|Sonya D. Kitchell — We Come Apart (January 22, 2016)|
Sonya D. Kitchell — We Come Apart (January 22, 2016)
♦ Only 16 when her debut was released, Sonya Kitchell’s smoky, sophisticated style offered little evidence of her youth. S.D.K. is an American singer–songwriter. “TRANSCENDENT MOMENTS OF BEAUTY.” BOSTON GLOBE
♦ She is the daughter of photographer / artist Peter Kitchell, and illustrator Gayle Kabaker and has a younger brother, Max Kitchell. She and her father had a father/daughter photography exhibit at Gallery 137 featuring 15 large prints and 20 smaller prints.
Born: March 1, 1989 in Ashfield, MAssachusetts
Location: Brooklyn, NY
Album release: Jan. 22, 2016
Record Release: for We Come Apart Jan. 22 at Mercury Lounge, NY!
Record Label: Relativity Media/Rockwood Music Hall
01 Follow Me In 3:41
02 Mexico 3:47
03 At First 3:41
04 Stay for a While 4:26
05 Fight or Flight 6:06
06 Lucifer 2:09
07 Hurricane 3:55
08 This Feeling 3:07
09 Looking into the Sun 3:02
10 James 4:21
11 The Dust 4:09
12 We Come Apart 5:29
℗ 2015 Rockwood Music Hall
♦ Miles Arntzen Drums
♦ Findlay Brown Guitar (Acoustic)
♦ Isabel Castellvi Cello
♦ Alex Chakour Bass, Guitar, Guitar (Electric), Synthesizer
♦ Alby Cohen Drum Engineering
♦ Chris Cubeta Drums
♦ Adam Deitch Drums
♦ Neal Evans Clarinet, Harp, Organ
♦ Cochemea Gastelum Horn Arrangements, Sax (Baritone)
♦ Bryce Goggins Glockenspiel, Mixing
♦ David Guy Horn Arrangements, Trumpet
♦ Scott Hull Mastering
♦ Shahzad Ismaily Banjo, Bass, Engineer, Guitar, Guitar (Electric), Percussion, Synthesizer, Waterphone
♦ Sonya Kitchell Beats, Composer, Engineer, Guitar, Guitar (Acoustic), Guitar (Electric), Organ, Piano, Producer, Synthesizer, Vocals
♦ Mathias Kunzli Percussion
♦ Lee Madeloni Drums, Engineer
♦ June Millington Guitar (Electric)
♦ Mother Nature Rainstick
♦ Skye Steele String Arrangements, Viola, Violin
♦ Neal Sugarman Horn Arrangements, Sax (Tenor)
♦ Gyða Valtýsdóttir Cello
♦ Nathaniel Walcott Flugelhorn, Horn Arrangements, Trumpet
Similar albums: Norah Jones, Little Broken Hearts / Natalie Merchant, Motherland / Nellie McKay, Obligatory Villagers
Notes about her video:
♦ Sonya Kitchell is debuting her music video for “Mexico,” a track featuring cellist Gyda Valtysdottir of MUM. Kitchell shot, directed, and appears in the video. Of the process, Kitchell said:
♦ I’ve been taking photographs as long as I’ve been writing songs. Growing up in rural Massachusetts I would photograph my girlfriends in the woods. We would often pose nude as a form of self expression. As young women finding self acceptance in a modern world that doesn’t give it away freely.
♦ When the time came to make a music video for this record — my first in seven years, and my first time ever producing/engineering — it just made sense to keep the same hands–on DIY approach. What better subject than my original inspiration: the women in my life? I spent an afternoon with each woman filming them as they did what made them individually feel best. My aim to share with people the private moment where all eyes are off and beauty is without judgement.
♦ I thank my friends for their vulnerability.
)°— The 26–year–old Grammy winner also produced and engineered her new album, We Come Apart out January 22.
♠ Cold Day EP (Velour Recordings, 2005)
♠ Words Came Back to Me (Velour Recordings, 2006)
♠ This Storm (Decca Records, 2008)
♠ Convict of Conviction (429 Records, 2010)
♠ We Come Apart (Relativity Media, 2016)PRESS:
♠ “A knockout voice... Kitchell is destined for great things” — People
♠ “Extraordinary... a remarkably sophisticated collection of songs that belies the age of its creator.” — Anthony DeCurtis, Associate Editor Rolling Stone
♠ “Emerging as an adventurous musician subtle beyond her years, with a grit–and–honey voice that does pretty much whatever she wants it to — and she wants it to do a lot.” — Washington Post
♠ “Assured, mature vocals... We Come Apart marks a stage of reinvention for the singer.” — Village Voice
♠ “Slow–burning folk” — Indie Shuffle
♠ “Generously layered, but hardly packed; Kitchell left plenty of space open for her sandy voice, which tends to recall Feist in its brand new and newly lush surroundings.” — Consequence of Sound
♠ “We Come Apart is frankly brilliant… Kitchell’s voice is incredibly versatile and her emotional range is just as impressive.” — Popshifter
♠ “Kitchell expands her emotional repertoire, channeling a vulnerable PJ Harvey on the ballad “Who Knows After All”...her beautiful voice works its subtle magic.” — Entertainment Weekly (A–)
Author: Stewart Mason
)°— A jazz–influenced singer/songwriter whose primary influences appear to be Joni Mitchell (circa Hejira and Mingus) and Rickie Lee Jones, Sonya Kitchell was born on March 1, 1989. The Massachusetts–based artist first discovered her songwriting talent on the afternoon of September 11, 2001, when the 12–year–old Kitchell returned from school so shaken by the day’s terrorist attacks that she turned her journal entries into a song. Local press attention led to a one–off date at the Iron Horse Music Hall, a prominent local folk–oriented venue, which then led to the formation of a full–time gigging band, the Sonya Kitchell Band, in 2002. In 2003, one of Kitchell’s earliest songs won two Student Music Awards sponsored by DownBeat magazine, and Kitchell was accepted into a workshop for young jazz composers sponsored by the Kennedy Center. Signed to the eclectic AAA indie Velour Records (who roster also featured Dar Williams and Soulive), Kitchell released her debut EP, Cold Day, in 2005, with production by Suzanne Vega collaborator Steve Addabbo. Addabbo returned for Kitchell’s full–length debut, Words Came Back to Me, which was released in the spring of 2006; a sponsorship deal with Starbucks’ Hear Music label also brought the CD into coffee shops around the globe. Kitchell continued to hone her craft by playing live shows, including a multi–month run with Herbie Hancock, before returning in 2008 with the sophomore effort This Storm.
)°— It’s said that every cell in our bodies regenerates over the course of seven years, making us different people than we were before. It’s a different Sonya Kitchell who returns after seven years with We Come Apart, her first full–length album since 2008. The 12–track collection is due Jan. 22 on Rockwood Music Hall Recordings/Thirty Tigers.
)°— The time frame is fitting: the cycle of renewal is a theme running through We Come Apart. “There’s a beauty in disintegration and restoration,” Kitchell says. “Perhaps I was born with an awareness of the impermanence of things or perhaps it found me along the way — this album is an ode to that chaos and the most basic processes in life.”
)°— We Come Apart caps a period of growth and reinvention for Kitchell, who was 17 when she released her first album This Storm in 2006. Since then, she moved from her hometown in the hills of western Massachusetts to New York City, spent time in parts of Europe and Asia, worked as a side musician and a songwriter–for–hire, released the Convict of Conviction EP of chamber–pop in 2010, learned the technical side of recording music and dove deeper into photography and film. She also recorded We Come Apart two different times, once with money she raised through a PledgeMusic campaign and the second time with funds she scraped together herself.
)°— “My vision was not clear going into this project so it took me a while to get there,” she says. “I was searching for a sense of space and vulnerability in the songs I couldn’t quite find, like fumbling in the dark for velvet.”
)°— You can hear it in the drowsy sensuality of “Mexico,” where Kitchell sings in alluring tones over a classic–pop blend of piano, little sunbursts of guitar and a restless bassline that moves things along. Album opener “Follow Me In” has a folkier feel, with chiming guitars and ukulele chasing Kitchell’s voice into its breathy upper register; while “This Feeling” rides a stomping beat through walls of corrugated guitar as Kitchell sings with raw intensity. The album completes a cycle of its own by ending with the title track, an aching piano ballad that subtly underscores the theme of renewal.
)°— She recorded the bones of We Come Apart in a farmhouse in western Massachusetts, not far from where she grew up, working by herself and with multi–instrumentalist Shahzad Ismaily. Kitchell took the rough tracks back to New York, where she recruited friends to help her flesh out arrangements that include drums, percussion, horns and strings. The result is an album that feels true to her, a concept that Herbie Hancock had emphasized when she worked with the legendary jazz pianist.
)°— “He told me, ‘Success is being honest,’” Kitchell says. “I really learned from my time with him, and in general, that whatever we make has to be true. These songs come from a different kind of experience than my first two albums — living changes a person.”
)°— In addition to Hancock, Kitchell spent time playing and touring with bassist Tal Wilkenfeld (Jeff Beck, Jackson Browne) and the Brooklyn shoegaze band Blue Foundation. Kitchell teamed with the bassist and composer Garth Stevenson on Convict of Conviction, and also studied writers who inspire her, from Shakespeare to Bob Dylan and Leonard Cohen, deconstructing their work to peek at the innards. When she was home, she was in New York, which can be a hard, if rewarding, place to live.
)°— “It’s like a river that polishes us, but hopefully doesn’t reduce us to dust,” Kitchell says. “The hardship came from being broke for the first time and learning how to make ends meet and create art despite it all.”
)°— Giving up wasn’t really a choice. Kitchell realized during her seven years of renewal that making music for her is more than a vocation: it’s a necessity. “I absolutely have no choice in doing this,” she says. “If I could do something else, I would, but I can’t… It’s my oxygen.”
)°— The body of knowledge she acquired has led her to a moment of transition on We Come Apart, an album that stands at the borderline of her musical past even as it offers hints of directions she could well go.
)°— We Come Apart explores the remnants of things, the space in between our atoms. The album represents years of Kitchell’s learning from masters, unlearning expectations, and re–emerging as a vivid, fresh voice.
FOR BOOKING PLEASE CONTACT: LORI PETERS
)°— 617–969–0810 |
Relativity Media: http://relativitymedia.com/
|Sonya D. Kitchell — We Come Apart (January 22, 2016)|
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