Chastity Belt

Resident Feminist Fridays Presents

Chastity Belt

Summer Cannibals, Lisa Prank, Mint Field

Fri · March 10, 2017

8:00 pm

$13.00 - $15.00

This event is 21 and over

Advance tickets are sold out. A limited quantity will be released at the door on a first come, first served basis to adjust for no-shows.

Chastity Belt
Chastity Belt
Chastity Belt is a rock band consisting of four friends - guitarists Julia Shapiro and Lydia Lund, bassist Annie Truscott, and drummer Gretchen Grimm. They met in a tiny college town in Eastern Washington, but their story begins for real in Seattle, that celebrated home of Macklemore and the Twelfth Man. Following a post-grad summer apart, a handful of shows and enthusiastic responses from the city’s DIY community led them, as it has countless others, into a cramped practice space. They emerged with a debut album, No Regerts, sold it out faster than anyone involved thought possible, and toured America, a country that embraced them with open-ish arms. Now they’re back and the tab is settled, the lights are out, the birds are making noise even though the sun isn’t really up yet: it’s Time to Go Home, their second long-player and first for Hardly Art.
In the outside world, they realized something crucial: they didn’t have to play party songs now that their audience didn’t consist exclusively of inebriated 18-22 year olds, as it did in that college town. Though still built on a foundation of post-post-punk energy, jagged rhythms, and instrumental moves that couldn’t be anyone else’s, the songs they grew into in the months that followed are equal parts street-level takedown and gray-skied melancholy. They embody the sensation of being caught in the center of a moment while floating directly above it; Shapiro’s world spins around her on “On The Floor,” grounded by Grimm and Truscott’s most commanding playing committed to tape. They pay tribute to writer Sheila Heti on “Drone” and John Carpenter with “The Thing,” and deliver a parallel-universe stoner anthem influenced by Electrelane with “Joke.”
Recorded by José Díaz Rohena at the Unknown, a deconsecrated church and former sail factory in Anacortes, and mixed with a cathedral’s worth of reverb by Matthew Simms (guitarist for legendary British post-punks and one-time tourmates Wire), Time to Go Home sees Chastity Belt take the nights out and bad parties of their past to their stretching points, watch the world around them break apart in anticipatory haze, and rebuild it in their own image with stunning clarity before anyone gets hungover.
Summer Cannibals
Summer Cannibals
Led by guitarist/vocalist Jessica Boudreaux, the Cannibals initially cut their teeth on the local circuit, sharing the stage and receiving encouragement from peers such as The Thermals. Along the way, they released a pair of fantastic full­ lengths ­­ 2013’s No Makeup and 2015’s Show Us Your Mind — on their own label, New Moss Records. Show Us Your Mind was recorded by legendary NW engineer Larry Crane and was recently named one of the best of 2015 by Sound Opinions co­host Jim DeRogatis. The band has since spent an unhealthy amount of time on the road, earning accolades and adding plenty of fresh converts to their highly­charged, no frills attack.

It seems only logical that when the band decided to sign to a label, they chose a label like Kill Rock Stars, which has a long history of putting out fearless, female­led bands like Bikini Kill and Sleater­Kinney. “Summer Cannibals take us back to our roots,” says KRS President Portia Sabin. “Jessica is a great songwriter and the band is super exciting live, it’s a perfect fit.”

The new album Full Of It is the band’s defining statement to date. Recorded at the amazing analog recording studio The Dock with producer Chris Woodhouse (Thee Oh Sees, Wild Flag), the LP is one of those massive leaps forward that every band hopes to achieve at least once in their career. Aided by a new powerhouse rhythm section of drummer Devon Shirley and bassist Jenny Logan, the 11 songs spark with that perfect mix of snotty attitude, unbounded energy, and window rattling volume.

For their part, the four musicians keep their collective foot on the gas pedal, roaring through tunes like the jagged, screaming title track and the shouting, fist pumping drive of “Just A Little Bit.” But they’re savvy and talented enough to ease up when it counts. Just listen for those sweet melodies carrying “Say My Name” along or the pair of simmering tunes that close out the album: “Fall In” and “Simple Life.” The whole thing is done and dusted in about 35 minutes. Just enough time to catch your breath and drop the needle on side A again.
Lisa Prank
Lisa Prank
With summer lying in wait, Lisa Prank is coming out of hibernation and embracing the sun. Robin Edwards' Seattle-based solo project has gained a dedicated following thanks to her expert marriage of a bubbly sound and all-too-relatable lyrics. Following 2014's exceptional Crush on the World, Lisa Prank returns with a breezy but focused collection of meticulously crafted bedroom pop gems. Adult Teen, the project's forthcoming record, is dominated by bruised romanticism, introspective longing, and a palpable sense of desire, building a sound heavily influenced by 90s pop punk and the decade's lighthearted culture.

Robin Edwards performs all of the Lisa Prank songs live with an electric guitar and a Roland MC-505 drum machine, delivering memorable performances with ease. Thanks to that fact, Lisa Prank has become a project that's frequently celebrated among Edwards' peers, some of whom, including Bree McKenna and Emily Nokes of Tacocat, Julia Shapiro of Chastity Belt, and Andrew Sullivan and Ian Dugas of The Trashies contributed performances to the record. Lisa Prank has shared the stage with bands like Waxahatchee, Tacocat, and Pony Time. She also contributed vocals on Childbirth's Women's Rights album for Suicide Squeeze Records. Adult Teen was recorded and mixed by Eric Randall (Tacocat), mastered by Carl Saff, with artwork by Faye Orlove.
Mint Field
Mint Field
Even though the Mexican border-town of Tijuana has a stigmatized history it has managed to produce many vibrant and unique artists. None are quite like Mint Field.

Comprised of 21-year-olds Estrella Sanchez and Amor Amezcua, Mint Field’s sound is organic, spacious, and inhabited by specters that lurk behind rhythms, where Estrella’s angelic voice evokes a supernatural world of beauty and melancholy.

Their new record, Pasar De Las Luces, first for LA-based Innovative Leisure Records, is “a compilation of our lives from two years ago to now” says the band. Since recording an initial EP in 2015 in their hometown of Tijuana, Mint Field have played Coachella, SXSW and have extensively toured the US and Mexico.

In the summer of 2017 the band traveled to Detroit to record with producer Christopher Koltay. “We had a much clearer idea of what we wanted and we had the tools to make it. When we recorded [our debut EP] Primeras Salidas, it was a homemade album and we didn't know what we were doing.” This time, they managed to channel their inspirations and influences to transmit sentiments of profound sorrow, nostalgia and immaculate beauty...revisiting sounds from the past to make them contemporary.

Mint Field’s vision comes alive on Pasar De Las Luces ‘s 13 immaculate tracks that nod to everything from dream pop to fuzz-saturated shoegaze. Album opener “El Parque Parecía No Tener Fin,” is a melodic number with haunting melodic lines where we can appreciate their post-punk tendencies. “Ciudad Satélite” has woven harmonies and crescendos that detonate into a flurry of feelings anchored by a dramatic bassline. “Quiero Otoño De Nuevo” goes full krautrock and is like an introverted, reflective and delicate Neu!. ”Cambios Del Pasar” borrows the distorted and imperfect guitar sounds of ‘90s indie bands like Yo Lat Tengo. “Nada Es Estático y Evoluciona” develops from minimalism into a silent scream and “Club De Chicas” is probably the peppiest song of the bunch. The whole record has a unique sound that makes it stand apart from projects by contemporaries.

While deceptively young themselves, Sanchez and Amezcua not only show the potential of influencing even younger fans, but of also defining themselves as stand alone voices in emotional music. Although they have a foot in the past, they never let themselves get caught by nostalgia; they reinterpret the best of what the past has to offer in order to better express their feeling in the present. It’s a timeless quality that will surely take them far into the future.
Venue Information:
Resident
428 S Hewitt Street
Los Angeles, CA, 90013
http://www.residentdtla.com/