SOLD OUT: Mansionair – Tickets – Mississippi Studios – Portland, OR – March 9th, 2019

SOLD OUT: Mansionair

Moody Australian electro-pop trio with new hit single, 'Falling,' and tours with Alt-J and Chvrches

SOLD OUT: Mansionair

Beacon

Sat, March 9, 2019

Doors: 8:00 pm / Show: 9:00 pm

$13 ADV / $15 DOS

SOLD OUT

This event is 21 and over

Mostly Standing / Limited Balcony Seats 

Mansionair
Mansionair
Sydney-based trio Mansionair made their debut with breakout hit 'Hold Me Down' which made radio waves from the clubs of Australia, over to Paris and across the ocean to Brooklyn. It all began in 2014 when singer Jack Froggatt, who had been playing the local music scene, accepted an invitation to top-line a suite of production beats by producer/guitarist Lachlan Bostock and drummer/producer Alex Nicholls. "Hold Me Down," a mélange of ethereal falsetto and ambient-synth-pop, hit one million views in just two months, brought together the individual talents of each musician and solidified the formation of the three-piece band now known as Mansionair.

Soon after, the band signed to Glassnote Records and were handpicked by genre-bending trio CHVRCHES to open on their headline tour across the USA, UK, and Europe. Mansionair went on to join Alt-J and Florence & The Machine on the road, most recently wrapping up a tour with London Grammar.

At the tail end of 2016, Mansionair released bristling track 'Easier,' which has now reached over 12 million streams, a testament to the fan-base they've created in such a short period of time. While working on their latest offering, the band collaborated with Seattle duo Odesza on their lead single 'Line Of Sight,' which has since climbed Billboard's Alternative and Dance/Electronic charts and has amassed millions of streams.

Their expansive almost cinematic textured production meld Froggatt's intimate, honest lyrics. Stories of longing, hope and letting go meet careening sing-a-long choruses and smooth downtempo ballads, held by Bostock's sleek production and Nicholl's beats. Their collaboration is equal and assured.

Now, their breakout turn for the group, 'Astronaut (Something About Your Love)' is a genre-splitting shot from the soul; as playful as it is a sincere exploration of loneliness and distant affections. The song starts with a suite of otherworldly harmonics, "We shoved a microphone deep inside a piano and recorded all the atmospheric noises that came out," Bostock tells. "Like what I imagined an astronaut felt as if he was looking back at Earth."

It's the juxtaposition between Froggatt's intimate vocal delivery and the geographic stretch of Mansionair's production that makes them so intriguing. Another way to view their compositions might be as micro explorations of the grand internal; miniatures writ large. "I love that stream-of-conscious style of songwriting," Froggatt says. "As though you're sitting in the back of a party on a couch and you're just in your own head, overthinking everything."

Nicholls; rhythms bridge both live and programmed percussion: danceable and unpredictable, his beats draw the listener inward rather than blast out. Bostock describes the group's writing and production style (for the most part, done all on their own) as one in which each member is responsible for his instrument but all have a voice in the whole. "We see each of us a dimension in the band. We're three equal parts," Bostock says.

Not only have Bostock, Nicholls and Froggatt expanded their early chemistry into a self-sufficient writing and recording project, but theirs is also a partnership philosophically built on synergy. "We've grown up through this band and we've seen a lot already," Froggatt explains. "I want people who listen to us to know that even though life can throw punches, you can push back through anything and come out the other side."
Beacon
Beacon
Beacon’s third full­ length record enters sight as a work of meticulous revision and refraction.

Returning home to New York in 2016, four years and several tours since the duo's first release with Ghostly International, Thomas Mullarney III and Jacob Gossett knew the next direction would be different. Together they embarked on open­-ended sessions, adopting a more linear style of songwriting compared to their previous loop and texture­-driven method. They fundamentally constructed demos from piano chords and guitar phrases with vocal melodies, editing iterations almost ad infinitum, looking through each from a multitude of angles. Compositions expanded, while others pared back to where they began. Like the bending of light, this abstractive and patient process outlines a space and scale in which seemingly separate colors — minimalist ballads, elaborate pop spirituals, and driving dance sequences — can coexist at different speeds, fanning out with spectral cohesion. A prismatic collection Beacon call Gravity Pairs, which is set for a November 2nd release on Ghostly International.

“All matter is created by dividing gravity into pairs,” said 20th­ century scientific­ mystic Walter Russell, whose idiosyncratic “new world­ thought” writings and musically-­informed schematic drawings were as fringe in their time as they are fascinating. Mullarney details the concept further: "’Gravity Pairs’ is how Walter Russell describes the rhythmic order of the universe. I kept reading 'pairs' as both a noun and verb; simultaneously the elemental units of Russell’s balanced universe and the process that brings us together." This curiosity of natural phenomena shines through the album’s kaleidoscopic artwork — dichroic glass prisms photographed by the band themselves —and its lyrics, most directly through the narrative device of light.

On the somber ballad “Losing My Mind,” the duo’s boldest sonic departure to date, Mullarney sings of stability, whether romantic or spiritual, and the comfort in knowing someone remains in the absence of light. Written on piano, the song first swelled into a full­-bodied arrangement before reverting to its original shell, as Gossett explains. “I came back from a trip and Tom had a new edit that was completely stripped back. Sometimes it just takes those infinite iterations to finally crack the code.”

With each iterative breakthrough, Beacon expanded the spectrum of these recordings as well as their possibilities in the live setting. The material can be played straight or in previous variations, enhanced by the recent addition of a drummer to their live band. Another epiphany came in the spring of 2017 when Beacon joined Tycho at Coachella and for dates in Europe, with Mullarney experimenting as the band’s first ever vocalist. “Just doing things at that scale, and at that point in the record, was really validating,” says Mullarney. “We came back with confidence to finally finish the record.”

Two models exemplifying this mode are "Be My Organ" and “On Ice.” The former is sketched out in real time in the new video streaming on YouTube. The latter is a smoke-­filled still ­life. Notes arpeggiate along a cool, motorik beat as Mullarney repeats “you’re not moving,” his vocals vaporized and echoed. The former elevates on a percussive build, reaching its peak in the final strobe­ lit minute. Then there’s a late album flourish, “The Road,” which, through pinwheeling repetitions beamed into four­-on-­the­-floor framework — from Tycho drummer Rory O'Connor — folds vibrating wavelengths into a symphony of fragmentary energies.

Russell, the mystic, believed in balance, a rhythmic exchange “between all pairs of opposite expressions.” On Gravity Pairs, Beacon channel the philosophy with pure pop mystique, slicing through dense and foggy dance and electronic music apparatuses to create something familiar but unique, melodic but cathartic. Rippling through these songs are iridescent synthesizer lines, stoic piano phrasing, dazzling percussion, posh harpsichord, understated xylophone, and a crisp voice in complete control. Taken as a whole, in their various combinations and compressions, these complementary and secondary tones unlock the lushest field of color, a universe of light.