2018**CANCELLED** PLEASE READ BELOW! Chastity Belt w/ Lala Lala, Aunt Sis
AprilDoors 8:30, Show 9:30 - $12adv / $14
URGENT :( PLEASE READ ALL:
We JUST heard Chastity Belt has to cancel the rest of their tour. Here is there official statement...
“We’re really sad to say this, but we’re cancelling the rest of our US tour dates due to health concerns. We appreciate so much the support we’ve felt so far. Thanks to everyone who have bought tickets in advance. Sorry we’re not making it to you this time, but we’ll be back as soon as we can!”
REGARDING TICKETS BOUGHT IN ADVANCE:
We have been in touch with Ticketfly who handles our online ticketing. Those of you who have bought tickets online for this show will receive a confirmation email immediately relaying that the show is cancelled and you will be receiving a full refund for the tickets purchased within 4 to 5 business days.
If you bought your tickets for the show, cash in advance, at either The Mothlight or Harvest Records please bring by your ticket to The Mothlight (not Harvest!) for a full cash refund. You have to bring your ticket in order to receive the refund.
**SO WHAT'S HAPPENING TONIGHT THEN?**
We are making it a FREE Show with local heroes Aunt Sis! We are still waiting word for Lala Lala and working to add another Local Artist to the bill
We are really bummed to cancel a show! Those who have been coming to The Mothlight for the past few years know it's very rare to cancel a show here, and out of our hands when it happens.
Please be in touch with any questions and concerns and we'll do our best to work them out.
A few years ago, while in a tour van somewhere in Idaho, the members of Chastity Belt—Julia Shapiro, Gretchen Grimm, Lydia Lund, and Annie Truscott—opted to pass the time in a relatively unusual fashion: They collectively paid one another compliments, in great and thoughtful detail. This is what we like best about you, this is why we love you.
I think of that image all the time, the four of them opening themselves up like that, by choice. It’s hard to imagine other bands doing the same. But beyond their troublesome social media presence—see: the abundance of weapons-grade duck face, the rolling suitcase art—and beyond the moonlit deadpan of say, “IDC,” lies, at the very least, an honesty and an intimacy and an emotional brilliance that galvanizes everything they do together. Which is a fancy way of saying: They’re funny, but they’re also capable of being vulnerable. “Giant Vagina” and “Pussy Weed Beer,” two highlights from their aptly titled 2013 debut, No Regerts, were immediately preceded by a sublime yet easily overlooked cut named “Happiness.” I saw a younger, still unsettling version of myself all across 2015’s Time to Go Home.
This June marks the release of I Used to Spend So Much Time Alone, their third and finest full-length to date. Recorded live in July of 2016, with producer Matthew Simms (Wire) at Jackpot! in Portland, Oregon (birthplace of some of their favorite Elliott Smith records), it’s a dark and uncommonly beautiful set of moody post-punk that finds the Seattle outfit’s feelings in full view, unobscured by humor. There is no irony in its title: Before she had Chastity Belt, and the close relationships that she does now, Shapiro considered herself a career loner. That’s no small gesture. I can make as much sense of this music as I can my 20s: This is a brave and often exhilarating tangle of mixed feelings and haunting melodies that connects dizzying anguish (“This Time of Night”) to shimmering insight (“Different Now”) to gauzy ambiguity (“Stuck,” written and sung by Grimm). It’s a serious record but not a serious departure, defined best, perhaps, by a line that Shapiro shares early on its staggering title track: “I wanna be sincere.”
When asked, their only request was that what you’re reading right now be brief, honest, free of hyperbole, and “v chill.” When pressed for more, Truscott said, “Just say that we love each other. Because we do.”
This is who they are, this is why I love them.
—David Bevan, February 2017
“They’re funny, and slightly goofy, and gently vulgar, and they play with an appealingly loose, relaxed confidence.” – Pitchfork
“In between pelvic-thrusting sexual innuendo and self-mockery, Chastity Belt filter feminist theory, cultural commentary and general intellectual bad-assery…Chastity Belt isn’t the band 2013 wants—it’s the band 2013 needs.” – CMJ
“The guitars on this record…have a nice ring to them, like Liz Phair’s recordings.” – NPR
If you listen to to Aunt Sis’ 2016 album These People on Sorry Records, you’ll hear entrancing, revolving riffs built on kind of that circular neo-American Primitive finger-picking style, which is the core that drives many of their songs. It’s not something they hit you over the head with as it’s sublimated within the context of an indie pop quartet, but it’s there and it’s what differentiates Aunt Sis from others, giving them a swell flow. Neither do they attempt to dose you with capital P psychedelia, but there’s a definite undefined element of transcendence floating about Aunt Sis songs.
Aunt Sis can also change it up and strip it down to bare bones plaints which can take you in and out of your late night mind.
Regardless, chances are, if you see Aunt Sis in concert, you’ll end up dancing mostly, and maybe welling up inside occasionally, even if you weren’t planning on it.