WHY? Plays Alopecia @ 191 Toole

The Rialto Theatre Presents

WHY? Plays Alopecia @ 191 Toole

Lala Lala

Sat, November 17

Doors: 7:00 pm / Show: 8:00 pm

$15 - $18

This event is all ages

WHY?
WHY?
The final words sung on the sixth album by WHY? are an apt place to begin: "Hold on, what's going on?" Because while there's much familiar about the oddly named Moh Lhean—mastermind Yoni Wolf's sour-sweet croon, his deadpan poet's drawl and ear for stunningly fluid psych-pop-folk-whatever arrangement—a great deal has changed in the four years that've passed since 2012's Mumps, Etc., an LP that honed the band's orchestral precision and self-deprecating swagger to a fine point. It's significant that this is the first fully home-recorded WHY? album since theproject's 2003 debut. Made mostly in Wolf's studio and co-produced by his brother Josiah, the result is obsessive, of course, but also intimate, and flush with warmth and looseness. But the biggest transformation is a bit subtler. After years of eying his world, in part, with a cynical squint, Wolf here learns a new mode. While Moh Lhean never stoops to outright optimism, it chronicles our hero finding peace in the unknowing, trading the wry smirk for a holy shrug, and looking past corporeal pain for something more cosmic and, rest assured, equally weird.

A low tone opens the album on "This Ole King" as acoustic pluck and upright bass form a Western bedrock beneath Wolf's fragile voice. But as the song pushes on, the playing gets brighter and the vocal becomes a mantra-like hum inspired by Ali Farka Touré's blues, before rolling into a second part rich with chiming keys and twisting harmony—Brian Wilson's kaleidoscopic vision of pop. If there's new litheness here, it's probably because Wolf spent much of the time between albums collaborating—with ex/muse Anna Stewart as the fuzz-pop duo Divorcee, and MC Serengeti as the puckishly depressive Yoni & Geti. And if there's a lithe newness, it may be that Wolf excised some nostalgia via his 2014 solo tapes—one re-recording choice raps from his own catalog, and another covering cuts by artists like Bob Dylan and Pavement. It's no wonder, then, that "The Water" handily morphs a moody folk tune into some strange new form of full-band dub. Or that "One Mississippi" bounces along happily over a flurry of bizarre percussion, whistled melodies, and trippy synthesizer blips. Perhaps most impressive is "Consequence of Nonaction," which vacillates between a quiet meditation for guitar/voice/clarinet, and wild, sax-strewn astral art-funk.

Movement is a key theme of Moh Lhean. It's a breakup album without a romantic interest—coded within the lyrics is a tale about fleeing the seductions of a wintry figure for something synonymous with spring. "Easy" plays like a ward against the old ghost who haunts "January February March," while "George Washington" places our host in a tiny watercraft, "paddling for land/hand on heart and heart in hand" as that faceless malevolent force stays ashore. While writing these songs, Wolf suffered a severe health scare far from home. Rather than drive him to depression, his brush with mortality imparted an incongruous impression of peace and connection to the living. At the end of "Proactive Evolution," wherein WHY? enlists mewithoutYou's Aaron Weiss to celebrate the stubborn persistence of humankind, Wolf samples not only thinkers like Sharon Salzberg and Ram Dass, but his actual doctors—the voices that helped shape his new outlook. Sure, Wolf poses as many questions as ever. Moh Lhean's gorgeously psychedelic closer, "The Barely Blur" with Son Lux, puzzles over the nature of existence. But rather than leave us with the macabre chill of death, as many a WHY? LP has, the song dissolves into the infinite—the sound of the Big Bang.

Don't bother asking Wolf what "Moh Lhean" means. He won't tell you. It's the name of his home studio, where friends and family—WHY? regulars Josiah, Matt Meldon, Doug McDiarmid, Liz Wolf, and Ben Sloan, plus a handful of Ohioans—gathered to record this (and also at Josiah's studio, dubbed El Armando). And like the titles of Alopecia and Mumps, Etc., it references a concrete thing that Wolf experienced. Most likely it's something to do with letting go, rebirth, coming home to a familiar feeling, or venturing out to discover a new one. Or maybe it's just a yoga pose. But there's something in Moh Lhean, even with all its mysteries and all its differences, that's both ephemeral and distinctive, like something the Wolf Brothers might've heard on a praise album in their father's synagogue as kids, or on some '60s hippie LP they thrifted in their teens, or, perhaps, on the other side of the records they've been making their entire adult lives. Thus, it seems appropriate to conclude with some words sung on the very first song of WHY?'s sixth album, Moh Lhean: "One thing, there is no other. Only this, there is no other.... Just layers of this one thing."
Lala Lala
Lala Lala
“The Lamb was written during a time of intense paranoia after a home invasion, deaths of loved ones and general violence around me and my friends,” says Lillie West, the Chicago-based songwriter behind Lala Lala. “I began to frequently and vividly imagine the end of the world, eventually becoming too frightened to leave my house. This led me to spend a lot of time examining my relationships and the choices I’d made, often wondering if they were correct and/or kind.”

West initially started Lala Lala as a way to communicate things that she felt she could never say out loud. But on The Lamb, her sophomore LP and debut for Hardly Art, she has found strength in vulnerability. Through bracing hooks and sharp lyrics, the 24-year-old songwriter and guitarist illustrates a nuanced look on her own adulthood -- her fraught insecurity, struggles with addiction, and the loss of several people close to her.

Originally from London, West moved with her family to Los Angeles, where she spent her teenage years, and later to Chicago, where she enrolled at the School of the Art Institute of Chicago. Inspired by those cities’ DIY music communities, she started Lala Lala as an outlet where she could process her new experiences, which often involved toxic relationships and partying around the city with beloved friends. The turbulence in West’s life throughout that period resulted in an abrasive but tender debut album, Sleepyhead (self-released, 2016). West decided to quit drinking, and she began booking her own DIY tours across the country. Sobriety provided her with a newfound sense of self and clarity, and she began writing the songs for The Lamb while also starting the process of re-learning how to live her life.

lalalala2
Across the album’s 12 tracks, West carefully examines the skeletons in her closet for the first time, hoping to capture honest snapshots of her past selves. Many of the songs show West asking herself agonizing questions about her life with a clever and hopeful curiosity. On the album’s first single and opening track, “Destroyer,” she reflects on feeling self-destructive and the delayed realization something in the past has irrevocably hurt you. In “Water Over Sex,” West laments her old precarious lifestyle, while trying to readjust to her newfound sobriety, and ”Copycat” confronts her feelings of alienation and boredom. “Some of this album is about being frustrated that everything is always repeating itself and being bored with your own feelings,” she explains. “‘Copycat’ in particular is about how everyone talks exactly the same on the Internet and how it sometimes feels futile to try and be yourself.”

The catalyst for the starkly titled “When You Die” came when West’s friend Jilian Medford of IAN SWEET texted about the band getting into a car accident. In the song, she grapples with her lack of control over certain things and the inevitable regrets that come with it. Though that experience served as the song’s initial inspiration, “When You Die” also reflects on a string of three months in 2017 when West experienced several close deaths. The spare and stunning album highlight “Dove” further explores this tragic string of events; West explains, “It is very plainly about the death of someone I loved a lot and the guilt I had, and still have, afterwards.”

After testing a handful of the new songs while on the road, The Lamb’s final form came together while recording at Rose Raft Studio in rural Illinois. Performed by West with Emily Kempf on bass/backup vocals and Ben Leach on drums, the musical arrangements of the album -- blending post punk with dream pop influences that incorporate vibrant synths, a drum machine, and even saxophone -- find a balance between light and dark, reinforcing these dynamic and intimate songs that will surely resonate.
Venue Information:
191 Toole
191 E. Toole Ave
Tucson, AZ, 85701