2017Colleen w/ Shane Parish, Falcon Mitts
NovemberDoors 8:30, Show 9:30 - $12adv / $14
From 2003 to 2007, she released three albums on The Leaf Label. While Everyone Alive Wants Answers (2003) was made up entirely of acoustic samples taken from her eclectic record collection, The Golden Morning Breaks (2005) saw her exploring a wide range of acoustic instruments which she all played herself.
In 2006 French radio station France Culture’s commission for a “radiophonic workshop” became the Colleen et les Boîtes à Musique EP, focusing on the sound world of music boxes. 2007’s Les Ondes Silencieuses fulfilled her dream of making a modern album using almost exclusively baroque instruments (viola da gamba, spinet, clarinet, classical guitar and crystal glasses).
After a break from recording and touring, Colleen returned with The Weighing of the Heart in May 2013 on Second Language, with a significant shift in approach, focusing on the voice and on a more colorful and rhythmic approach, still using a wide variety of instruments and introducing a modified treble viola da gamba.
Her fifth album Captain of None, released on Thrill Jockey in 2015, is the most melodic in her repertoire, with fast-paced tracks rooted by prominent bass lines and her instruments of choice, the treble viola da gamba and her voice. It features delicately crafted, other-worldly pop songs incorporating dub-inspired techniques.
She will release her 6th album this fall on Thrill Jockey, this time focusing on electronics and voice.
-NPR Music’s 50 Favorite Albums of the Year
-NPR Music’s Top 10 Electronic Albums of the Year
-Jon Caramanica (New York Times) Top 10 Albums of the Year
“Exquisite, precise music made of unlikely inputs ... The result is like a heart that pumps blood and also data.” –New York Times
“It is a wondrous concoction, simultaneously ancient and modern, brought together by technology and the ear of a woman who unites epochs.” –NPR
“French pop composer Cecile Schott sounds as if she’s whispering her dubbed-out lullabies from the bottom of the ocean.” –Washington Post
“But more important than what jumps out at you is what doesn’t: silence, delay and the hypnotic effect of repetition are as much instruments as the musical instruments themselves. Those are all qualities we usually associate with techno, and that’s where Schott really shines.” –Resident Advisor
“Captain of None is yet another absolutely stellar Colleen album.” –Brainwashed
“This newly arrived 2015 follow-up is the classic reaffirmer that galvanizes what precedes even as it quietly surpasses” –Tiny Mix Tapes
“If eclectic, Schott’s oeuvre is an inviting one, in particular most recently, and it’s readily clear she’s interested in a dialogue with as many open ears as can be reached. Through Captain of None it’s just as apparent that as Colleen she remains a thousand miles away from pandering for listenership.” –The Vinyl District
“More than any sort of technical achievement or genre alteration, Captain of None powerfully blends the mythic, organic, and
internal.” –Consequence of Sound
“In fact, there are times on Captain of None where the album’s architecture is so compelling it’s easy to miss the resonance of the songs themselves. But pieces like “I’m Kin” and the title track positively vibrate with melodic ideas, their lyrics filled with oblique little koans.” –Pitchfork
“There’s worlds of space in the song, yet it still teems with activity, like a window looking out onto a blizzard.” –Pitchfork
“Schott dares you to pay attention to the slightest movements in her alien world.” –Consequence of Sound
“The result is gorgeous, like a quietly brewing storm of layered pizzicatos, bouncing off the walls and grazing your ears as they glide past you.” –Stereogum
Here is a young man who, at age 26, has just played his first international jazz festival in Austria with his confrontational, no-holds-barred, avant-garde, instrumental rock band, Ahleuchatistas [AH-LOO-CHA-TEES-TAS]. It’s really just a punk band in this incarnation, almost like Fugazi meets Captain Beefheart. The crowd loves it and the world feels less lonely. Parish is on the cusp of wrapping up a university degree in philosophy, in which he becomes deeply immersed in the anarcho-musico-Buddhist ideas of composer John Cage. He has long dipped his toe in different styles of guitar playing, but has barely scratched the surface, really. Parish’s explorations are now led by an ethos of wide open curiosity and awareness. Jazz is an obsession and John Coltrane is a guiding light in any situation. There is a radio interview with Coltrane in the early 60’s, just before he goes on to record “A Love Supreme”, in which he talks about how he is currently trying to “deepen his roots” because he “skipped over a lot of stuff”. This conversation leaves a lasting impression.
Here is a family man who, at age 38, makes his living playing gigs and teaching lessons. Still very much the experimentalist, touring musician and collaborator, with over 20 albums in his discography, he has spent the past decade cultivating a more embodied approach to playing the guitar: how to pull out the most beautiful sound, or whatever desired effect, by following the breath and touching the string just so. Parish has taught himself classical guitar, as a practice like meditation or Yoga or Tai Chi. As a boy he thought the tape was warped and that was why Andres Segovia’s guitar sounded like flowing water. Now Parish knows that being completely in the moment is the real cause. He turns to the blues and folk music where a universal magic is being shared and passed down generations and permeating every other form of music. Elizabeth Cotten and John Hurt hypnotize and heal with a simple root-five bass line, like a pulse, in four-four time and fill up all the cracks with sparkling melody. Parish sings folk songs to his young daughter and, through her new ears, begins to truly appreciate the regional music of his adopted home in the Appalachian town of Asheville, North Carolina. One winter’s night, just before bed, he thinks, “I’ll write an arrangement of ‘The Cuckoo’ for solo guitar.” Instead, Parish records 45 minutes of music, twelve folk songs, in a trance-like effortless stream of free association. He goes to sleep. It’s as if someone else played it, and he listens to the recording in the coming days twenty or more times. He sends it to friends and labels. The music catches the ear of the great and famous composer and saxophonist, John Zorn, who lives up in New York City. Zorn asks Parish if he would like to record on better equipment, offering him a small budget, and tells him that he can record it whenever he feels ready.
Six months later a recording session in a cabin in the woods yields a 15-song album of original arrangements and improvisations of gospel, folk, blues, field hollers, Child ballads, Scottish traditionals, and Appalachian tunes. Undertaker Please Drive Slow.