Hamilton Leithauser – Tickets – The Casbah – San Diego – San Diego, CA – January 28th, 2017

Hamilton Leithauser

Casbah presents

Hamilton Leithauser

Alexandra Savior

Sat, January 28, 2017

Doors: 8:30 pm / Show: 8:30 pm

The Casbah - San Diego

San Diego, CA

$20.00

This event is 21 and over

Hamilton Leithauser
Hamilton Leithauser
I Had A Dream That You Were Mine is an album of songs Hamilton Leithauser and Rostam wrote and recorded together between July 2014 and February 2016. In the spirit of collaborative albums, not unlike those of David Byrne and Brian Eno, each musician’s individuality remains in tact, while in fact, on this record, both Hamilton’s identity as a singer and Rostam’s as a producer seem to reach new heights.

“This was a record I’d been wanting to make for at least a decade” Rostam says, “As a fan of Hamilton’s voice in the Walkmen I’d been wanting to capture it in ways it hadn’t been captured before—to make songs with him that placed the crooner right beside the howler, the screamer beside the whisperer—to try to leave no stone unturned in terms of how we should approach the delivery of a song. And also to try to push his voice outside of any musical context it had lived in before.” Says Leithauser, “Rostam’s one-man-band process is so fundamentally different from the way I’ve always written songs, and it’s very impressive. We had no idea what kind of music we were going to make—we actually didn't know we were working on an album at first—but unexpected things kept falling into place. We were writing and recording everything simultaneously—it was flat-out inspiring just to be there.”

Many of these songs seem to take place in a memory of New York’s past, or wading through the waist high waters in a half-submerged New York of the future. Yet what unites them is that they tell stories—I Had A Dream That You Were Mine is an album, a collection of songs yes, but also a collection of narratives. The Bride’s Dad faithfully recounts an unexpected (an probably uninvited) guest at a friend’s recent wedding; You Ain’t That Young Kid follows the wistful narrator through a night of lost love and transformed resolve.

From the doo-wop of When the Truth is… to the country pedal steel of The Morning Stars; from the piano and organ alchemy of the Band in A 1000 Times, to the Leonard Cohen-esque Spanish triplets of In a Black Out; the album harnesses the exploding musical styles of midcentury America—which, when melded with the warbled 1980’s analogue synthesizers of You Ain’t That Young Kid, the ultramodern sub bass of Sick as a Dog, the intimate falsetto of 1959, and the raucous bar-room chorus of Rough Going—sparks an entirely unexpected and innovative style.
Alexandra Savior
With a voice that channels the ghosts of smoky fifties jazz haunts, lucid and literary lyricism worthy of J.D. Salinger, and wondrous youth-in-revolt abandon, Alexandra Savior will tell you she makes, "Sassy impolite spaghetti western music."

That's certainly an apropos hint of what's to come from her in 2016. The twists and turns that led to her proper introduction prove just as intriguing as the music itself does.

The journey starts outside of Portland, OR in Vancouver, WA. Alexandra's mother was diagnosed with cervical cancer during pregnancy, but mom and daughter miraculously survived. "Apparently, my baby body blocked the cancer," she says. "That's why my father named me Savior."

Escaping from high school bullying, she collected vinyl by The Velvet Underground & Nico, Nina Simone, Billie Holliday, and more, quietly honing her voice along the way. Upon graduating, she found herself across the pond writing music in England. Some of those early demos made their way into the hands of Columbia Records who offered the budding songstress a deal. Inspired by his work on the Submarine Soundtrack, she wanted to play her tunes for Alex Turner of Arctic Monkeys. Ten minutes into their first meeting, the duo began writing and fashioning an inimitable sound.

That sound lightly reared its head into pop culture throughout 2015 as her song "Risk" figured prominently in HBO's True Detective, while the likes of NME extolled her debut performances in New York and Los Angeles, clamoring to hear and know more. Alexandra decided to let the music do the talking, envisioning characters who mirrored the wonderfully vapid Los Angeles landscape around her as she recorded in the "haunted" VOX Studios.

"I stay a bit stoic with my personal emotions," she admits. "I portrayed things I was going through, but I didn't say them out loud. When I first moved to L.A., I was observing a world I'd only heard about -- but it was true. I felt like I had to figure out who I was in a year, and I wrote about that struggle. I created a fantasy."

"Shades" introduces her with a shaky tambourine, rustling guitar hum, buzzing synths, and her croon, "I kinda wish that it was New Year's Day on a vacant street. I cast a long ass shadow when you're looking for your shade."

"It's about knowing you're doing something you're not supposed to be and reveling in it," she smiles.

This enigmatic world remains informed by influences as diverse as seventies horror -- Don't Look Now and The Brood are personal favs -- artists like Karen Dalton, Sharon Von Etten, Adriana Younge, and Les Baxter, and her vivid dreams. Her space encompasses visual arts as she directs music videos and constantly paints and draws.

For Alexandra Savior, it all boils down to one pervasive theme that people can take away. "Vengeance," she exclaims. "There's a lot of sadness and love in my music. There's also a big Fuck You in there too."
Venue Information:
The Casbah - San Diego
2501 Kettner Blvd.
San Diego, CA, 92101
http://www.casbahmusic.com