Dust of Suns, with The Sun Babies

Dust of Suns, with The Sun Babies

Fri · March 22, 2019

Doors: 7:30 pm / Show: 8:00 pm


Tickets at the Door

Dust of Suns
Dust of Suns
Chris Lynch with the Dust of Suns Ensemble, Eventide

Eventide is the second collection of delicate
instrumental miniatures by Chris Lynch with the Dust
of Suns Ensemble, this time working in collaboration
with the photographer Hannah Lynch. Though the
piano-led group resembles a chamber quartet, they’re
playing popular music, but pop whose touchstones
mainly predate rock of the sort Lynch grew up with
and has most prominently performed.

On Eventide and its predecessor, Dreams for Hannah,
Lynch draws on bal-musette—French accordion music
springing from fin de siècle bars and between-the-wars
bohemian cafés—as well as Erik Satie, classic
American and French film scores, music boxes,
lullabies, klezmer, and a few irrepressible harmonies
and melodies redolent of the pop-rock Lynch loves
with equal enthusiasm. Though Lynch writes all the
music and guides the group’s sensibility, the
arrangements are worked out collectively with harpist
Phala Tracy, cellist Anna Lee Roberts, and upright
bassist and producer John Munson, best known for his
work in Semisonic, the New Standards, and Trip
Shakespeare. In addition to working collaboratively
with the other musicians, Lynch wrote these latest
pieces as a companion to a series of twilit color images
by his wife Hannah, an accomplished photographer
with a particular gift for portraiture and urban
naturalism. Her series, also called Eventide, often
depicts preteens in the distended, lightly supervised
late afternoons and early evenings of summer. One of
the shots from the series is featured on the album’s
cover, and a limited-edition photobook can be
purchased in tandem with the ten-inch vinyl album,
which is also available as a digital download.

Eventide’s ten short, hummable pieces—Lynch is right
to call them songs—are mostly waltzes, though the
wistful title track and a few stray measures are in
common time. Lynch maintains the dominant threefour pulse with frequently arpeggiated left-hand chords
and keeps his right-hand melodies lyrical and relatively
simple. These are gentle, expressive pieces—though
they derive from different sources, they sometimes
bear a kinship with Chick Corea’s Children’s Songs.
While there’s a charming sepia tone to the project, it
doesn’t feel reproductive; this is idiosyncratic, living
music, evocative as background (“furniture music,” as
Satie put it) but worthy of close attention. As with
Dreams for Hannah, the album was recorded live—
with very little overdubbing and editing, that is—to
analog tape.

A multi-instrumentalist and singer-songwriter, Lynch
has been performing in Minneapolis-based groups
since the 1980s. He first attracted notice as frontman
for the Picadors, a crafty pop-rock five-piece that also
included brothers Adam and Noah Levy, who would go
on to form the Honeydogs. In the mid-’90s, Lynch
resurfaced with Eller Lynch, a sometimes augmented
pop-folk duo co-led by the versatile John Eller, with
whom Lynch has reunited for his current rock project,
the Shiny Lights. By day, Lynch is a clinical specialist
for Medtronic. Hannah is an in-house photographer for
a health-care company and works independently as an
art photographer and portraitist. They live in
Minneapolis with their son, Mick, the subject of the
album’s cover image.
Venue Information:
The Warming House
4001 Bryant Ave South
Minneapolis, MN, 55409