Mimicking Birds w/ T. Hardy Morris & Opus Vitae

Mimicking Birds w/ T. Hardy Morris & Opus Vitae

Tue · September 25, 2018

7:30 pm

$12.00 - $14.00

This event is 21 and over

Mimicking Birds
Mimicking Birds
Mimicking Birds’ singer/songwriter Nate Lacy is broadening his horizons. And then shrinking them back down to microscopic levels.

With the band’s immersive and textural new album Layers of Us (due out Jan 2018 via Glacial Pace), Lacy takes us on an epic journey that examines both “the infinite and the infinitesimal” with equal amounts of wonder.

Layers of Us is Mimicking Birds’ third full-length album with producer Jeremy Sherrer (Modest Mouse, Dandy Warhols, The Shins). Recorded at Isaac Brock’s Ice Cream Party Studios, it’s easily their most ambitious work to date. If their self-titled 2010 debut established the band as fearlessly honest, and 2014’s Eons demonstrated added depth and experimentation, then Layers of Us represents the maturity that comes with touring extensively and continuing to expand their sound.

Lacy: “This album was shaped by our travels as a band. And just as much rhythmically and melodically as lyrically. On tour, time seems to stand still—in the songs we play again and again, in the geography we speed past.”

“As a whole we continue to advance and broaden the parameters of our senses.”
Layers of Us explores daunting topics like life, death, and eternity with a gentle touch. Lacy tenderly serenades us though this epic 10-song expedition that presents the full prismatic array of musical color.

“Energy, creation/destruction, geography, weather, and micro/macro processes are constantly recurring ideas, along with the notion of linear time vs multiple dimensions. This is relatable to how the structure of a multi-tracked, overdubbed song is interpreted. There are many different layers of time aligned into the same moment.”

“Sunlight Daze started out as a tiny two-bar loop created on a phone. I always felt as though the progression and melody had a sun-stoned, traveling feel to it. Lyrically I wanted to further approach the sunny vibe a bit more scientifically by extending that idea further out into the electromagnetic spectrum.”

The introduction of more synth sounds into the band’s arrangements was inspired by their time spent at Ice Cream Party.

Adam: “We started adding modular synths for Eons. But access to a variety of keyboards at Ice Cream Party helped to evolve the sound for this album.”
T. Hardy Morris
T. Hardy Morris
Fresh outta high school, T. Hardy Morris caught his first show at the historic Georgia Theater in Athens. Up on stage, the late Vic Chesnutt (backed by members of Widespread Panic) played a benefit concert in the memory of Lee Lawrence, a locally renowned sound engineer from Morris’s hometown who had died in a tragic tour van crash.

The sonic energy and raw emotion that night solidified in Morris the same call to adventure that had launched other Athens-born bands (R.E.M, B-52's, The Drive-By Truckers, The Elephant 6 Collective, and more) and put the artsy college town on the map.

“A lot of southern artists who might not feel quite right in their hometowns migrate to Athens. Drawn here by the sound of a weird Southern heart, I guess,” Morris said. “I knew I had to live there.”

At its heart, Morris’ third solo-record, “Dude, The Obscure,” released via the New West Records imprint Normaltown Records, captures the Athens songwriter contemplating the paradox of everyday life. In captivating songs, Morris sheds the traps of ambition and nostalgia and uncovers the strange satisfaction of living in the moment.

Morris beautifully warns us not to succumb to the fear of missing out that stands in the way of contentment on the album’s defining moment, “Cheating Life, Living Death.” Every dream is an invitation/ To leave your love up on the shelf/ When you walk out every evening/ Cheating life and living death.

On Dude, The Obscure, Morris deftly side-steps the nostalgic, storytelling perspective in his adored solo-debut, Audition Tapes, a collection of songs inspired by defining moments growing up on the edge as America’s modern opioid epidemic struck the rural South.

Audition Tapes started as a handful of “back-pocket songs” Morris wrote while touring with Dead Confederate, the psychedelic southern rock project conceived with friends he grew up with in Augusta, Georgia.

Dead Confederate’s first single, “The Rat” anchored their debut record and introduced Morris to life on the road. They played 200-plus shows a year, opened for R.E.M., toured Europe with Dinosaur Jr. and made their national television debut on “Late Night with Conan O’Brien.”

“We did everything, played the big festivals, toured half the world, but after our original drummer left the band, it kind of changed,” Morris said. “We still consider ourselves a band, somewhat, but we just needed to slow down after a while.”

Out on tour, Morris met Deer Tick’s John McCauley, a kindred creative spirit who invited him to join an impromptu Nashville jam session where, somehow, the indie-rock supergroup Diamond Rugs was born.

“I didn’t know most of the guys. We just hung out and recorded whatever song came up. We didn’t have a name, and weren’t even a band until the first album was almost done,” Morris said. “It was the purest way to start a band or make a record.”

Diamond Rugs — Morris, McCauley, Bryan Dufresne (Six Finger Satellite), Robbie Crowell (Deer Tick), Ian Saint Pe (Black Lips) and Steve Berlin (Los Lobos)— produced two records at the converted garage studio tucked in indie-rock producer Adam Landry’s overgrown backyard.

“Adam works like a maniac, gets invested in every song and doesn’t let anything slide until we feel good about it,” Morris said. “Right away, I knew I wanted to make records there with him.”

Since then, Landry and his partner Justin Collins produced and engineered Morris’ first two solo records, including Drownin’ On A Mountaintop, a loud country-grunge affair recorded in a mad rush before his first child was born. Landry agreed, and his along-for-the-ride vibe, and so many for-the-sake-of-the-song moments cemented their personal and professional connection.

“My first impression of Hardy? Musically, this guy is out there, like, Jimi Hendrix meets the Sex Pistols,” Landry said. “And personally, we value the same things outside of music. That’s the stuff that makes creative partnerships last.”

Morris made the familiar pilgrimage to Landry’s studio to record Dude, The Obscure in a series of almost secretive recording sessions that were different from the others thanks to his journey.

Even the album title, Dude, The Obscure, hints at the songwriter’s self-discovery. In the homage to English author Thomas Hardy’s novel, Jude, The Obscure, Morris reveals his deep love for literature, philosophy and poetry — along with a secret about his stage name.

“Thomas Hardy is my given name, and 'Dude, The Obscure' is a moniker I considered using as an artist,” Morris said. “The hat tip to the novel seemed appropriate for the album because it deals with doubts, joys, regrets and spirituality, a lifelong journey and such. Thankfully, my life hasn’t endured even a fraction of the tragedy the novel holds, but life is certainly complicated and unique, an individual experience for everyone, no matter how obscure.”

Morris and Landry took their time in the studio and gave each song the opportunity to grow unaffected by outside influence except the magic that happens when two friends lock themselves in a smoky shed to make music, and a few pals stop by.

“We tried to stay present in the recording process. We weren’t concerned with genre or style to take songs in any direction other than where they seemed to take us. If it was creepy, we followed the creepy,” Morris said.

“The record has a darkness but it’s held in harmony with a light that acknowledges the other side of our personalities. It’s not as important to drive out the shadows as it is to acknowledge their existence and keep them where they belong.”

In a lot of ways, Dude, The Obscure flows from a conflicting creative space Morris found at the intersection of dreams and reality. Each song on the album seems compelled by Morris’ desire to help himself— and others— conquer the void of
everyday meaninglessness. It’s an effort philosopher Maurice Blanchot described as the anguish of writing: “You have to cross an abyss, and if you do not jump, you do not comprehend.”

Morris takes that leap to find universal truth by navigating sometimes opposing perspectives within moments that change lives. On “Homemade Bliss,” Morris’s haunting vibrato (backed up by McCauley) perfectly frames a fatalist view on our uncertain future with poetic precision: “Wherever it is that
you are standing/ That is the center of the earth / Wherever it is that we are going / We have been going there since birth.”

“NY” is the familiar story of how the big city, for better or worse, changes people who search for better lives in different ZIP Codes only to discover you “Can’t fight the everyday / No matter where you are.”

“The Night Everything Changed” (featuring Vanessa Carlton) examines the dramatic cumulative effect of nights of debauchery from the perspective of a man confronted by
the consequences. “Chaos, brought on the spot / Got what we needed / Wanted it or not.”

Lyrically, Morris doubles down on the theme of living through the aftermath of one’s choices on, “When The Record Skips”: Where will you hide when I cave in / When the party is over, and the record skips.”

With Dude, The Obscure, T. Hardy Morris has stepped into the sun and shed himself of the genre-bending labels critics used to define his earlier works. Within 11 powerful songs, the Athens rocker reveals scars and shares lessons from an indie-rock odyssey that has taken him around the world and back home to find himself a little older and closer to something like enlightenment.

And just in time for a new journey to begin.
Opus Vitae
Opus Vitae
Opus Vitae (meaning life’s work) is the solo project of multi-instrumentalist / singer Banah Winn. Inspired by Kevin Parker (Tame Impala) Winn takes the same approach of composing, and recording solo. His latest effort, a 14 song collection called “Gramercy” is a real time autobiography of a year. A fluid narrative in which each song seeks to capture the emotion or feeling of a moment in time.

Erupting after a year of depression, the record takes on a bare-all flavor where a range of themes are explored, like: dealing with mentally ill people who have power over you, sex as a way to avoid the pain of life, melancholy / nostalgia for a broken childhood, falling in love while being completely heartbroken at the same time, anger towards men from a female perspective / in conjunction with his own “me too” moment, and a wake the fuck up we’re destroying the world plea.

Winn, who grew up in Portland, Oregon as the son of hippie parents, struggled to find his own voice after the generation of rebellion and excess. In Gramercy, his decision to tackle his own truth unapologetically exposes his focus and range. As a troubled, broken and lost individual he finds his place in acceptance of just that. Where empathy for those marginalized and the thoughtless consumption of the world is reflected with anger and the knowledge that there are some pains a white man can only imagine or speak to.

Winn who now lives in Los Angeles recognizes the insanity of the city, and the world at large. Where he keeps himself clinging to reality and stability by facing such themes in his songwriting, doing yoga every single day, and blabbering about it to anyone who will listen, or is just nice enough not to slowly back away.
Venue Information:
Moroccan Lounge
901 E 1st St
Los Angeles, CA, 90012