Cate Le Bon — Reward (May 24th 2019)Δ Byla na společném turné s St. Vincent, Perfume Genius a John Grantem. V roce 2018 podpořila John Calea na pódiu v The Barbican s London Contemporary Orchestra.
Δ „Je to opravdu vzácné, když lidé už mají specifický sound, ale vždycky můžu říct, kdy je to její kytarová hra. Kdykoliv se snažím zjistit její kytarové figury, jsou mnohem tvrdší, než samotný sound.“ (Jeff Tweedy, Wilco)
Birth name: Cate Timothy
Born: 4 March 1983, Penboyr, Carmarthenshire, Wales
Location: Los Angeles, California
Album release: May 24th 2019
Record Label: Mexican Summer
02 Daylight Matters 4:18
03 Home To You
04 Mother’s Mother’s Magazines
05 Here It Comes Again
06 Sad Nudes
07 The Light
08 Magnificent Gestures
09 You Don’t Love Me
10 Meet The Man
℗© 2019 Kemado Records, Inc., d/b/a Mexican Summer
Δ It was on a mountainside in Cumbria that the first whispers of Cate Le Bon’s fifth studio album poked their buds above the earth. “There’s a strange romanticism to going a little bit crazy and playing the piano to yourself and singing into the night,” she says, recounting the year living solitarily in the Lake District which gave way to Reward. By day, ever the polymath, Le Bon painstakingly learnt to make solid wood tables, stools and chairs from scratch; by night she looked to a second~hand Meers — the first piano she had ever owned — for company, “windows closed to absolutely everyone”, and accidentally poured her heart out. The result is an album every bit as stylistically varied, surrealistically~inclined and tactile as those in the enduring outsider’s back catalogue, but one that is also intensely introspective and profound; her most personal to date.
Δ Over this extended period a cast of trusted and loved musicians joined Le Bon, Khouja and fellow co~producer Josiah Steinbrick — Stella Mozgawa (of Warpaint) on drums and percussion; Stephen Black (aka Sweet Baboo) on bass and saxophone and longtime collaborators Huw Evans (aka H. Hawkline) and Josh Klinghoffer on guitars — and were added to the album, “one by one, one on one”.
Δ Be it on her more minimalist, acoustic~leaning 2009 debut album Me Oh My or critically acclaimed, liquid~riffed 2013 LP Mug Museum as well as 2016s Crab Day, Cate LeBon’s solo work — and indeed also her production work, such as that carried out on recent Deerhunter album Why Hasn’t Everything Already Disappeared? (4AD, January 2019) — has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster.
Δ Me Oh My (Irony Bored, 2009)
Δ Cyrk (The Control Group, 2012)
Δ Mug Museum (Turnstile / Wichita, 2013)
Δ Crab Day (Turnstile / Drag City, 2016)
Δ Reward (May 24th 2019)
Δ Edrych yn Llygaid Ceffyl Benthyg (Peski Records, 2008)
Δ Cyrk II (Turnstile, 2012)
Δ Rock Pool (Drag City, 2017)
Posted by Bryan Parker on January 31, 2014
• Cate Le Bon’s music fills me with an excited restlessness~perhaps because the ears process it as initially off kilter, slightly foreign but the heart and brain process it as brilliant, perfect, and definitively cool a split second later. The gap between these two moments causes any reasonable idea to fall out of my brain, and I simply want to shout, “This is freaking amazing!” I don’t think I’m alone. As I talked with Kevin Morby (who’s currently on tour opening for Le Bon) after the set he agreed with me emphatically. “Oh yeah, psh” he said almost scoffing, with that inflection that connotes a futility of being able to accurately express a thought. “She’s just amazing she’s…” he trailed off, shaking his head.
• Mohawk’s indoor room was packed on a mid~week night, and fans weren’t just hanging around nervously in the back of the room. Concertgoers had been hanging near the front of the stage all night waiting for Le Bon’s set, good~naturedly jockeying for position. Le Bon’s songs sounded as incredible live as they do on her most recent effort Mug Museum, balancing between technical precision and a loose grittiness. The songstress is an excellent guitar player; her fingers wander the fretboard casually, effortlessly, but with perfect timing and accuracy. Le Bon performed songs from her most recent full length as well as her last EP Cyrk 2, including standout tracks “Are You With Me Now,” “I Can’t Help You,” and “What is Worse.” Walking to my car after the show, I realized I hadn’t been this energized by a show in some time. If you get the chance to see Le Bon, take it.
• Kevin Morby of The Babies and Woods opened for Le Bon with a set of his edgy pop. His first solo album Harlem River abandons some of the truly gritty sensibilities of recent work by The Babies, instead focusing on austere melody and sparse song construction. Like Le Bon, Morby had his share of dedicated fans, including a few who stood center stage and sung along to almost every song. Morby delivered notable tracks like “Miles, Miles, Miles” and “Harlem River,” the title track from his newest LP. I’m a fan of all things Kevin Morby and couldn’t have been more thrilled to have him as support.
• Austin~based act Love Inks opened the night with a set of their minimalistic dream pop. The band released their 2nd LP Generation Club to positive reviews last year and has continued to play solid bills in Austin. Frontwoman Sherry LeBlanc conveyed to me her affinity for Cate Le Bon before Love Inks’ set, and her excitement was visible onstage. LeBlanc’s disposition seemed more jovial than usual as she danced through her band’s pop songs included crowd favorite “Black Eye,” the somber “Magazine Street,” and their cover of the David Essex/Michael Damian song “Rock On,” which they undertake to great effect.
• Ultimately, the bill proved to feature three diverse acts that still worked well together. If you ventured out on this mid~week night, you were duly rewarded.