April 18, 2018 | doors at 8:30pm
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The Bowery and Zero Mile present:
Hand Habits
  • $15
  • $15
Kevin Morby
City Music is an airplane descending over frozen lakes into Chicago. City Music is riding the Q Train
out to Coney Island to smell the ocean and a morning in Philadelphia where greats cranes
reconfigure the buildings like an endless puzzle. City Music is a quiet afternoon moment on a bench
in Baltimore, a highway in Seattle at night where the distant houses look like tiny flames and a
bottle of red wine being drained on a bridge in Paris. City Music is a bus pulling into St. Louis at
dawn where the arch looks like a metal rainbow reflecting the days early sunlight....
City Music is also the new album by Kevin Morby. Full of listless wanderlust, it’s a collection inspired
by and devoted to the metropolitan experience across America and beyond by a songwriter cast
from his own mould. As he puts it: “It is a mix-tape, a fever dream, a love letter dedicated to those
cities that I cannot get rid of, to those cities that are all inside of me.”
His fourth album, City Music works as a counterpart to Morby’s acclaimed 2016 release Singing Saw, an
autobiographical set that reflected the solitude and landscape in which it was recorded. It was imagined as
“an old bookshelf with a young Bob and Joni staring back at me, blank and timeless. They live here, in this
left side of my brain, smoking cigarettes and playing acoustic guitars while lying on an unmade bed.”
And now follows City Music, the yang to its yin, the heads to its tails. It is an collection crafted using the
other side of its creator’s brain, the jumping off point perhaps best once again encapsulated by an image.
“Here, Lou Reed and Patti Smith stare out at the listener,” explains Morby. “Stretched out on a living room
floor they are somewhere in mid-70s Manhattan, also smoking cigarettes.” It finds Morby exploring similar
themes of solitude, but this time framed by a window of an uptown apartment that looks down upon an
international urban landscape “exposed like a giant bleeding wound.”
Morby rose to prominence as bassist in Woods, with who he recorded seven albums on Woodsist Records
(Kurt Vile, The Oh Sees, Real Estate) while also forming The Babies with Cassie Ramone of Vivian Girls. Two
albums and a clutch of classic singles with the latter followed. Morby’s 2013 debut solo work Harlem River
was a homage to New York and featured contributions from artists including Cate Le Bon and Tim Presley
(of White Fence), while 2014’s Still Life garnered universal critical praise. “It’s easy to picture Morby with a
wineskin under his arm,” noted a Pitchfork review. “His every worldly possession hitched to his back, an
eye constantly fixed on some faraway point on the horizon.”
Recording at Panoramic Studios, a central Californian home-turned-recording studio, City Music saw
Morby joined once again by former The Babies cohorts Megan Duffy (guitar) and Justin Sullivan (drums).
Here the vocals were at recorded night, in darkness, overlooking a Pacific Ocean illuminated only by the
stars, the wash and whisper of the ebbing tidal a distant soundtrack. Six weeks of European touring had left
the trio speaking a secret language that only a band can speak. “The language of a musical family,” explains
Morby. “There was an outdoor shower with no curtain and deer ran through the front yard during the
meals we cooked for each other...” The record was completed with Richard Swift in Oregon (producer of
Foxygen, sometime member of The Black Keys).
From the widescreen opening of ‘Come To Me Now’ through the bubblegum stomp of the Ramoneseulogising
‘1-2-3-4’ (which also references late poet Jim Carroll’s litany of friends lost, ‘People Who Died’),
a stripped-back and wistful cover of ‘Caught In My Eye’ by nihilistic LA punk wrecking crew Germs and on
to Leonard Cohen-evoking closer ‘Downtown’s Lights’, City Music reads like a selection of musical
postcards composed and posted in the moment. It is a forensic and poetic examination of a modern
America in love with the myth of itself.
At the big beating heart of these songs is the voice and conscience of the city. All cities. We see
them viewed from differing angles; from down in the gutter, and drifting up into the celestial
firmament. “I am walking through a Chinatown in a major American city and now I am a guitar part
taking place in my head,” offers Morby by a way of a commentary for the album’s inception. “It falls
around me like rain, dancing with the neon lights coming off of the signs of the restaurants and
bars. Now I am a lamp full of hot air floating away, looking down. The city is beautiful like one
million candles with different sized flames, moving in their own directions. A line finds me and
grabbing it I hold on tight. I sing to myself, ‘Oh, that city music, oh that city sound...’”
Here the album gives voice to the all those cities speaking the same universal language of chaos and
commerce and culture. It views the city as an Oz-like experience, with your host cast as Dorothy, the
Scarecrow, the Tin Man and the Cowardly Lion, a narrator by turns innocent, awestruck, fearful and
fearless. Where a world once black and white is now rainbow coloured. “I am a city and I have many
moods,” it says via its human conduit. “I am dangerous and I am gorgeous. Like a proud forest made of
metal and brick I am constantly changing shape, growing bigger and smaller all at the same time. I hold you
but you do not hold me....”
City Music. Let it hold you.
Ben Myers.
March 2017.
Hand Habits
Meg Duffy hasn’t stopped moving, working, or growing since she left her quiet childhood home in
upstate New York. You can find her in the back of the van reading a book, quietly warming up backstage
with some guitar workouts, or waiting tables at a neighborhood pizzeria. Though Meg didn’t pick up the
instrument until she was seventeen years old, her intuitive, naturalistic musicality and commitment to
the craft of guitar playing have made an in demand collaborator and guitarist for countless indie acts
(Kevin Morby, Mega Bog, Weyes Blood) and kept her between the road and the studio for almost three
straight years. Like much of the richest art, Meg’s LP debut Wildy Idle (Humble Before the Void)
(Woodsist 2017) ​is many things at once. The record is a collection of songs written amidst the constant
motion of touring, recording, and working part-time jobs; recorded at home in North East LA between
other commitments, around the sounds of roommates cooking breakfast, and dogs pattering though an
old craftsman house. Layered with Duffy’s signature extended guitar techniques, poems read by friends,
and musical contributions from contemporaries like Keven Lareau (Quilt), Avi Buffalo, Sheridan Riley,
and others, the album combines striking visual storytelling and compelling melody with a deceptively
light touch. Drawing on diverse influences ranging from novelist Iris Murdoch to Phil Elverum’s seminal
work under his Microphones moniker, this album is more than the sum of its parts. Like a folded paper
fortune teller, each listen reveals a new, hidden truth about living, working, and falling in and out of love
buried in the quietly beating heart of the record. Dark, pulsing tracks like the intoxicating “Bad Boy” sit
comfortably beside sunny strummers like “All The While” with its bouncing bass line and beguiling lyrics.
The thread that runs through all these songs is Duffy’s voice, in turns languid and sweet, and always
telling a story. Mixed and mastered by contemporary electronic music maestro M. Geddes Gengras, the
result is an LP as hypnotic as Hand Habit’s impossibly immersive live set, and filled with the same
engaging blend of wild improvisation and perfect restraint. Expansive, atmospheric arrangements
punctuated with intricate melodic details. This record is indoor music at its finest: listen in the morning,
in bed with your partner, in the kitchen while you make coffee, at night when you read on the porch.