Larimer Lounge Presents
Kirin J Callinan
Jorge Elbrecht, French Kettle Station
Doors: 8:00 pm / Show: 9:00 pmLarimer Lounge
$15 - $18
This event is 18 and over
All sales are final. Review your order carefully, there are no refunds for any reason. Tickets are non-transferable. No tickets are mailed to you, your name will be on the will call list night of show. Night of show (1) bring a valid government issued ID and (2) print your confirmation e-mail and bring with you night of show.https://www.larimerlounge.com/event/1846178/
Return To Center collects Callinan reworks of both all-time favourites and last-minute spontaneous additions, songs that have shaped the artist he is today amongst songs that were jammed out of the blue in the studio. Callinan sounds all too in step with Laibach’s teutonic march “Life Is Life”, before completely transforming the twitchy Prince-lite of Momus’ “The Homosexual” into lithe, tender acoustic folk. The Waterboys’ “Whole Of The Moon” is rendered even more melodramatic and heart wrenching than the original and comes off like the theme song to the greatest 80s sitcom you never saw, while Randy Newman’s “Pretty Boy” sticks largely faithful to the sombre original, and Public Image Limited’s “Rise” ascends amidst Celtic guitars and television news clips. At the chronological and spiritual center of the record - the eye of the storm - lies the title track and sole original composition. A stark, spacious instrumental, “Return To Center’s serenity is interrupted by maniacal laughter, assumedly Callinan’s.
Recording was swift - tracking a song per day, with a few up the sleeve for overdubs, mixing and mastering. With a lengthy list of prior collaborators that has included Mark Ronson, Jimmy Barnes, Mac Demarco, Weyes Blood, Connan Mockasin and Alex Cameron to name a few, the open (garage) door policy was maintained for Return To Center. First luminary to lift the shutters was producer Francois Tetaz whose zeitgeist work with Gotye is legendary. More than a producer to this project, Francois’ enthusiasm to work with Kirin is in the DNA off his concept.
A cast of outlaws followed that included Drew Erickson, Benji Lysaght, Stella Mozgawa, Dave Elitch, Jasper Leek and Holiday Sidewinder, gathered in the garage of his temporary Silverlake abode, delighting in the perverse subversion of the capitalist system and the challenge of completing a record with such clear time and financial constraints. With the roller door open to the street just weeks before he was due to be evicted, they merrily blasted through the set with no time to second guess or overthink and as a result, Return To Center retains an instinctive, vulnerable edge, emerging as Callinan’s most tender yet celebratory record yet.
Return To Center glimmers with what Callinan describes as a “corporate spiritual” radiance. It is a punk rock meditation on record making, music past and present. For Callinan it slices through a contradictory and confusing year of exaggerations and misrepresentations to be his ‘Return to Center’ – sounds, songs, lyrics, performance.
Whatever it is and however it was made, Return To Center transcends to a triumph.
During this 10-year period of rapid deterioration there were countless recordings attempted, and quite a few completed. Musical co-conspirators assisted in the capture of these songs, and Elbrecht himself finalized a great deal of them, but could not see a reason to release them to the public. The projects were scattered, almost as if there were an attempt to create his own contained musical subculture. They featured a variety of stylistic entities to enjoy depending on one’s mood. Much like an obsessive owner taxidermies and displays a deceased pet, Elbrecht’s final coherent years found him struggling to prop-up and surround himself with the type of art and music he felt he had lost to commercialism and the culture industry’s lack of curiosity. “He wished he existed in a time where he could enjoy the world around him… I think he was trying his hardest to block it out with things he preferred,” gathers the artist’s father.
As bleak as this state of affairs may be, far more dismal is the notion that this music would never be heard. Therefore, there is currently an effort to bring these completed works to light. Thankfully, today Elbrecht cares and says very little about anything at all, seemingly fine with those close to him making his music available to all. The first of many releases is a double-vinyl pressing entitled Jorge Elbrecht Here Lies, which contains roughly an EP’s worth of songs from four very different projects: Presentable Corpse, Gloss Coma, REMYNYS, and Coral Cross. Elbrecht had a vision and a trajectory planned for each of these, and those behind the album art have attempted to represent it as closely as possible. The projects vary greatly--from the tape-saturated flexidisc shimmer of Presentable Corpse, to the early 90s rack unit hi-fi of REMYNYS, to the pulsing, full-frequency speaker utilization of Gloss Coma, to Coral Cross’ grindingly distorted blasts & gasps. More is sure to come, as it would appear that there is quite a substantial catalog to disseminate. The intention of all involved--his family, freinds and record label--is to continue playing the music, keeping Elbrecht’s previous tenacity, imagination and dreams for more, alive. Perhaps the spirit has left the vessel, but it can surely live on through the words and melodies therein.
2721 Larimer St.
Denver, CO, 80205