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Event 

Title:
Mother Mother with Hannah Georgas
When:
Mon, Dec 10
Where:
Lethbridge
Category:
Rock

Description

Time: 9 p.m

 Tickets: $30

Back in Balance Wellness Centre
In association with Think Tank Events & DJ Booda Promotions Present

MOTHER MOTHER - LIVE IN CONCERT
with special guest - HANNAH GEORGAS

DECEMBER 10
LIVE @ AVERAGE JOE'S
420 6th St. S
9:30PM

ADVANCE TICKETS - $30
ON SALE NOW !
AVAILABLE @ AVERAGE JOE'S / INFAMOUS / BOARDERLINE / GAS KING LOCATIONS
BUY ONLINE @ www.ticketweb.ca
JUST CLICK LINK ----> http://www.ticketweb.ca/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=3124554

CHARGE BY PHONE: 1-888-222-6608
Mother Mother
http://mothermothersite.com/

After an exciting year of virtually non-stop globetrotting, Canadian art-pop quintet MOTHER MOTHER wasted no time getting back into recording mode to create what they are pleased to present to the world as their fourth studio effort: THE STICKS, due on September 18, 2012 via Last Gang Records.

Recorded during the winter of 2012 in Mother Mother’s hometown of Vancouver and co-produced by the group’s own frontman/principle songwriter Ryan Guldemond and producer/engineer Ben Kaplan (Shakira, Mudvayne, Gallows), THE STICKS upholds Mother Mother’s tradition of tri-harmony vocal arrangements and dynamic instrumentation, while making for the group’s most eclectic and rich album to date. Lyrically, THE STICKS is also the group’s most cohesive and conceptual album thus far. When Ryan began writing for THE STICKS, one of the first songs to surface was "Bit By Bit", an explosive track with the opening words "Bit by bit, I'm going to get my bricks out in the sticks”. This became a catalyst for a myriad of new songs encompassing a similar theme: a call to arms against the modern, man-made world and a campaign for simplicity and self-contained lifestyles. "It seems the more complex and voluminous our gadgetry becomes, the less equipped we become as people, both in original thought and survival skills," says Ryan on the subject. "Despite my upbringing", continues the Quadra Island-raised, "I'm not your quintessential woodsman, but I do admire the simple and self-reliant approach to life, believing it to broaden the mind and soul. This was a healthy concept to be channeling when both writing and producing THE STICKS. The outcome, I believe, is the most pure and unadorned music the band has made". 

 Hannah Georgas

  http://www.hannahgeorgas.com/


“I want to press reset,” Hannah Georgas sings in “Robotic,” a driving and purposeful song from her self-titled new album. And she’s done just that. A few years ago, when Georgas was first toting her guitar through the Vancouver music scene, she was known for her acoustic leanings. Then the more intricate production of her nascent recordings, in combination with her luscious voice, helped raise inevitable comparisons to Canada’s most favored musical export, Feist. But with Hannah Georgas, she’s found bold new ways to marry her essential singer/songwriter sensibility to elaborate studio soundscapes, while significantly upping the playfulness factor. It’s an album of rich, emotionally resonant synth-pop that isn’t afraid to walk a fine line between vintage new wave and contemporary ethereality, easily gliding from tongue-in-cheek come-ons to hauntingly emotional head trips. One thing you’ll never accuse it of being is robotic.

Heavy on the electronics, but not the electronica, Hannah Georgas harks back to a time when hookiness was the order (or New Order) of the day, and human emotions (or Human Leagues) ruled, even when the underlying textures tended toward the synthetic. Her principle cohort in this redefining effort was producer Graham Walsh, of the celebrated Canadian band Holy Fuck, who shared her desire to forge a sound that makes heavy use of pre-EDM keyboards.

“Graham is a genius when it comes to creating and programming different synth sounds,” says Georgas, “we wanted to make a record where these sounds could come to life and be recreated in a live setting. I came to Graham with my guitar, and he brought his OP-1, Moog, other synths and pedals, and we jammed, sitting in a room together for almost three weeks doing pre-production. My last record was more complex, in terms of its instrumentation, this time I wanted it to be less planned and more free-I wanted this record to have more space and let things breathe. I thought it was important to focus on a great melody and not let too much get in the way of that. At the same time, Graham was like a scientist, creating incredible sounds on his different instruments, while I watched in awe and said ‘That sounds rad!’ a lot.” The resulting album somehow manages to sound both primitive and plush.

Lest this extended production hibernation makes it sound like Georgas is some sheltered studio rat, it’s worth noting that the recording sessions were sandwiched by two lengthy tours. She spent much of 2010 and 2011 hitting the road in support of her previous album, This Is Good. And after recording Hannah Georgas in the fall of 2011, she headed back out for a four-month international tour with Kathleen Edwards that took her well into 2012. And she wasn’t just the opening act, but also pulled double duty as a member of Edwards’ backing ensemble. “Being in her band as well as doing my own set every night was an incredible experience for me,” she says. “Doing your own thing and simultaneously participating in someone else’s project “is the best thing that an artist can do,” Georgas maintains. “I played a show recently in Vancouver and friend of mine said, ‘You’ve changed a lot since the last time that I saw you play. It’s ridiculous, how you’ve gotten your tour legs.’ I feel like I’m better on the mic, better on my instruments-I just own it more.”

Georgas was born and raised in Newmarket, Ontario and moved out to BC at the age of twenty. “I come from a big family and have three sisters, I needed to clear my brain a bit and find my own place that felt like me,” she says. A stint studying psychology at a university in Victoria gave way to the supportive music scene she found in Vancouver, her home of five years now. Her pianist father and other family pragmatists strongly discouraged her from following a path in music, but there was no dissuading to be done: “I’m a bit more shy when it comes to interviews and that stuff, but performing and singing, not a second thought comes through my brain.”

Collegiality’s loss was Canadian music fans’ gain, as her moxie paid off with a slew of validating accolades. Uptown magazine called her previous album “an expertly crafted and frequently adorable…gem of a pop record, full of infectious hooks and gorgeous vocal gymnastics courtesy of Georgas, who has the ability to go from girlish and sugar-sweet to raw and angst-ridden, sometimes in the same song.” The Vancouver Sun hailed her “bold, quivering voice and confessional approach to songwriting.” It wasn’t just critics getting Hannah-happy: she won “Emerging Artist of the Year” at XM’s Verge Music Awards in 2011 and “Solo Artist o the Year” at the Sirius/XM-sponsored Indies. This Is Good was put up for the Polaris Music Prize. And at the 2011 Juno Awards, Georgas was nominated for both “Best New Artist of the Year” and “Songwriter of the Year.”

Venue

The PlaceMap
Venue:
The Place
Street:
420 - 6 Street South
ZIP:
T1J 2B8
City:
Lethbridge
State:
AB
Country:
Country: ca

Description

The place is an arcade/nightclub— 420 - 6 Street South.

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