The Invisible Orange Presents...

MARISSA NADLER

EIGHT BELLS

ASHLEY SHADOW

Tickets on sale NOW at Red Cat Records, Neptoon Records and online at https://orangetickets.ca/detalles_evento.php?id_evento=1530

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MARISSA NADLER

https://linktr.ee/marissanadler

Over the course of nearly 20 tireless years of writing, recording, and touring, Marissa Nadler has amassed one of the most singular catalogs in contemporary music. Her work glides between delicate folk, windswept Americana, doom metal-adjacent darkness, meditative ambient music, and fearlessly experimental sounds, all anchored in her unmistakable singing voice and finger-style guitar.

Shortly after finishing her Masters degree at the Rhode Island School of Design in Providence, Nadler released her first proper full-length album, the ethereal Ballads of Living and Dying, in2004. Though she was initially associated with the indie-folk movement, Nadler soon distinguished herself with her willingness to go darker and more personal, writing songs that felt deeply intimate with solitude and heartbreak while still retaining an otherworldly sheen. If she was born a century earlier, it’s not a stretch to imagine that her vast talents would be mistaken for conjured magic.

After a decade of releasing records with various labels and on her own, Nadler joined forces with Sacred Bones Records and Bella Union for 2014’s seismic July. That record marked a kind of reset in Nadler’s career, and the sounds she explored there served as a jumping off point for subsequent modern classics like For My Crimes and her collaboration with Stephen Brodsky, Droneflower — both of which she created the cover art for.

The Path of the Clouds is Nadler’s ninth solo album, and it feels like yet another significant evolution. Two decades into a storied career, there’s still an untapped reservoir of thrilling musical ideas and stirring emotions lurking in her endlessly creative mind.

EIGHT BELLS

https://linktr.ee/melyndajackson

Eight Bells was conceived as the brainchild and collaborative songwriting project of Melynda Jackson in 2010. The guitarist and vocalist named the band after the final album of her previous act, SUBARACHNOID SPACE. While the trio evolved through several line-up changes in the beginning, Melynda is now supported by vocalist and bass player Matt Solis (CORMORANT, URSA) and Brian Burke (NO SHORES, CAVE DWELLER) on drums. Following the release of the "Isosceles" EP (2011), Eight Bells gained international recognition for their debut album "The Captain's Daughter (2013)" and did tour support for SUBROSA in the North American West. With their sophomore full-length "Landless" (2016), Eight Bells consolidated their reputation by joining VOIVOD for a full US tour, followed by an appearance at the Psycho Las Vegas music festival. Now Eight Bells are poised to share their music with a wider audience via their deal with the long-running Prophecy Productions label. "Legacy of Ruin" was “engine-eared” and produced by the masterful Billy Anderson (AMENRA, BELL WITCH, LEVIATHAN, SWANS), and has enabled the trio to reach a new dimension of sound quality. "Legacy of Ruin" is forceful confirmation that contemporary metal can be artistically impressive, and at the same time novel and expansive in its expression.

ASHLEY SHADOW

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MARISSA NADLER
https://linktr.ee/marissanadler

Over the course of nearly 20 tireless years of writing, recording, and touring, Marissa Nadler has amassed one of the most singular catalogs in contemporary music. Her work glides between delicate folk, windswept Americana, doom metal-adjacent darkness, meditative ambient music, and fearlessly experimental sounds, all anchored in her unmistakable singing voice and finger-style guitar.

Shortly after finishing her Masters degree at the Rhode Island School of Design in Providence, Nadler released her first proper full-length album, the ethereal Ballads of Living and Dying, in2004. Though she was initially associated with the indie-folk movement, Nadler soon distinguished herself with her willingness to go darker and more personal, writing songs that felt deeply intimate with solitude and heartbreak while still retaining an otherworldly sheen. If she was born a century earlier, it’s not a stretch to imagine that her vast talents would be mistaken for conjured magic.

After a decade of releasing records with various labels and on her own, Nadler joined forces with Sacred Bones Records and Bella Union for 2014’s seismic July. That record marked a kind of reset in Nadler’s career, and the sounds she explored there served as a jumping off point for subsequent modern classics like For My Crimes and her collaboration with Stephen Brodsky, Droneflower — both of which she created the cover art for.

The Path of the Clouds is Nadler’s ninth solo album, and it feels like yet another significant evolution. Two decades into a storied career, there’s still an untapped reservoir of thrilling musical ideas and stirring emotions lurking in her endlessly creative mind.

EIGHT BELLS
https://linktr.ee/melyndajackson

Eight Bells was conceived as the brainchild and collaborative songwriting project of Melynda Jackson in 2010. The guitarist and vocalist named the band after the final album of her previous act, SUBARACHNOID SPACE. While the trio evolved through several line-up changes in the beginning, Melynda is now supported by vocalist and bass player Matt Solis (CORMORANT, URSA) and Brian Burke (NO SHORES, CAVE DWELLER) on drums. Following the release of the "Isosceles" EP (2011), Eight Bells gained international recognition for their debut album "The Captain's Daughter (2013)" and did tour support for SUBROSA in the North American West. With their sophomore full-length "Landless" (2016), Eight Bells consolidated their reputation by joining VOIVOD for a full US tour, followed by an appearance at the Psycho Las Vegas music festival. Now Eight Bells are poised to share their music with a wider audience via their deal with the long-running Prophecy Productions label. "Legacy of Ruin" was “engine-eared” and produced by the masterful Billy Anderson (AMENRA, BELL WITCH, LEVIATHAN, SWANS), and has enabled the trio to reach a new dimension of sound quality. "Legacy of Ruin" is forceful confirmation that contemporary metal can be artistically impressive, and at the same time novel and expansive in its expression. 

ASHLEY SHADOW

https://ashleyshadow.bandcamp.com/

It’s easy to fall under the spell of Ashley’s haunting voice. The Vancouver, B.C. based songwriter forged her own identity as a songwriter with 2016’s eponymous self-titled debut. Her sophomore effort, Only the End, maintains the moody introspection that is ingrained in Pacific Northwest life, but now comes armed with a palpable hope complementing her signature melancholy. Her confident vibrato above lightly, distorted guitars mirrors the album’s theme of resilience, if not triumph, over adversity. There is comfort in these warm songs that endorse the realism of contented acceptance, rather than the naïve search for non-existent utopias.