Dease’s set tonight not only reminds me why she’s such highly esteemed – it reminds me of a number of the reasons I love music. From the thick, yawning textures of the omnichord to Dease’s treacle-noir vocal incantations and the bedroomy chug of the drum machine, everything melds into a dreamlike whole, while letting details shine through; Tristen Parr’s ingenious, often unpredictable cello layerings seal the deal. But it’s not just that the ingredients are all great quality: fundamentally, these are just really amazing songs, which simmer and grow and billow and shrink, lurking in dirgey corners or lighting up into sudden, unexpected harmonic modulations. Commentators, from my experience, are quick to wax on about Dease’s excellent voice and beguiling aesthetic. But the minutiae of the musical ideas, too numerous and intricate to list, are best apprehended in the listening, and they elevate these songs to a plane of brilliance.
Rarely is a musician more suited to their physical surroundings than Rachael Dease was under the towering pines beneath a darkened sky. And rarely is that musician one of the most compelling performers in the country. Dease and her backing band of three (later expanded to six with the addition of a trio of violinists) intoxicated the audience with a haunting brand of desert noir. And that voice – bellowing and brittle – is one of the most beautiful sounds you’ll ever hear from a human being.
Dease coupled her funeral dirge-styled, slow bluesy sound with an incredible stage presence. Even when she is simply standing behind her synthesizer swaying in time to the music, it feels like she is singing her tales of failed love, loneliness and despair directly to you.
Armed with omnichord, a drummer and her haunting voice, Dease had little trouble casting her hypnotic spell over the audience. Through her solo work Dease has been picking up a lot of buzz lately and it’s not hard to see why. The dark, moody, ambient synth tones made a perfect match to her rich voice. She wove through “All In All Out” and “Win The Losing Game” with the sort of power and vocal control any talent show wannabe would sign their soul over for
Maintaining pop sensibilities among some sorcerous songwriting (think Karen O under the influence of David Lynch), the engaging vocal talents of Dease allowed her to pull off a very challenging aesthetic
Known by most as the front woman of Schvendes, it is clearly evident from her performance tonight that Dease’s solo career is one to watch. Her vocals, ranging from dreamy ethereal pop to an eerie, almost terrifying croon, made for an enigmatic and exciting performance
Armed with an Omnichord and a voice, Schvendes temptress Rachael Dease was welcome relief in the beer garden. The crowd swayed to Give Up the Ghost with its air of Casio country and crooning on a doomed ocean cruise.
Rachael Dease fascinated with her Twin Peaks-y ambient-pop