Lark Hall and ElmThree Productions present, Ghost Light.
Doors 8pm; Show 9pm
I think of this album like a bunch of abstract paintings,” says Ghost Light’s Tom Hamilton. “We present the songs as a series meant to be experienced in a certain order, but at the end of the day, whatever that series makes you feel is totally up to you.”
In that sense, Ghost Light’s brilliant debut album, ‘Best Kept Secrets,’ functions much like the band itself, drawing beauty and strength from both its complementary pairings and its unexpected juxtapositions. Formed in 2017, the group brings together five consummately talented artists from across the musical spectrum—guitarists/singers Tom Hamilton and Raina Mullen, pianist Holly Bowling, bassist Dan Africano, and drummer Scotty Zwang—and thrusts them into a wholly new context. The result is a record that transcends the sonic contributions and background of any single member, a collection that’s at once gritty and refined, sprawling and restrained, straightforward and psychedelic.
“When we started this band, all I wanted to do was make the most original sounding music we could possibly come up with,” says Mullen. “Everyone’s tastes and histories were so different from each other that I was really excited to see where the five of us could go as a group.”
Hamilton and Mullen began writing the core of the album in the spring of 2017, focusing solely on instrumental arrangements at first as they chased new sounds and experiences with a little bit of chemical assistance.
“We wanted to see what would happen if we opened up some new creative doors, so we got a whole bunch of LSD,” remembers Hamilton with a laugh. “Twice a week for a few months, Raina and I would eat acid and just work in the studio all night.”
The songs they wrote during those sessions were epic and immersive, influenced by a broad array of stimuli from the tense American political atmosphere to classic cinema. They drew on seemingly incongruous influences (“What would it sound like if Sufjan Stevens made a Soundgarden album?”) and composed with a filmmakers’ eye, scoring the dynamic scenes in their heads with vivid detail and deep emotion. While many of the tracks would ultimately end up being fleshed out with lyrics, several tunes remained fixed as instrumentals even on the finished album.
“I wanted to approach creating our own world the way a director would,” explains Hamilton. “Most of the songs have lyrics and those are sort of like the dialogue in a film, but in between those moments, you have these instrumental tracks, which are like long, lingering landscape shots. Those are just as important to telling the story because they’re all about context and understanding your surroundings.”
One at a time, the rest of the band began visiting Hamilton and Mullen to delve into the process of fleshing out those early demos. Lyons and Zwang developed bass and drum parts, respectively, and Bowling brought some of her own compositions to the table in addition to contributing keyboard arrangements. The process of artistic cross-pollination proved to be a rich one, and it helped break new ground for all involved.