Angel Olsen (Chicago) w/ William Tyler (Nashville)
"Ms. Olsen understands the power of holding back, and feeding out extravagance in small portions. People stopped buying drinks; the bartenders put their elbows on the counter, engrossed. It was remarkable . . . Ms. Olsen has found her sound - her voice, alone and untreated and slow, conjoined with the specific resonance of her guitar - and she's able to replicate a private discovery in front of a crowd."
Angel Olsen has been bringing her otherworldly presence and extraordinary range, "as wide as it is controlled" (Los Angeles Times), to stages across North America and Europe since releasing her second album, Half Way Home, last year on Bathetic, and signing to Jagjaguwar earlier this year. With each performance, she wholly captivates, her robust voice up front, so bold and engaging, aching to be heard. After playing the Pitchfork Music Festival and her biggest hometown show yet at Lincoln Hall in Chicago, she'll do a short August run leading into theHopscotch Festival and Music Fest Northwest and then will head out for a tour of the Northeast and Southeast. For almost all of the shows, Angel (guitar, vocals) will be joined by her band comprised of Stewart Bronaugh (bass) and Joshua Jaeger (drums).
"11 tracks of rough-hewn folk, shimmering and ribboned with dirt-packed veins, sung by a voice that curls and dips and dissolves like a black smoke plume." - Pitchfork [2012 Albums of the Year: Honorable Mention]
"It's not just Angel Olsen's range that makes her voice so unforgettable; it's the surprise turns she's learned to produce by manipulating it." - The FADER
WILLIAM TYLER
You might recognize Tyler's name from his long stint as a multi-instrumentalist in Lambchop, or from album credits alongside Charlie Louvin, Bonnie "Prince" Billy, Silver Jews, and Wooden Wand. Lambchop's oeuvre should give you some hint as to what makes Tyler special. Just as Lambchop's pan-American indie incorporates soul, rock, country and outsider music into one weirdly warped mold, Tyler integrates a dozen different approaches. He's as comfortable with an electric as an acoustic, as accomplished conducting a long, coruscated drone as he is gliding through fingerpicked hymns. The English folk of Pentangle and the American hum of Tom Carter are clear references, as are Indian ragas and Appalachian ballads. Unlike the work of fellow polyglot Sir Richard Bishop, though, Tyler engages all of those muses at once, consistently folding them into surprising revelations. -from Pitchfork