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EP T IPP I N G P O I N T I t's a few hours before Mary Pearson and Rob Barber—collectively known as High Places—are set to perform at The Yard, and they can’t find their microphone. It has a small, stump-shaped pick-up area that keeps Pearson’s soft voice from being eclipsed by feedback, and they hope it’s at their nearby apartment. If not, it’s probably in Philadelphia, where the duo played two nights prior. “You’re seeing me unravel right now,” says Barber, laughing. Two years ago, Pearson, 24, and Barber, 34, were each solo acts. They met when Pearson opened for a mutual friend’s band and quickly evolved into High Places (which refers to points you climb, not smoke, to reach). When Pearson’s sparse vocals converge with Barber’s upbeat sonic layers, the result is a musical cobweb, an assortment of sounds that meld into an airy, finely spun whole. Not ones for standard instrumentation, High Places use coins, plastic bags and mixing bowls. “I’ve been known to drive employees of Midwestern Salvation Army stores up the wall,” Barber says, “I’m tapping on everything, looking for good tones.” Live, the two embellish and sample those delicate noises, then blast them over big speakers. The music (Barber’s territory) usually comes before the lyrics (written by Pearson). Although they count Joni Mitchell, Santogold and Antony and the Johnsons as influences, they don’t limit their inspiration to music. High Places’ self-titled debut (Thrill Jockey) features “Gold Coin,” a song inspired by light installation artist James Turrell. Previously on display at the Museum of Modern Art annex P.S.1, Turrell’s exhibit “Meeting” involved viewing the sky through a hole cut in the ceiling, which just might be the aesthetic equivalent of High Places’ music. Theirs is a dreamy, almost surreal sound—the lyrical delicacy and musical subtlety of Beach House and Animal Collective mixed with playful distortion that, on songs such as the bubbly track “Vision’s the First ,” makes you wonder if they’re playing underwater. Need a soundtrack to sunny days spent daydreaming on the grass? High Places are it. Pearson and Barber fit the roles of daydreamers. They are wide-eyed, polite and thoughtful. And today, they’re anxious. High Places are sharing the bill at The Yard with Oneida, Abe Vigoda and Ponytail, among others, and they aren’t sure if the all-day show is running on time. “I’m nervous,” Barber says. “Are you?” Pearson asks. “Yes,” he says softly. But when they set off to retrieve their mic, it feels like they’re going where they belong: outside, to make music under the clouds. COURTNEY BALESTIER / PHOTO BY LLOYD BISHOP 32 http://www.myspace.com/hellohighplaces http://www.myspace.com/hellohighplaces http://www.thrilljockey.com http://www.theyard.ws/ http://www.theyard.ws/ http://http://www.pbs.org/art21/artists/turrell/ Table of Contents for the Digital Edition of self-titled - no. 2self-titled - no. 2ContentsMarnie SternSpinto BandMichnaLindstromFlaming LipsThe Faint on Aphex TwinHarvey MilkOf MontrealGrowingTricky - The self-titled InterviewContents (continued)A Place to Bury StrangersJay ReatardThe Melvinsself-titled - no. 2self-titled - no. 2 - self-titled - no. 2 (Page 1)self-titled - no. 2 - self-titled - no. 2 (Page 2)self-titled - no. 2 - self-titled - no. 2 (Page 3)self-titled - no. 2 - self-titled - no. 2 (Page 4)self-titled - no. 2 - self-titled - no. 2 (Page 5)self-titled - no. 2 - self-titled - no. 2 (Page 6)self-titled - no. 2 - self-titled - no. 2 (Page 7)self-titled - no. 2 - self-titled - no. 2 (Page 8)self-titled - no. 2 - self-titled - no. 2 (Page 9)self-titled - no. 2 - self-titled - no. 2 (Page 10)self-titled - no. 2 - self-titled - no. 2 (Page 11)self-titled - no. 2 - self-titled - no. 2 (Page 12)self-titled - no. 2 - Contents (Page 13)self-titled - no. 2 - Marnie Stern (Page 14)self-titled - no. 2 - Spinto Band (Page 15)self-titled - no. 2 - Michna (Page 16)self-titled - no. 2 - Michna (Page 17)self-titled - no. 2 - Michna (Page 18)self-titled - no. 2 - Lindstrom (Page 19)self-titled - no. 2 - Flaming Lips (Page 20)self-titled - no. 2 - Flaming Lips (Page 21)self-titled - no. 2 - The Faint on Aphex Twin (Page 22)self-titled - no. 2 - The Faint on Aphex Twin (Page 23)self-titled - no. 2 - Harvey Milk (Page 24)self-titled - no. 2 - Harvey Milk (Page 25)self-titled - no. 2 - Of Montreal (Page 26)self-titled - no. 2 - Growing (Page 27)self-titled - no. 2 - Tricky - The self-titled Interview (Page 28)self-titled - no. 2 - Tricky - The self-titled Interview (Page 29)self-titled - no. 2 - Tricky - The self-titled Interview (Page 30)self-titled - no. 2 - Tricky - The self-titled Interview (Page 31)self-titled - no. 2 - Tricky - The self-titled Interview (Page 32)self-titled - no. 2 - Tricky - The self-titled Interview (Page 33)self-titled - no. 2 - Tricky - The self-titled Interview (Page 34)self-titled - no. 2 - Contents (continued) (Page 35)self-titled - no. 2 - A Place to Bury Strangers (Page 36)self-titled - no. 2 - A Place to Bury Strangers (Page 37)self-titled - no. 2 - A Place to Bury Strangers (Page 38)self-titled - no. 2 - A Place to Bury Strangers (Page 39)self-titled - no. 2 - A Place to Bury Strangers (Page 40)self-titled - no. 2 - A Place to Bury Strangers (Page 41)self-titled - no. 2 - Jay Reatard (Page 42)self-titled - no. 2 - Jay Reatard (Page 43)self-titled - no. 2 - Jay Reatard (Page 44)self-titled - no. 2 - Jay Reatard (Page 45)self-titled - no. 2 - Jay Reatard (Page 46)self-titled - no. 2 - Jay Reatard (Page 47)self-titled - no. 2 - Jay Reatard (Page 48)self-titled - no. 2 - Jay Reatard (Page 49)self-titled - no. 2 - The Melvins (Page 50)self-titled - no. 2 - The Melvins (Page 51)self-titled - no. 2 - The Melvins (Page 52)self-titled - no. 2 - The Melvins (Page 53)http://www.nxtbook.com/nxtbooks/popmartmedia/self-titled_no5http://www.nxtbook.com/nxtbooks/popmartmedia/self-titled_no4http://www.nxtbook.com/nxtbooks/popmartmedia/self-titled_no3http://www.nxtbook.com/nxtbooks/popmartmedia/self-titled_no2http://www.nxtbook.com/nxtbooks/popmartmedia/self-titled_no1http://www.nxtbookMEDIA.com

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