Tall Heights at Songbyrd @ Songbyrd Music House & Record Cafe, Washington [18 October]

Tall Heights at Songbyrd


11
18
October
19:00

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Songbyrd Music House & Record Cafe
2477-2475 18th St NW, Washington, District of Columbia 20009
ON SALE NOW!
— LiveNation Presents @ Songbyrd Music House
Tall Heights
Wednesday October 18, 2017
D: 7:00 // S: 8:00 PM
— Getting there is half the fun, as the old saying goes, but the journey is really the whole point for Boston electrofolk duo Tall Heights. Singer/guitarist Tim Harrington and singer/cellist Paul Wright know where they’ve been, and where they want to go. As for the route, well, “we’re just mapping it out as we take it, day by day,” says Harrington.

They’ve reached their biggest junction so far — Neptune, out now, is Tall Heights’ first album for Sony Music Masterworks, and the latest step in the ongoing evolution of their sound and style.

Harrington and Wright formed Tall Heights in 2010, keeping their songs stripped down to their essential elements, in part, to make it simpler to perform on the streets of Boston.

Neptune is a far lusher construct: along with pristine and emotive vocal harmonies, there’s subtly chugging electric guitar and a spare descending bassline on “Iron in the Fire,” ethereal synthesizers and a spacious drum part on “Spirit Cold,” a brittle splash of percussion to open “Backwards and Forwards” and feedback created by two cellphones on “Cross My Mind.”

“It was helpful and I think comforting to define ourselves as two vocalists, guitar and cello,” Wright says. “There was a beauty and a simplicity, and stepping outside of that box is pretty scary, because you’re forced to redefine yourself and do some sonic soul-searching. I think this record reflects the results of that scary step.”

The band’s broadening sound came from the musicians’ conscious effort to push themselves, and each other, to create in new ways. By relying on a few core elements at the start, the duo learned to make the most of their minimalist set-up. “It taught us to be lean and mean and effective with just two voices and two instruments,” Harrington says. “It made us consider vocal tone and the way voices can mesh and interact.”
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