L'Rain

Pioneer Works

American experimentalist, multi-instrumentalist, and composer L'Rain comes to Pioneer Works, with a set from Russell E.L. Butler.

Russell Butler

American experimentalist, multi-instrumentalist, and composer L'Rain comes to Pioneer Works, with a set from New York DIY scene staple Russell E.L. Butler.L’Rain’s artistic evolution eschews overarching narratives. Multi-layered in subject and form,L’Rain’s sonic explorations interrogate instead how multiplicities of emotion and experienceintersect with identity. The experimental and the hyper-commercial; the expectation and thereality; the hope and the despair. L’Rain is searching for balance in the obliteration of binaryLogic.L’Rain is the musical project of multi-instrumentalist, composer, performer, and curator, TajaCheek. Alongside Andrew Lappin and Ben Chapoteau-Katz, she has developed L’Rain into ashape-shifting entity that blurs the distinction between band and individual. At once personaland collaborative, it mirrors the journey that brought L’Rain into being to begin with.Growing up in Brooklyn, Cheek found her feet at the center of a vibrant DIY community inthe first half of the 2010s, playing noise music and hosting concerts in her basement with thelikes of Dreamcrusher and TV On The Radio’s Kyp Malone.If noise music represented a release from the constraints of her classical training, the loopsand samples she admired in bands like Animal Collective liberated Cheek to make music onher own terms. Using her voice to work up ideas recorded with her iPhone microphone, sheuploaded sonic fragments onto Soundcloud to share with friends and early collaborators likeAndrew Lappin.Beginning as an abstract meditation on grief, Cheek traces the origins of L’Rain to the periodwhich followed the dissolution of her musical community and the passing of her mother,Lorraine. The name L’Rain was conceived as both a tribute to her mother and her owngregarious alter ego L’ (lah-postrophe), and one which she subsequently tattooed onto herArm.Fascinated by the collisions of hi- and lo-fi technology, she teased out the crunchedaesthetics from the equipment that was available to her, playing with home-spun recordingapproaches alongside professional recording techniques on her self-titled 2017 debut albumL’Rain, which has been described as a form of “psychic collage”.In the years that followed, Cheek began working more closely with Lappin and BenChapoteau-Katz, who have become invaluable collaborators as part of the L’Rain project,guiding Cheek in the expression of her voice, both on record and in a live setting. “Ben andAndrew are my closest collaborators and confidants”, she explains, embracing the project’spotential to challenge the foundations of what a band can be.Probing notions of change on what would become her 2021 album, Fatigue, Cheeksupplemented her vocals with an array of instruments, including guitar, bass, synth,keyboards, percussion, and various effect pedals and plugins, assembling a cast of twentycollaborators, to formalize a more collective idea of creative practice.Released into a context of a global pandemic, systemic inequality, and the continuedviolence against Black people at the hands of the state, Fatigue explored simultaneity ofhuman emotion – audacity in the wake of grief, disappointment in the face ofaccomplishment - at once asking questions of both herself and her listeners.Critically acclaimed by NPR, named album of the year in The Wire magazine and #2 inPitchfork's best albums of 2021, Fatigue propelled L’Rain towards a new audience, whilefurther cementing her place within experimental and art institutional spaces. And yet, equallyinspired by gospel and ‘90s R&B, and touring with Black Midi and Animal Collective, Cheekis conscious of not allowing this narrative to dominate.“I’m not really interested in being separate from the world,” she explains, pointing to newalbum I Killed Your Dog as a way to bring the project back to earth. “I’m envisioning a worldof contradictions, as always,” Cheek explains. “Sensual, maybe even sexy, but terrifying, andStrange.”Written amidst heartbreaks from the perspective of an earned maturity, I Killed Your Dog isdescribed as an “anti-break-up” record. It takes the universal pop theme of love as itsstarting point – bold, bratty and even a touch diabolical – and inspects it through the form ofa conversation with her younger self, untangling her relationship with femininity and theformal musical conventions that others have come to expect of her.A crystallization of L’Rain’s tactile approach to song-writing, the album is also an implicitinterrogation of the electric dreams and failures of early synthesizers, toying openly with rockmusic tropes, the lineage of folk as Black music in America and Cheek’s own backgroundplaying in experimental guitar bands.Joining Cheek’s regular collaborators Andrew Lappin and Ben Chapoteau-Katz (who alsoplay in the live band) are other musicians that perform in the live iteration of the project,Zachary Levine-Caleb, Justin Felton and Timothy Angulo, taking the sonic world laid out byL’Rain in 2021’s album Fatigue on a compelling new trajectory.With a band comprised of regular collaborators Andrew Lappin and Ben Chapoteau-Katz,alongside Zachary Levine-Caleb, Justin Felton and Timothy Angulo, L'Rain are taking thesonic world of 2021's Fatigue on a compelling new trajectory.Through her curatorial work with NYC institutions like Creative Time, the High Line andMoMA PS1 where she was a performance curator for several years, Cheek has alsoexplored the terms on which creative work is presented – extending a theme whichresonates with her concerns as a musician. As she said in an interview with Pitchfork in2021, “I’m hyper-aware of how marketing and packaging happens for Black people andwomen and Black women [...] I like feeling a sense of agency in how those stories are told.”Interested in engaging DIY arts organizations, she cultivates a collaborative approach tocuration, seeking out the surprise element that emerges from dialogue between culturalcommunities. From those early basement noise sessions to her curatorial work with majorNYC arts institutions, Cheek has also found herself on the other side of the creative process,developing a fluid relationship between her curatorial work and that of her own musicalPractice.Pieced together like snippets of found sound, L’Rain is edging towards a practice that resistsdisciplinary categorization and instead reflects the messiness of the self in all its fullness.

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L'Rain

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