Motopony, Kelli Schaefer

Sat Oct 27 2018

9:00 PM (Doors 8:30 PM)

Sunset Tavern

5433 Ballard Avenue NW Seattle, WA 98107

$12.00

Ages 21+

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Motopony, Kelli Schaefer

  • Motopony

    Motopony

    Alternative Rock

    While reading a book called "The Spell of the Sensuous" by David Abrams, Daniel Blue came across a shamanic tradition that suggested that animals, plants, tools, and even stones have a kind of perception and they echo what they are offered.  It was suggested that a life lived in poor relationship with the world around oneself was perhaps the cause of all the sickness, war and suffering in the world. 

    Seeing the earth burning and taking this to heart, Blue decided to experiment with the theory and attempt to "have a relationship" with his (rather small) motorcycle.  He called it "pony", spoke to it as if it were alive and tried his best to respect it as a living thing or at least as a part of life as a whole.  Of that time he said, "It changed me forever riding my bike that way. It was undeniably more enjoyable to coax and caress the machine like a friend rather than take it for granted like a meaningless gathering of extruded metals, rubbers and gasses.  For the first time, I began to see myself as part of the world and not just a user of it." The resulting joy and empowerment of that moment was infectious and thrilling to Blue, and he coined the term "Motopony" in celebration of the revelation. From then on he began to use the word Motopony to define any tool that he used respectfully with a relational intention of healing himself and the world.

    A dark night not long after, mourning an anniversary of the early death of his late mother Kathleen Antoinette, Daniel reached for a broken guitar he had purchased some years earlier and leaned into it with all of his soul.  "I had a great need for that guitar to release me from the despair and doom that I was feeling.  Somehow I believed that this guitar also needed me to strip it of its extra strings and tune it in triad to the timbre of my untrained voice.  We had a conversation, and in my grief, we fell deeply into love."   That night he sang a poem he had not yet written, "Hero's Lullaby" and came to call the guitar "Old Blue".

    From that moment on Daniel threw everything he had and everything he was into song and music.  He closed his event space and warehouse, sold his burgeoning fashion design business, disavowed himself of nearly all possessions and began to couch surf so that all of his time could be devoted to learning the craft of music.  Within a year Daniel had partnered with a local hip hop producer named Buddy Ross and an eponymous"glitch-folk" album was already finding itself on noncom airways all over the world. Motopony was born.

    The band immediately found home on the road with multiple US tours and dates all across the UK. An EP with a full-length followed owning its roots to the iconic Abbey Road studios. Jetting to Indian festivals and entertaining their international fan base, the band grew with their popularity.

    Wrapping up their third full-length release Daniel believes that he is perhaps just now hitting his stride as a musician, a businessman-by-proxy, and a leader of a band.  "The system that surrounds music and the industry that we have created to sustain musicians and the people who work to support them; it is also a tool that can be used with intention.  It's complicated, but I still believe that it's possible to be in a respectful, intentional healing relationship with the music industry.  It is, after all, a thing we ourselves have created, and therefore a part of the whole that is life.  It can be loved."   Perhaps this is what he means when he sings "I still believe in the magic babe" in the upcoming song "a little death"

    "I will probably never stop looking for the magic that I found reaching into that broken guitar for help and for a friend.  The effort, intention and desire were not wasted. Something...some third party came along and allowed it.  To me this third party is Love and that is my God.  This God and the recipient of my worship is that what allows relationships to produce this kind of fruitful beauty."   What may seem foolish to some, that leap into “hope in love”, this is what Daniel sings of in the single off the upcoming record "when we were young" when he says, "we were dumb enough to try."

    Daniel took this idea of “playing dumb” and being willing to throw yourself in harms way for the sake of a dream to Timothy Graham.  Together the two created the song, “When We Were Young,” which they felt was important both to them as career musicians and in regards to what they wanted to say to the world. “I remember texting my management team and saying something like "mark my words, game changer". Timothy gave me that awesome feeling that my strengths were matched well as a writer.  It's a hard thing to come by to be understood and joined by another musician, the result being greater than either of you could do alone.”

    On their third full-length "50 Katrinas" the new band echoes this seeker’s journey with long wistful interludes woven between sharp and neat trippyfolk inspired rock gems.  Like living quartz crystals growing out of flowing canyon walls, catchy inspired and distinctively Pacific Northwest psyche-pop singles hide amidst the foliage of a free-spirited kaleidoscope of unhinged compositions.  Biting lyrics mock the information age while admitting their home in it, and love and relationships are a carefully crafted theme.

    When asked about the environmentalist overtones and rather ominous title Blue says,  "In a way this is my warning to the people of earth (or at least the people of USA) but many of these songs feel like I'm listening to them 150 years from now...like when people look back to this time and say, "what the fuck were they thinking letting everything go so long?"  I want them to hear in this record that some of us weren't blindly following or distracted by what some idiot tweeted that morning.  We called out.  We resisted.  We tried to turn things by loving the machine and not just using it.  We raised our voices in dissent.  I also see the sentiment behind “50 Katrinas” as adorably hopeful in two ways: my fantasy that people on the earth will be around in 150 years, and that our music will still be, you know....out there."

  • Kelli Schaefer

    Kelli Schaefer

    Indie Rock

    In 2011, Kelli Schaefer released her first full length record Ghost of the Beast - a compilation of singles released throughout 2009 on the artist-run label Amigo Amiga Recordings. A surprising follow up to her 2008 Lasso the Moon EP, Ghost of the Beast is a haunting art-pop record with a backbone made of steel and distortion. Schaefer garnered praise and attention, sharing the stage with Damien Jurado, Wild Flag, and the Corin Tucker Band. Included in Willamette Week’s “Best New Band” poll, with a music video featured on Paste, tracks featured on NPR and KEXP, and multiple regional festival appearances, Schaefer’s debut was gaining momentum in the northwest.

     

    But when Schaefer decided to step back from the whirlwind of live shows to focus on her follow up, she found that she wanted to go in a different direction. She kicked off this exploration with a self-produced, limited release EP titled 601 in May of 2013, debuting the beginnings of her new sound. Starting in 2014, she joined back up with Ghost of the Beast producer Drew Grow, and her bandmates Jeremiah Hayden and 601 guitarist Ryan Lynch, and found her vision had shifted to a more conceptual, unhinged rock and roll sound. 

     

    Schaefer found herself looking at her small-town upbringing, and finding that she could not see herself reflected there, but could not stop digging in deeper. During this time a few things happened that both shifted the focus of the album, and buoyed it: her father passed away unexpectedly in 2015, and the political landscape of the United States shifted to reflect those same small-town characters more than ever before. Driven to explore the darkest corners of her own origin, and also to step outside of herself, the record came into being after almost three years of writing and recording. 

     

    No Identity is darker than Ghost of the Beast, growling with confidence - but with a sense of humor. Confidence was hard-won, coming out of the passing of her father and dealing with the unavoidable ripples from it, the record was as much shaped by life and life was shaped around the record. The title track of No Identity kicks off with a beat as strong as a heart and a guitar line threatening to explode. She sings in clear, close range:

     

    I am a bobcat

    Trying to be a tiger

    Trying to push through

     

    Mirroring the expansive noise and incisive shadow of PJ Harvey, with the fearless abandon of Nick Cave, and vocal play of Bjork, No Identity travels at light speed through the American landscape so many of us left and forgot to examine. It is a genesis story marked with resolve and technical prowess - muscular guitar, rumbling bass, and vocals that bend over themselves and spring back to shape. 

     

    The melodies are pop with meat on their bones, robust and full, unafraid to stick in your head and to your ribs. It is art-pop with depth and vision, the product of an artist who not only carved out a space for herself, but has grown into a voice that has the potential to reshape a well-worn world. 

     

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Motopony, Kelli Schaefer

Sat Oct 27 2018 9:00 PM

(Doors 8:30 PM)

Sunset Tavern Seattle WA
Motopony, Kelli Schaefer

$12.00 Ages 21+

Please correct the information below.

Select ticket quantity.

Complete the security check.

Select Tickets

Ages 21+
limit 10 per person
GA
$12.00

Delivery Method

Mail
UPS
Will Call

Terms & Conditions

This event is 21 and over. Any Ticket holder unable to present valid identification indicating that they are at least 21 years of age will not be admitted to this event, and will not be eligible for a refund.