Valley Maker, The Ophelias

Wed Sep 1 2021

7:00 PM (Doors 6:30 PM)

The Basement

1604 Eighth Ave South Nashville, TN 37203

$12.00

Ages 21+

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Valley Maker, The Ophelias

  • Valley Maker

    Valley Maker

    Alternative Rock

    We have all become experts in the imbalance of uncertainty these days, newly accustomed to canceling plans and tentatively rescheduling them for some future we can only imagine. For Austin Crane—the ruminative songwriter, riveting guitarist, and singular voice performing and collaborating as Valley Maker—such a sense of uncertainty has emerged as his steadfast companion these last few years, a period of profound transition. This flux is the anchor for Crane’s fourth and best album as Valley Maker, the gorgeous and felicitous When the Day Leaves.

    Early in 2019, Crane and his wife, Megan, decided it was time to leave Seattle. South Carolina natives, they’d been in Seattle for nearly a decade while he pursued a doctorate in human geography at the University of Washington, and she worked as a midwife. As Summer 2019 ended, they prepared to head east to Columbia, SC, rejoining a deep community of friends and moving into a century-old home in need of big love. Still, major questions loomed: Would they, just then past 30, like it enough to stay, to start a new life? And what did it mean to go home?

    Driven as it is by departure, When the Day Leaves marks the arrival of Valley Maker as a trustworthy narrator for these shaky times. Crane synthesizes these complex feelings into the magnetic first single, “No One Is Missing.” A song about reckoning with self-doubt while searching for community, “No One Is Missing” acknowledges the tension inherent in those ideas, especially during our polarized era. The swaying “Branch I Bend” is a workaday anthem and an ode to whatever goodness you find, to recognizing grace in a world that can seem starved for it.

    All these thoughts are rendered with newfound lyrical richness, balancing intimate tidbits with universal ambiguity. Crane raises questions only to let them linger, shaping clouds of geographical and political specifics and asking you to draw out the meaning. During “Mockingbird,” he sings of moving to his Columbia home and planting a new tree, tiny details that induce an imaginative diorama for the listener—where does life go from here?

    In the months before recording began, Austin convened with producer Trevor Spencer and longtime harmonizing partner Amy Godwin for sessions in Portland and Seattle, teasing out the album’s interwoven arrangements and meticulous vocal harmonies. Then, in November 2019, Crane decamped from Columbia to the Pacific Northwest for a three-week session in the woods outside of Woodinville, a small town northeast of Seattle at the foot of the Cascades. He stayed in the loft of Spencer’s Way Out Studio, the collaborators sealing themselves off in a horse barn-turned-recording space like kids at summer camp, just as winter’s mist closed in.

    The time commitment is a crucial component of When the Day Leaves. For 46 minutes, you feel like you’re sitting with Crane in an intricate, unified sound-world of his design. He offloads his observations about our tangled thicket of hope and fear, aspiration and exasperation.

    When the Day Leaves is an uninterrupted sequence of reflections about the generational limbo of being awed by and worried for this world. The anxiety of uncertainty—always part of life but now seemingly omnipresent—can be vexing, a reality these songs acknowledge. Crane, as he sings at one point, is fully “aligned with my blues.” But these songs also affirm that life is an endless opportunity for renewal, for trying again. As with dusk, when the day leaves and “tries to start again” amid a riot of expiring colors, we eventually learn what comes next.

  • The Ophelias

    The Ophelias

    Alternative

    The Ophelias were still in high school when they first found community in one another. Guitarist/lyricist Spencer Peppet (she/her), drummer Mic Adams (he/him), and violinist Andrea Gutmann Fuentes (she/her) linked up in 2015 and quickly developed their distinctive baroque rock sound by enveloping Peppet’s incisive songwriting in experimental arrangements that bounce between playful and haunting. Since then, the Cincinnati band has released the critically acclaimed LPs Creature Native (2016) and Almost (2018), signed to Joyful Noise Recordings, and criss-crossed the country multiple times over on tour. While doing so, they’ve added longtime music video director Jo Shaffer (they/them) to their ranks as their bassist, found homes in Ohio and New York, and ditched their former “all-women” descriptor in proud recognition of the trans and non-binary makeup of the group.

    Their new EP captures the band evolving together in the best of ways. On the sweeping, driving "Grand Canyon," Peppet dreams of contact with apparitions of old friends and departed poets. “Lunar Rover (Quarantine Version)” reimagines the Almost fan favorite in the context of quarantine— ruminating on long-distance connection from the surface of the moon. The mechanical rhythms and cutting lyrics of "Bad Enough" explore the self-doubt that looms over periods of intense transition. On “Both Sides Now”, the band uses the classic Joni Mitchell tune to reflect on how much they've grown since their inception.

    The Ophelias are changing in sound, location, and gender— but their camaraderie is strong as ever.

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Valley Maker, The Ophelias

Wed Sep 1 2021 7:00 PM

(Doors 6:30 PM)

The Basement Nashville TN
Valley Maker, The Ophelias

$12.00 Ages 21+

Please correct the information below.

Select ticket quantity.

Complete the security check.

Select Tickets

Ages 21+
limit 4 per person
G.A.
$12.00

Delivery Method

ticketFast
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.