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AN EVENING WITH PETRA GLYNT
Songbyrd Presents
Upstairs, All Ages


DOORS: 5:00 PM // SHOW: 6:00 PM

Free!
FREE RSVP

 

Sunday, October 7th, 2018

Songbyrd Presents

Vinyl Lounge, All Ages

Free w/ $5 Suggested Donation

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There have been no lack of colorful terms used to describe life in a post-Trump world. Take your pick: “horror show,” “shit show,” “nightmare,” “dumpster fire,” “end times,” and so on. The debut album from Montreal-based visual artist-turned-electronic-pop provocateur Alexandra Mackenzie—a.k.a. Petra Glynt—offers a different take: To her, it’s all a trip. (And judging by the phantasmagoric nature of both her illustrations and music, it’s safe to assume the hallucinogenic interpretation applies here.) “Trip” is a word that hits with the same visceral impact as those mentioned above, yet it doesn’t quite carry the same apocalyptic connotations. Trips can certainly be frightening and traumatic, rendering the world before your eyes as something horrible and grotesque. But, if you can keep your shit together, they ultimately do come to an end, and their most turbulent stretches can be more easily navigated with a supportive guide at your side looking out for your well-being.

Throughout This Trip, Mackenize assumes the mantle of Pied Piper, leading us through this waking nightmare toward the light. It’s a role she’s accustomed to—activism and community have always been central to her music and art. A product of the same experimental Toronto scene that yielded fellow avant-pop radical Lido Pimienta, Mackenzie approaches performance as if preparing for war—against patriarchy, against environmental neglect, against austerity economics. Bathed in intensely psychedelic projections, she’ll lay down thundering rhythm tracks using a floor tom and loop them through pedals, before layering on distorted, disorienting electronics in rhythmic swells. And then she unleashes her most powerful weapon of all: a striking, sonorous, opera-schooled voice that’s part stern school headmaster, part veteran soul diva. On strident early tracks like “Sour Paradise” and “Of This Land,” that voice had to bust through the surrounding clamor with the force of a battering ram in order to get their eco-conscious invectives across. They were the sort of songs that, 40 years ago, you could imagine being belted out by a hippie busker trying to get the attention of aloof white-collared businessmen on their way to work. But Mackenzie’s music can’t help but reflect the manic, sensory-overloaded nature of 21st-century life, and her voice is the blaring megaphone that modern protest music requires." - Pitchfork