Posts Tagged ‘Kristine Leschper’

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Mothers attempt to exist in two places at once – both singular and collaborative, sprawling and concise, present and distant. Kristine Leschper, songwriter and founding member of the project, explains that it is in the space between opposites that she finds herself. The multifaceted is, by nature, fragmented – each facet a slightly different perspective of the whole. On their latest record, Render Another Ugly Method, the band attempts to gain an expanded view of its surroundings through splintered sound, thought, and image Listening to Render Another Ugly Method, Mothers’ second record, the pain, anger and anguish remains as poignant as ever, yet it’s delivered with both a complexity and an excellent dose of noise.

in opening track, Beauty Routine, like a number of tracks on the record, it seems to deal with the difficult relationship between our physical and emotional characteristics, concluding in the bruising final line, “brush my teeth as an act of desperation, show me a beauty routine, to erase me completely”. While the track isn’t one of the record’s louder moments, it is none-the-less dense and complex; with wavering pulses of guitar, twitching drum beats and sudden bursts of brutal, beautiful noise, that rapidly fall in and out of place.

Leschper began exploring songwriting when she moved to Athens, Georgia as a teenager. Inspired by the growth that studying art allowed her and energized by the buzzing southern town, she started to perform publicly in 2013 and quickly developed local acclaim for her stark, un inchingly vulnerable songs.

During this time, she met many local artists and musicians, among them Matthew Anderegg, whom she quickly recognized as an artistic kindred spirit and friend. The following year they began working together to esh out and arrange a collection of songs she had written, which would become the project’s 2016 debut release, When You Walk A Long Distance You Are Tired. 

Released in 2016, the album kicked off a sprawling eight months of touring across the US, UK and Europe, as the group honed their take on left-of center indie rock with an explosive and surprising live show that displayed how forceful the songs translated to a full-band setting.

Within Mothers, Leschper and Anderegg have remained a creative constant, with other collaborators changing over time. Render Another Ugly Method sees the remnants of Leschper and Anderegg, Chris Goggans and Drew Kirby in musical conversation, through cut-up songs that were torn apart and rebuilt over and over again.

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Philadelphia has churned out a great many indie rock and indie punk bands over the last few years, Swearin’, Hop Along and Cayetana among them. Another of those Philly-based groups is Mothers, who’ll release the follow-up to their 2016 debut, When You Walk A Long Distance You Are Tired, this month. On the second single, “PINK,” frontwoman Kristine Leschper, originally from Athens, Ga., melds indie folk singsong with focused punk to create a winding, nearly seven-minute thrasher. The band describes their sophomore LP as “an assemblage of personal vignettes and imagine scenarios that examines consent, escape of the body, power & powerlessness, and the act of making.” “PINK” is the new single off our upcoming record out September 7th on Anti Records.

“PINK” by Mothers from the album ‘Render Another Ugly Method,’ available September 7th

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Mothers are to release their second album titled “Render Another Ugly Method”, their first for new home ANTI-Records. On top of that great news, the Athens band, now based out of Philadelphia, have also shared the first taste of that record, in the shape of new track, Blame Kit.

The next step for Mothers, and their chief songwriter Kristine Leschper, was, for anyone who’s seen their live show, always going to be an intriguing leap. While WYWALDYAT was a sprawling, emotional, sometimes muted affair, live Mothers became a sprawling, angular, maths-rock power-house. Even expecting something different though, Blame Kit still feels like a fresh new direction; the vocal production of the sprightly intro initially had us wondering if this was even the same band, it was only in the bass-heavy break-down one minute in as, Kristine sings, “not the first time I’ve seen it, I watched her body expand a hundred times its size to contain it”, that the hair-raising vocal tone meant this could be no other band.

Lyrically the track aims to explore the idea of the titular Blame Kit, “a social mechanism that aims to shift or imply guilt onto a particular person, group, or idea”, the track was inspired by a case study Kristine read on children with Autism and Schizophrenia, as she explains, “‘his body will at one moment expand to contain things and events that are outside of it, and at the next shrink to near-nothingness…Uncertain of the boundaries of his body, things on the outside become terribly important.’ I couldn’t stop thinking about that.” The return of one of the most important, intriguing bands in the world, embrace this progress, this brave new musical world.

“Blame Kit” by Mothers from the album ‘Render Another Ugly Method,‘ available September 7th via ANTI- Records.

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What started as a solo musical endeavor of Athens, Georgia native Kristine Leschper has turned into a promising band that we now know as Mothers. Earlier this year they released their rather lovely debut offering, “When You Walk a Long Distance You Are Tired”, via Grand Jury Music.
The group first caught my attention last year during CMJ, where their powerful and emotive live show caught my attention. They returned to New York in February for a performance giving us a taste of what was to come on the released album. the album is a sprawling multi-instrumental landscape, shaped out of exhaustively experimental song structures. Each song follows its own erratic path, and even the most serene moments teeter on the edge of dissolution, about to give away to chaotic instrumental interludes. The album is therefore easy to disappear into, and lengthy, winding songs like “Nesting Behavior” and “Hold Your Own Hand” are the entryway. The submersing atmosphere is the work of the instrumentation, from the simple, frail sound of the plucked mandolin to the bigger orchestral arrangements.

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The group sounded every bit as strong as I recalled, powerfully going through the shape-shifting stop-start sounds off the album, offering emotional insight that connected at all angles. As great as their record is, there’s just something special about this band live that is sort of missing on recordings. Mothers are a band that will continue to grow and evolve over the years, with every show providing as unique opportunity as the next. I’m already waiting to catch them again the next time they return to us hopefully early next year with a new album.
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If we’re totally honest it’s quite rare that the deluxe edition of an album really adds anything new to the joys of the original. That said, with an album as good as the Mother’s debut, When You Walk A Long Distance You Are Tired, we’re more than willing to test out our theory. This week the Athens quartet have confirmed details of a deluxe digital edition of their debut, which will feature five previously unreleased tracks.

Mothers have also shared the first of those tracks, in the shape of Easy As Possible. The home demo was recorded between finishing their debut record and the album’s release and is the first indication of where the band’s music may go next. Easy As Possible builds around a pulsing, plodding keyboard line, rich with complex echoing tones and gentle twinkling distortions, Kristine Leschper’s haunting vocal enters, as bassy synths and fluttering processed beats drift in and out of earshot. It feels rough around the edges as demos often do, but in its unpolished, almost unfinished mood arguably lies much of its charm. It shows a band willing to experiment with a variety of song writing methods and musical textures , and it’s utterly thrilling. Many of these new tracks were showcased on the band’s superb recent tour dates, and the deluxe album’s release will coincide with European dates at the back end of the summer. If you haven’t seen this band yet, you’ve obviously not been listening to us and we don’t know what you’re waiting for.

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The deluxe edition of When You Walk A Long Distance You Are Tired is out July 29th via Wichita Recordings.

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We don’t know if Athens, Georgia based quartet MOTHERS already have a certain buzz but if not NOTHING BUT HOPE AND PASSION is happy to jump on the bandwagon. The American four-piece delivers melancholic and soulful lo-fi melodies that are carried by the stunning voice of lead singer Kristine Leschper. Their forthcoming debut LP goes by the name When You Walk A Long Distance You Are Tired and was released via Wichita Recordings on February 26th and fans of dreamy dejection in the style of early Parachutes-era COLDPLAY and DAUGHTER will fall for this, 

The record was produced with the help of Drew Vandenberg (OF MONTREAL, PORCELAIN RAFT) at the Chase Park Transduction in Athens, Georgia back in December 2014. “No Crying In Baseball”, the song that now comes with a sinister music won’t be part of the record but Copper Mines will so we thought we just give you both to convince you of MOTHERS‘ quality. Prepare yourself to fall in love with this band now.

Mothers have announced news of more UK/European headline shows for May and June. Support will come from new Wichita Recordings signings,Globelamp. See all dates below:

Wednesday 18th May- Chats Palace, London UK
Friday 20th May – Great Escape Festival, Brighton UK
Sunday 22nd May – Clwb Ifor Bach, Cardiff UK
Monday 23rd May – Hare and Hounds, Birmingham UK
Tuesday 24th May – Hug & Pint, Glasgow UK
Wednesday 25th May – Gullivers, Manchester UK
Saturday 28th May – De Nieuwe Anita, Amsterdam NL
Tuesday 31st May – La Mecanique Ondulatoire, Paris FRA
Thursday 2nd June – Musik & Frieden, Berlin GER

When You Walk A Long Distance You Are Tired features collaborations with Josh McKay of Deerhunter on vibraphone as well as McKendrick Bearden of Grand Vapids, who played bass and provided string arrangements throughout. Comprised of eight songs – the majority of which were written while Kristine Leschper was finishing art school in early 2014 – Mothers’ debut LP is an introduction to the foundations of the young band, a snapshot of a particular period of their genesis that maps both where they began and where they are heading.

Photo by Kristin Karch

“Always is a dirty word to say.”

That’s the short bio stamped on Mothers’ Facebook page.

Mothers began as Leschper’s own solo adventure in 2013 while she was attending art school. By the time she finished, she began meeting up with other musicians in the city’s tight-knit community—particularly drummer Matthew Anderegg, guitarist Drew Kirby, and bassist Patrick Morales—through organic means. By then, the band’s sound fleshed out to its current state.

At first glance, it seems hesitant, fearful, or doubting. At second glance, the phrase begins to strengthen. At third glance, it has a certain melody to it—probably because by then you it’s coming from the band’s early song “Stairwell Song”.

“It’s talking about not making promises, about never saying ‘always,’ because you really have no idea,” frontwoman Kristine Leschper explains. In her eyes, the word is unfair to say for it carries cruelty, and cruelty is dirtier than any imaginable mess a child could make.

Mothers performed “Mines” on Audiotree Live, September 23, 2015.

Purchase the session! We split profits 50/50 with the band:

Mothers fall in an interesting place. On one hand, their music stirs up memories of longing and isolation, things that put a weight on your heart. On the other hand, their music remedies that. Their songs show you’re in good company, surrounded by those striving to heal not for the pain to subside but for their own growth towards a stronger body, a stronger mind, and a stronger heart. The only reason Mothers could be called cruel is because in getting over the cruelty they’ve felt over time from others, they get you to reflect on your own. Together, you get over it.

The four-piece dodges pain by confronting it head-on in its music, never once lowering its head to let cruelty score a jab. Be warned: it knows how to fight. While the sadness in Leschper’s music is unavoidable (“I’m not sad, but I tend to experience my emotional context so deeply that it can be crippling—sort of like an animal sentinel, a canary in a coal mine.”), it never dominates. Humbleness, in its own ironic way, does instead. At least the lyrics of “Copper Mines” (“What I have to give is small / but at least I can admit it”) acknowledge she’s self-aware. Throughout it all, the Athens, GA, quartet stirs up guitar tones reminiscent of folk acts like Waxahatchee, Sufjan Stevens, or Courtney Barnett. The tempo changes, however, suggest something more mysterious is at work.

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“It’s always been an intuitive process,” says Leschper. For her, guitar was a self-taught adventure that carried its own set of catharsis. “I feel like naivete of my instrument has allowed me to be really honest in songwriting, as far as not overthinking it. It’s all about the feeling of it, rather than, say, a formula I was taught.”

Mothers perform “It Hurts Until It Doesn’t” on Audiotree Live, September 23, 2015.

The band’s debut LP, When You Walk a Long Distance You Are Tired, both emulates exhaustion and acts as its remedy. It’s empowering in that sense. Of course, that’s easy to see when the band performs, for live, the record sounds sure-footed and confident.

Mothers perform “No Crying in Baseball” on Audiotree Live, September 23, 2015.

It’s clear Mothers is tired–from life, from heartbreak, from aging, from death–but still walking. Granted, the four are awake enough to recall their own long distances. “My family used to go on fishing trips out there [in Ontario], in the middle of nowhere, where you have to ride in on a float plane and land on a lake because there are no roads,” Leschper recalls. “There were different lakes, and you would portage between them, hiking and carrying your boat. Sometimes they were huge distances.” Not all walks are exhausting. A routine trek like her walk from home to the farm-to-table restaurant she works in is only three houses down. “My cat follows me over there,” she laughs. “I have to bully him into going home.”

Mothers perform “Fat Chance” on Audiotree Live, September 23, 2015.

 

At least a walk, no matter its length, has an end. “Always” keeps its paws off that one.

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There are few songs that you vividly remember the first time you heard them, but Too Small For Eyes, the recent single from Mothers was one of those moments. It was a stop what you’re doing, drop everything and just listen moment. The voice, belonging to front-woman Kristine Leschper, was simply jaw dropping, the musical accompaniment stunning, slowly building from the sparsest of strings to a crescendo of echoing piano chords and rich haunting strings. It is absolutely stunning!

Assuming that Too Small For Eyes wasn’t just a singular moment of brilliance, it’s safe to be very excited about Mothers upcoming debut album, When You Walk A Long Distance You Are Tired, which will see the light of day on Wichita Recordings next month. February will also see the band’s first ever live shows in London, but don’t expect it to be the last you hear of Mothers this year.

This week the band have shared another taster of the album in the shape of second single, Copper Mines; thankfully it lives up to our self imposed hype.

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What we weren’t expecting though was the huge stylistic shift; whilst Too Small For Eyes was textural music, making use of space and allowing the beautiful vocal melody room to weave its way into your mind, Copper Mines is a completely different beast. Incorporating a more traditional rock sound, it’s resplendent with distorted guitars, crashing drum beats and waves of fuzzy thrills, lurching from the intensity of Fugazi to the slacker pop of Pavement. It’s a complete curveball which begs the question just what is their debut album going to sound like, we’re now a lot more unsure and perhaps even more excited .

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This is the opening track of Mothers’ debut LP, “When You Walk A Long Distance You Are Tired”
available on 2.26.2016 via Grand Jury Music (US )/ Wichita Recordings (ROW)

Mothers are set for a big year in 2016, their debut album When You Walk A Long Distance You Are Tired’ is expected early 2016.  At the heart of them is the piercing vocals and guitars of Kristine Leschper; her exquisite songs wrestle with the human condition across the eight tracks of a fantastically addictive and diverse album consisting of expertly pieced together shifting fragments of folk, driving Americana and waltzing math rock.

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Kristine Leschper has been writing and performing under the moniker Mothers, attracting a small but fiercely devoted ring of admirers in her hometown of Athens Georgia. Last year, the trajectory of her music changed becoming increasingly more dynamic and complex, and her solo project soon expanded into a full-fledged band featuring Matthew Anderegg on drums, Drew Kirby on guitar and Patrick Morales on bass. The group’s first proper single, the emotionally empowering and feverish “No Crying in Baseball,” earned them some well-due attention from the blogosphere, but as it turns out, the track was also a bit of a decoy.

Mothers’ debut LP, due out sometime in 2016 and recorded by Drew Vandenberg (Of Montreal, Deerhunter, Toro y Moi), will feature a more discordant sound, one that brandishes elements of post-hardcore and math rock while presumably maintaining the spirit of the off-kilter art rock they’ve been unveiling up until now. With that said, it’s unclear whether the band’s latest single, “It Hurts Until It Doesn’t,” will appear on their debut or whether it’s another stylistic outlier meant to purge any traces of their formative songwriting approach before hitting the public with more trenchant material in the future. In any case, the track, and in particular Leschper, are a revelation.

Although the song glides dexterously from passage to passage, there’s something of Wire’s jagged melodicism and Protomartyr’s clenched-fist dramatics that infect it with a feeling of revolt and inner turmoil. Leschper’s distinct voice is elastic enough but what impresses me the most is the way in which she stretches and pulls it into a hardened coil that turns even the simplest of phrases into a moment fraught with existential upheaval. “I felt your love for a little while / But never had the guts to give myself up / I said that I could be just what you wanted / As if I could ever keep a promise” she sings in the second verse, but is she feeling wounded about her loss? Or is her self-awareness a mark of her power and resiliency? The truth is likely somewhere in between, and by deftly walking that emotional tightrope, Leschper is able to pull the song’s conflicted tension behind her like a dark and ominous cloud.