The Village Bicycle, Ouster
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Angela Perley’s been writing tragic love songs rooted in folk, cosmic country and indie rock for over a decade now, and it all started with The Howlin’ Moons, an American rock band from Columbus, Ohio. Perley began making demos in college, dressing them up in brown paper bags (CD sleeves with personalized artwork and a decorative track list on the flip-side). Soon enough, Perley’s demos were heard by Fred Blitzer, CEO of Vital Companies, who arranged for Perley to meet and begin working with Columbus-based musicians Chris Connor and Billy Zehnal.
In quick succession, Angela Perley & The Howlin’ Moons found themselves performing at Nelsonville Music Festival alongside acts like The Flaming Lips, St. Vincent, Randy Newman, Merle Haggard and Gillian Welch. In 2018, Perley and her band performed at an official showcase during Americanafest with Ruby Boots, Ladies Gun Club, Lilly Hiatt and Lucie Silvas at The Basement East in Nashville, TN. Since then she has opened for Lucinda Williams, Patrick Sweany and Tyler Childers, and has shared bills with Angel Olsen, Nathaniel Rateliff & The Night Sweats and Courtney Barnett.
All of this has led up to Perley’s forthcoming LP, 4:30 (out Aug. 2), her first solo effort which she co-produced with longtime guitarist and collaborator, Chris Connor. During the final phase of production, she called on Michael Landolt (Maroon 5, O.A.R.) to mix the record and Dave Collins (D’Angelo, Bruce Springsteen) for mastering. Her third full-length record illustrates the songwriter’s knack for deft storytelling, warm vocal layers and disarming melodies that beget personal growth and mobility, surging from raw and far-sighted pathos. Robbie Crowell (Deer Tick, Diamond Rugs) contributes Hammond organ, Wurlitzer and Piano, adding crucial texture to the album, a la Al Kooper (Highway 61 / Blonde on Blonde era). Chris Connor’s guitar parts and song arrangements provide a lush and expansive soundtrack for Perley’s songs with touches of psychedelic delays and smoky tremolos to compliment her sonorous vocals.
Perley's character-driven love songs on 4:30 are surreal in their ability to master genre-fluidity, with forthright storytelling, wry lyricism and a host of dreamy instrumentation. Colorful acoustic and electric pianos, rich and elegant strings (i.e. “Don’t Look Back Mary”), breezy organ and punctual pedal steel (i.e. “Snake Charmer”), along with soft and sweet folk and pop melodies reminiscent of Patsy Cline and Jenny Lewis (i.e. “Local Heroes” & “4:30”) pervade the record. Perley is a self-taught guitarist, gravitating toward folk giants and personal heroes such as Bob Dylan and Neil Young. “I taught myself a couple chords on guitar and then that was it. I was really into solo performances at first, and told myself, ‘Okay, I can do this,’” says Perley. Other early influences include Lucinda Williams, Patti Smith, and David Bowie.
Perley’s music is replete with realism and her methods of storytelling are deep and refreshing. This combination reveals an uncanny ability to finesse characters and poetry out of real life events, culling from important figures in her life with an effortless, stream-of-consciousness zeal. “Being realistic but also never giving up your sense of wonder about the world of art and music has been paramount to my growth as a songwriter,” says Perley.
4:30 a.m. also happens to be Perley's bedtime. “4:30 is when my body’s natural sleep cycle begins so if I’m not on a schedule I tend to stay up until then," says Perley. "My creative time begins as soon as the sun goes down. I'm definitely a night owl. I don't know what it is... but there's something special about it. It's dark outside, and it's quiet.”
The Village Bicycle
Rust belt longings and polyamorous harmonies are laced through clanging guitars and soaring keyboard countermelodies, all underscored by a hard-hitting, relentless, and thoroughly kick ass rhythm section. Inspired by bizarre nap dreams, life changes and the overwhelming pull to connect to the universe and every being in it, The Village Bicycle ponders the big questions while still enjoying life’s little mysteries. They thoroughly love sharing themselves through their music, and their enigmatic energy onstage makes for an awesome, upbeat live experience.
"This Cleveland outfit softens its mathy melodies and shoegaze fuzz with retro sci-fi synth, trippy psychedelic production, and vocals that shift from delicate and feminine to tough, brazen and even funny. Backed by a quirky, Abba-meets-the-Andrews-Sisters chorus, it creates music that’s fun, refreshing and thought-provoking." -The Charlotte Observer, North Carolina.
Desarae Petersen grew up in Wasilla, Alaska and moved to the Cleveland area for college in 2008. Matt Meinke grew up in the Cleveland area. They met in 2011 at their job and quickly became enamored in music together with 4 am jam sessions including multiple other friends depending on the night.
Ouster formed in 2015 with a placeholder name Darling Daylight. It was a mash up of the two Cleveland based projects indie rock band Daylight Is the Dream and acoustic folk act Darling. Matt Meinke and Desarae Petersen worked together musically previously but were more serious about their separate projects for the most part before starting Ouster together.
Ouster has gone through a couple line up changes to find a reliable drummer and in 2017 Richard Spitalsky of Extra Medium Pony and previously drummer of Daylight is the Dream joined in. He left in December of 2018 to work on a record for his personal band. Lisa Kimpel of Meg and the Magnetosphere promptly joined the group saving their record release show in December of 2018 and becoming a meshing member of their live performances ever since.
During the two year span Desarae and Matt recorded their first lp Muted Window / Hollow Dive at Upper Room Recordings in Elyria Ohio.
After many sessions recording mixing and mastering, they finally settled with what is now a ten song album recorded mixed and mastered through a four track TEAC reel to reel tape machine.
Ouster flaunts a lo fi Cleveland sound and is influenced by bands like Magnolia Electric co. Elliott Smith, Dr. Dog & Parquet Courts. ‘You Don’t Want Out’ was the first song that was co-written by Matt and Des instead of being brought to each other and the first song recorded straight to 7 inch tape on the Teac.
The name Ouster popped into Matts head as we entered one one of the scariest elections personally encountered by the band. The first show they played was ’Fvck Rape Culture’ a fundraiser to unseat Judge Persky, as well as shows of support to the No DAPL and food not bombs. It just seemed the name came right in the nick of time with our societal climate.
‘Ouster’s goal is to make music that is relatable, classic and familiar. To give listeners a safe place to be in their heads. Everybody has been through something and we are very happy to be able to put music out there to help those who need it in hard times . Politics, mental health, and drug abuse are main themes in a lot of the songs on the album and things we are very passionate about.’ -Desarae Petersen
Ouster is a proud Cleveland rock and roll band hoping to bring back that 60s protest feel with a modern indie twist.
15711 Waterloo Rd
Cleveland, OH, 44110