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The Watson Twins

The Watson Twins

Indie / Americana / Folk Los Angeles, CA  US
Ain't No Sunshine
Ain't No Sunshine
Brave One
Brave One
Old Ways
Old Ways
Just Like Heaven
Just Like Heaven
Modern Man
Modern Man


Savin' You


  • 2014

    Nov 20

    Nashville, TN, US | 12:00am
  • 2014

    Jan 17

    Nashville, TN, US | 9:00pm
  • 2012

    Nov 16

    San Diego, CA, US | 7:30pm
  • 2012

    Jul 1

    Yucca Valley, CA, US | 12:00am

    free show with THE WATSON TWINS & JESSE SYKES! The journey began in 2006, when The Watson Twins self-released their first EP Southern Manners, as well as Rabbit Fur Coat, (Team Love), the critically acclaimed collaboration with Jenny Lewis. In the next four years, the group released two more albums Fire Songs, and Talking To You, Talking To Me, on legendary folk/jazz label Vanguard Records.  Their latest recording, NIGHT COVERS, (Self-Release) is a collection of cover songs pulling from influences and favorites spanning the last five decades.Over the years, the sisters have put their spin on a handful of covers, including a languid southern gothic version of The Cure’s “Just Like Heaven“ that was featured on both Fire Songs, and the Grammy-nominated True Blood Soundtrack Season 1.  The overwhelming response to this cover song and others played on the road, inspired The Watson Twins to head back in the studio and record NIGHT COVERS.Although the original songs range greatly in style, the twins make them unique by adding their signature harmonies and crooning vocal melodies.  Recorded in one week at New Monkey Studio in Van Nuys, CA, the EP’s live intimate sound showcases both the players’ skillfulness and a gentle restraint that weaves a sonic landscape reflecting the Indie-folk, Americana and Soul spirit of their previous albums.The Watson Twins will be touring throughout the year, playing familiar songs from earlier records and previewing new ones from their forthcoming full-length album (2012).  Returning to their roots with the self-release of NIGHT COVERS, the twins show their dedication to making music that is both personal and heartfelt. http://www.thewatsontwins.comJesse Sykes&The Sweet Hereafter follow up 2007’s critically acclaimed ‘Like Love, Lust and the Open Halls of the Soul’ with ‘Marble Son’, their fourth release from Paris's Fargo Records and the first on their own US imprint Station Grey/Thirty Tigers.  Sykes and Wandscher took on full production duties for ‘Marble Son’; recorded entirely in and around their hometown of Seattle (engineered by Mell Dettmer and mixed by Martin Fevyear). ‘Marble Son’ exemplifies a band at their creative pinnacle—heavier and more complex than previous records; the music resonates among the parallel worlds of the avant-garde and the timeless. Sykes’ voice and sometimes-mystical leanings (the former described aptly by Magnet as “sounding less like a performer and more like a sage”) and her band’s incomparable musical repoire culminate in what the New York Times has described as “spellbound music, rapt in fatalism and sorrow.” Syke’s trademark thematic darkness and acclaimed songwriting have never been more present; yet ‘Marble Son’ speaks of evolution, which Sykes describes as, “a sonic mirror of the most chaotic, turbulent times of our lives, where beauty triumphed, and the tears that spilled became this record".The album begins with ‘Hushed By Devotion’, an 8 minute, swelling, rock opus— reminiscent of 1960's San Francisco inspired psychedelia, which provides Wandscher (who co-wrote more of this record then previous) the sonic space to explore the depths of his guitar genius. Characterized by an emblazoned guitar solo, ghostly layered-vocal murmurings; and trademark lyrical poignancy—it’s a brilliant, ambitious statement of intent that commands attention. The record is an extension of their previous work, influenced in part by an association with the art-metal movement centered around Los Angeles label Southern Lord. This “unlikely” musical friendship between Sykes and influential underground bands SunnO))) and Boris was immortalized on the 2006 album ‘Altar’ (in which Sykes sang and co-wrote the much beloved underground classic "The Sinking Belle",) culminating in a headlining performance of "Altar" at the ATP festival last summer. The band has also toured with Earth, a group commonly acknowledged as one of the major progenitors of heavy-doom (and another member of the Southern Lord roster),  psych-rock maestros Black Mountain, and recently appeared at Holland’s Roadburn Festival, curated by SunnO)) themselves, this past April. Their musical kinship is audible in ‘Marble Son’—an utterly unique, yet subtle genre crossover. ‘Marble Son’ is a journey—a gutsy romp laced with moments of shimmering, retro beauty, underpinned by pastoral images of Syke’s interior world unfolding. Listen to the standout track ‘Pleasuring the Divine’, a gritty roar of a song, fed by Wandscher’s frenetic riffs, sludgy feedback, combined with frantic drumming—it’s entirely unexpected and totally mesmerizing.   That’s not to say that there aren’t moments of hushed acoustic wonder amongst the 11 tracks. ‘Be It Me, Or Be It None’ is a glorious four minutes of hazy, Tim Buckley-esque folk, while album closer ‘Wooden Roses’ is an ethereal meditation on finding love only too late--guitars sparkle, strings stir, and Sykes’ voice swells and creaks beautifully right up until the final second. ‘Marble Son’ is the sound of a band evolving—urgently expanding to mirror the chaos of modern culture while not forgetting the beauty of the tender and mecurial world that exists within us all—the result is more relevant than ever… and, as Jesse puts it; "We have never been closer to sounding like "The Sweet Hereafter" then we do here". What a sweet sound it is. V.K."I liked the idea of something beautiful that may or may not be appreciated in its own time...of course a statue comes to mind...they seem to last forever in human terms, and they still are considered beautiful and viable even as they disintegrate. Some were built so well that their dissolution is almost more powerful than the pristine form—as it disintegrates, it exposes the creative process, the bare essentials....and in the fragments left-an arm, a torso, speak volumes in their decaying state. There's a line in the song  that goes..."Oh marble son, why can’t I love you more? I wish I'd found you beautiful before." That line reflects where I'm at in life...many things I didn't appreciate when I was young, I find beautiful now and vice versa. I think about relationships and how people can "miss the boat” in their lifetime, but if we need to wait another lifetime to understand a certain kind of love, then so be it. For some, it might take many lifetimes to discover, for others--well... they luck out and have a love that transcends time! We all have our evolutionary path to understanding our capacity to love and to understand beauty. The idea or image of a marble son just spoke to me on all these levels.... strong, forgotten, loved, beautiful, sad..... eternal."  jesse sykes ..I am not a musician or a song-writer in my innermost sanctum--I’m more so a person trying to understand existence by attempting to create a visceral sonic experience with the elegance to depict the complexities of "being". j.sykes 2011 http://www.jessesykes.com

  • 2012

    Jun 26

    San Diego, CA, US | 7:00pm

    NOTE EARLY DOORS Stephen Rey added to the show, but its a solo acoustic set for him, come see it.


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  • Red Handed Bandits
  • Night Covers



The journey began in 2006, when The Watson Twins self-released their first EP Southern Manners, as well as Rabbit Fur Coat, (Team Love), the critically acclaimed collaboration with Jenny Lewis. In the next four years, the group released two more albums Fire Songs, and Talking To You, T...See Full Bio

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“Happily their mellowness is balanced by musical variety, from 'Snow Canyons' hint of Emmylou Harris country to 'Forever Me', which is pure Bjork-ish tourch song indie. They're at their best doing languorous, late-night, honky-tonk blues tinted with soul; and one song, 'Give Me A Chance', even emulates the spooked mournfulness of Roy Orbison.”

— Q Magazine

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