Waxahatchee‘s last album, 2013’s Cerulean Salt was on everyone’s year end lists. Last week she released her new album Ivy Tripp to critical acclaim via Merge Records. Now is your chance to win a pair of tickets to see her Monday night 4/13 at The Drunken Unicorn in Atlanta.
Thanks to Tight Bros Network and OK Productions all you have to do is go to your Instagram and regram the picture below. Be sure to tag @OpenEars_Music, @tightbrosatl, @okproductions and hashtag #openears for your chance to win. Winner of the pair of tickets selected tomorrow morning at 10:30 AM.
If things keep progressing for Waxahatchee, this may be one of your last chances to see her in a small venue like this. Can’t risk waiting on the giveaway? Buy tickets here. This will sellout.
— “Waxahatchee, the solo musical project of Katie Crutchfield, is named after a creek not far from her childhood home in Alabama and seems to represent both where she came from and where she’s going. Ivy Tripp drifts confidently from its predecessors and brings forth a more informed and powerful recognition of where Crutchfield has currently found herself. The lament and grieving for her youth seem to have been replaced with control and sheer self-honesty. “My life has changed a lot in the last two years, and it’s been hard for me to process my feelings other than by writing songs,” says Crutchfield. “I think a running theme [of Ivy Tripp]is steadying yourself on shaky ground and reminding yourself that you have control in situations that seem overwhelming, or just being cognizant in moments of deep confusion or sadness, and learning to really feel emotions and to grow from that.”
Recorded and engineered by Kyle Gilbride of Wherever Audio at Crutchfield’s home on New York’s Long Island–with drums recorded in the gym of a local elementary school–Ivy Tripp presents a more developed and aged version of Waxahatchee. “The title Ivy Tripp is really just a term I made up for directionless-ness, specifically of the 20-something, 30-something, 40-something of today, lacking regard for the complaisant life path of our parents and grandparents. I have thought of it like this: Cerulean Salt is a solid and Ivy Tripp is a gas.””
— The Goodbye Party: After spending five years leading DC/Philly-based power-pop band The Ambulars, Michael Cantor needed an outlet for his other songs: the bedroom recordings – noisy lo-fi experiments, meandering somber songs with auxiliary instrumentation (bowed guitar, lap steel guitar, tape collages) all recorded by Cantor in isolation.
He relocated to Philadelphia and started releasing home-recordings as The Goodbye Party. This solo project he would later fully flesh out to create his first full length album under that project, Silver Blues. A true labor of love, Cantor recorded most of the album himself, aided by drummer Joey Doubek (Pinkwash). Learning about recording and production as he went, he spent the better part of a year closed up in a makeshift studio, augmenting his album with cassette and analog 4-track recordings.
The result is an album that exists within its own universe, one that weaves in and out of itself, floats and sinks, held together by its own internal logic. Silver Blues is full of lush orchestral strings, built on top of degrading cassettes and feedback and ecstatic power-pop anthems that bleed out into vocal dirges.
— Fake Flowers plays lush, propulsive pop songs, combining elements of shoegaze, post-punk, surf, and psychedelia. With guitars both fuzzy and jangly, a grooving rhythm section, and layers of dreamy vocal harmonies, the band could easily fall into late 80’s/early 90’s college-radio rotation, but emphatically and refreshingly retools the styles of its forebears.