songs exist in a kind ofvacuum, personal to every listener, like a dream that’ s hard to recall after waking.

Cohen and Dillon recall their ten days recording the album with a kind of laissez-faire that seemingly belies the intensity that the endeavour required. They mention lengthy discussions about themes and structure, then add “ we were like, crying aswe said all this.” Dillon recalls the characters, complete with physical descriptions and complex backstories, that Cohen would ascribe her as she recorded backing vocals: “ You’ re French! You’ re a French Wench in the war!” While these characters helped Cohen to shape Dillon’ s singing to match her vision, Cohen remained herself —“ I wasn’ t a character. It was just me.”
Venue Information:
The State Room
638 South State Street
Salt Lake City, UT, 84111
http://www.thestateroomslc.com/