Scott Hirsch, Lauren Barth, Dylan Golden Aycock

Tue · August 1, 2017

8:00 pm


This event is 21 and over

Itasca is the musical identity of Los Angeles-based guitarist, singer,
and songwriter Kayla Cohen. Just as the name itself is ambiguous—a 19th-century pseudo-Ojibwe place name and portmanteau of the Latin words for “truth” (veritas) and “head” (caput)—so too is Cohen’s musical project mutable and multivalent: fundamentally unconcerned with genre, but richly allusive of the hermetic worlds of private-press canyon-cult mystics and East Coast noiseniks alike. Though deeply informed by the mythology and iconography of the modern American desert West, Cohen likewise finds kinship with a lineage of English iconoclasts such as Michael Chapman and Bridget St John. Her adept fingerstyle guitar work—nimble but unshowy, always at the service of framing her plaintively unspooling modal progressions and gorgeous, moonlit voice—centers Itasca’s melancholy pastorales in a hazy, heat-mirage space equally suggestive of familiarity and distance, community and anomie.
Scott Hirsch
Scott Hirsch
Scott Hirsch has spent many years as a steadfast and inventive
collaborator—not only playing bass and producing four albums with Hiss Golden Messenger, but in large part forging that band’s sonic
signature. Multi-instrumentalist, recordist, and audio engineer Scott
has finally made a solo album, and it’s called Blue Rider Songs. To
describe Blue Rider Songs as cinematic is almost too easy, considering Hirsch’s acclaimed work as a film sound designer. But what is most interesting about the album is not any one setting or voice, but rather the illimitable, in-between spaces it traverses, the blue highways it rides between various traditions and tangents of North American vernacular music and the various nodes of Hirsch’s long and accomplished musical practice. These songs suggest, in their modest way, that we get lost in the tangle of those lines on the map, before the colors have all changed. It’s good advice.
Lauren Barth
It's very clear that the likes of Joni Mitchell and Joan Baez are huge
influences on Tulsa (by way of LA)-based singer Lauren Barth. She
pushes the boundaries she had seemingly tied herself down to by
emulating her folk heroes, and sings expansive, experimental songs with a psychedelic undercurrent. They say it takes your whole life to write your debut album (musician's wit, I suppose), but Barth took that saying to heart. Forager is an impressive debut by someone who knows exactly what she wants out of her music and life, even as the songs chronicle her journey to this point. - No Depression
Dylan Golden Aycock
Dylan Golden Aycock
"Dylan Golden Aycock's lineage is clear: the fingerpicked blues of
John Fahey, the swirling compositions of Robbie Basho and the
outward-looking Americana of Jim O'Rourke's Bad Timing and The
Visitor. That's not a bad crossroads to meet your demons at,
especially when so much of what we call American Primitive now is in a state of transformation. Church Of Level Track kicks up dream dust in a positively lush collection of cosmic rags, ambient country tunes and steel-string ragas." - NPR
Venue Information:
428 S Hewitt Street
Los Angeles, CA, 90013