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Thursday February 23 2023
 8:00PM doors -- music at 8:30PM
$15 in advance / $17 at the door
Noise Pop 30 presents:
Kristine Leschper (fka Mothers)
 avant-garde indie pop
Madeline Kenney
 art rock dream pop
Stephen Steinbrink
 experimental pop

Kristine Leschper (fka Mothers)
-from Philadelphia, PA
-Kristine Leschper is an interdisciplinary artist working in sound, text, image, and performance. Her work positions itself around the spectacle of the human condition, deeply interested in questions of meaning-making, womanhood, socio-ecological systems, and the wielding of power. Her personal philosophies around music-making approach the sonic landscape as an object with shape, dimension and weight. She has presented over 250 live performances across the US, UK, and Europe.

Leschper’s The Opening, Or Closing Of A Door, due March 4 via ANTI/Epitaph, is a paean to the sensory world. It’s the first Leschper has released under her given name, having retired the moniker Mothers after eight years of performing and releasing music under it. Though both projects are guided by Leschper’s idiosyncratic approach to songwriting, they couldn’t sound more different. While Mothers drew inspiration from the stark, skeletal sounds of post-punk and contemporary folk, Leschper’s new work is practically baroque, integrating an array of synthesizers, strings, woodwinds, and over a dozen percussive instruments. 

Madeline Kenney
-from Oakland, CA
-Madeline is a musician, baker, artist, sucker, living in Oakland, CA.

On her self-produced EP, Summer Quarter, Madeline Kenney untangles moments of existential doubt and experiments with genre. After touring was cancelled following her album Sucker’s Lunch, Kenney was confronted by an extended period of unplanned time, sending her down a rabbit hole to reflect on where she ended up. She thus shifted her focus to conducting a study of new sonic interests and experimental production, a rare opportunity that could only present itself as time slowed down. The songs on Summer Quarter echo and ripple as she meanders between worldly questions and intimate observations, recording the loops that occur when you have almost too much time to think.

Kenney’s career has been notably dotted with collaborators like Jenn Wasner of Wye Oak and Chaz Bear of Toro y Moi, but this work is the first that is entirely produced by Kenney herself; all recorded in her windowless basement in Oakland, CA. With Summer Quarter, she is able to showcase her musical curiosity, letting herself experiment with soft synths and vocal treatments previously unassociated with her catalog. She stitches together dreamy sounds that both harmonize and contrast, pushing against the constraints that genres inherently assert. As she explores deeper into new musical territory, she unpacks the profound realization that life hasn’t turned out the way she expected. On the track “Wasted Time” she sings “So far/I’m going over everything /I care/But only when I’m suffering,” looking for ways forward through an existential fog.

Madeline Kenney can make the most intimate and introspective of subjects still articulate the universal feelings that hide in people’s minds. Summer Quarter is not only an exposition of Madeline Kenney’s curiosity for music, but also a means to pause and wonder about how the world seems to just carry on, no matter how hard we try to catch up. 

Stephen Steinbrink
-from Oakland, CA
-Stephen Steinbrink was born in 1988 in a non-descript stucco hospital franchise adjacent to a Circle K in the ultra-conservative Phoenix suburb of Mesa, AZ. He grew up and learned to play guitar to deal. The majority of his teens and twenties were spent living an improvised and experimental existence, being nowhere and recording incessantly. His 8 LPs of pop songs have been released in Japan, Europe & North America, and has performed in dozens of countries around the world. As a session player, he has collaborated with Girlpool, Dear Nora, Broken Water, AJJ, Flying Circles, Ever Ending Kicks and LAKE. He currently lives and works in Oakland, CA.

“Recalls the magic pop purity of Arthur Russell… its minimalism manages to feel enlightened and transformative.” -Pitchfork

“Lushly arranged pop songs, the listener can tie and untie Steinbrink’s vivid and unrelated images into something meaningful” -NPR

“Melodic and self-assured. Steinbrink delivers his knotted lyricism with a smooth lilt.” -Stereogum