Posts Tagged ‘Brooklyn’

Rick Brown was born in San Francisco, California and is a clerical worker at a law school in NYC. Che Chen was born in New Haven, CT and works for a cancer diagnostics company in Stonybrook, NY. They met via myspace and started playing together as 75 Dollar Bill approximately eight years later.

Brown plays percussion and homemade horns and Chen plays electric guitar.   “It’s hard not to slip into ridiculous hyperbole when it comes to 75 Dollar Bill. Whatever conclusion you come to personally, you’re gonna love the instrumental duo of guitarist Che Chen and percussionist Rick Brown. They’ve definitely nailed down a thrillingly original sound, centered around Chen’s specially designed quarter-tone guitar — something about his tone cuts right to the quick, with North African riffs blending into juke-joint boogies into more avant territory. Brown’s impressively minimalist setup (he mostly plays a wooden crate) is a perfect fit, adding a hypnotic thump to the mix. The whole thing is a little hard to describe,  75 Dollar Bill is amazing. On the band’s latest release, Wood / Metal / Plastic / Pattern / Rhythm / Rock, the group expand the lineup — baritone saxes, droning violas and contrabass — and deliver their most powerful music yet. Things feel a bit more composed and fleshed out as opposed to the improvised feel of some of their earlier recordings, but it works just fine: four mindbending tracks, each one a delight.

Rick Brown: plywood crate, maracas, shakers, bells, a drum
Che Chen: 12 and 6 string electric guitars, bass, shakers
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Carey Balch: floor tom (tr.3)
Rolyn Hu: trumpet (tr.4)
Cheryl Kingan: baritone & alto saxophones (tr 2 & 4)
Andrew Lafkas: contrabass (tr.2)
Karen Waltuch: viola (tr.2)

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It’s not entirely accurate to say that EZTV met while trying out for J. Spaceman’s US touring line-up of Spiritualized, but it’s not far from the truth. Songwriter and audio engineer Ezra Tenenbaum had been casually working on solo home recordings on his Tascam 8-Track and, in a desire to round out the songs, he enlisted bassist Shane O’Connell and drummer Michael Stasiak (formerly of Widowspeak).  The shining “High Flying Faith”— the first song written for the album. Inspired by the lyrics of “Broken Heart” by Skip Spence, it’s a 12-string-propelled nugget that best shows how EZTV operate: toeing the line between past and present, with a keen ear for left-of-the-dial experimentation that never lets the songs hew too far into pastiche and genre nostalgia. Many of the band’s foundational inspirations — the Feelies’ upstart jangle, the upside-down pop architecture of Arthur Russell’s power pop band The Necessaries, Shoes’ aching harmonies — are back in play on High in Place, their sophomore album, though new instruments and feels abound throughout. Produced and engineered by the band themselves, a baby grand piano rings and 12-string acoustic guitars shimmer throughout the album, recalling the clear-eyed production techniques of Jeff Lynne.

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PWR BTTM – ” 1994 “

Posted: December 18, 2016 in MUSIC
Tags: , ,

PWR BTTM ugly cherries

Pressed to say, I might decide that PWR BTTM makes power-pop as opposed to pop-punk? The Brooklyn duo’s brisk debut radiates too much joy to be defined by its angst. It would have been foolish to expect a band riding into battle with the spoken name “power bottom” to waste time being coy, but there is something necessary in the matter-of-fact way Ugly Cherries claims old rock tropes to depict queer romance. A big, exultant guitar solo has long been recognizable shorthand for the first rush of infatuation taking hold, but the number of rock or punk albums that make queer lives explicit is still comparatively slim. PWR BTTM sing from the shower, apply makeup in the parking lot, throw lingering bard.edu email addresses out to cute boys, and generally have a blast being in flux, trying to hit just the right mix of smart and dumb that allows adventure but prevents disaster. Catchy hooks and glitter-bomb riffs abound here and are, to a large degree, the point. Those tools will increasingly be used to tell stories from distinct viewpoints, that still end up revealing the feelings shared by everyone with a frail, open heart. PWR BTTM point toward a stronger, purer way we might associate these sounds with confidence, freedom, and youth.

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Wild Nothing, aka Brooklyn-based musician Jake Tatum, released his debut album ‘Gemini’ in 2010 to critical acclaim. Five years on, with an equally impressive sophomore release and a series of EPs under his belt, Tatum is pleased to announce his third-studio album and self-proclaimed most “mature and honest” work to date, ‘Life Of Pause’.

When Jack Tatum began work on ‘Life Of Pause’ he had fascinating ambitions. “I desperately wanted for this to be the kind of record that would displace me,” he says. “I’m terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn’t need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before.”

‘Life Of Pause’ is an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. “I allowed myself to go down every route I could imagine even if it ended up not working for me,” he says. “I owe it to myself to take as many risks as possible. Songs are songs you have to allow yourself to be open to everything.”

After a prolonged period of writing and experimentation recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn & John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran TK to contribute drums and marimba. In California, at Monahan’s home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists.

From the hypnotic polyrhythms of ‘Reichpop’ to the sugary howl of ‘Japanese Alice’ to the hallucinogenic R&B of ‘A Woman’s Wisdom’, the result is a complete, fully immersive listening environment. “I just kept things really simple, writing as ideas came to me,” he says. “There’s definitely a different kind of ‘self’ in the picture this time around. There’s no real love lost, it’s much more a record of coming to terms and defining what it is that you have – your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new.”

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Julianna Barwick’s revelatory third album, ‘Will’, is the Brooklyn experimental artist’s most surprising left turn to date. Conceived and self-produced over the past year in a variety of locations, the compelling ‘Will’ departs from the weighty lightness of 2013’s ‘Nepenthe’.

If ‘Nepenthe’ conjured images of gentle fog rolling over desolate mountains, then ‘Will’ is a late afternoon thunderstorm, a cathartic collision of sharp and soft textures that sounds ominous and restorative all at once.

‘Will’ comes after Barwick’s busiest period to date in her career following ‘Nepenthe’ – a spate of activity that included playing piano for Yoko Ono, performing at the 25th annual Tibet House Benefit Concert alongside such kindred spirits as The Flaming Lips and Philip Glass, releasing the ‘Rosabi’ EP and delivering a reimagining of Bach’s ‘Adagio’ from Concerto In D Minor.

Her life over the past several years has largely been lived in transit and as such the genesis of ‘Will’ was not beholden to location; Barwick reflects on this cycle of constant motion. “You’re constantly adjusting, assimilating, and finding yourself in life-changing situations.” That sense of forward propulsion is largely owed to ‘Will’s synth-heavy textures, an ingredient she was inspired to add to her vocal loop-heavy formula after demoing a new prototype analogue sequencer for Moog.

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Another new wrinkle ‘Will’ introduces in Barwick’s sound: Mas Ysa’s Thomas Arsenault, who lends his richly complex vocals to ‘Same’ and ‘Someway’.  The beguiling, beautifully complicated ‘Will’ is the latest proof yet of Barwick’s irresistibly engaging talent as a composer and vocalist.
Julianna has recently collaborated with Moog and MoMa, lending her prestige as both a musician and artist as a whole.

Lazyeyes is a three-piece garage / shoegaze / dreampop band from Brooklyn, NY that was formed in the summer of 2012. The band self-released their sophomore EP, New Year on January 6th, 2015, which was quickly picked up and reissued by Burger Records .
The band released a self-titled EP in January 2013 and was immediately heralded by The Deli Magazine as “Best Psych / Shoegaze band in New York”. After a sold-out record release show at legendary Williamsburg venue Glasslands, the Lazyeyes EP garnered widespread acclaim from underground music bloggers. Best New Bands described the band’s single “Wait” as “an excellent example of the group’s ability to erupt at an expansive, pyrotechnic level all the while sharply delivering pop-laden hooks.”

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In case you missed it, 2670 Records (in Japan) released an album titled ‘Daydream’ consisting of songs from our self titled EP and ‘New Year’, as well as a few bonus tracks!

Lazyeyes perform on Audiotree Live, March 24th, 2016.

Purchase the session! We split profits 50/50 with the band:

Big Thief

It takes nerve to title your debut album “Masterpiece”. As we noted on the midyear list, the Brooklyn band Big Thief has an awful lot of nerve. What is more important is that the group has excellent songs, which run on smoky, vulnerable vocals and superb melodies. Led by the midnight twang of Adrianne Lenker’s voice, Big Thief’s songs capture the rural desperation of a freight trainyard romance (“Paul”), a motel-screen movie marathon (“Vegas”) or an abusive family (“Real Love”). It is a taut, emotionally resonant collection of songs with a killer climax in “Parallels.” And among the group’s many recently converted fans is Jeff Tweedy, of Wilco fame, who tweeted: “Great guitars, great lyrics, great melodies…. What more could you possibly want?” It’s just that simple.

Big Thief’s Masterpiece is a shared experience. It was an album I’d put on riding in a car with friends, travelling to festivals and gigs . For their album debut, Big Thief added heft to these whispery tales. And that often comes in the form of Buck Meek’s guitar, as he underpins Adrianne Lenker’s chilling voice. I’ve listened to this album more than any other in 2016. It’s just about perfect. Calling your album “Masterpiece” is a bold statement, but Big Thief get closer than you’d think on the title track to their debut for Saddle Creek Records. Against a backdrop of beautifully ragged guitars, frontwoman Adrianne Lenker describes what sounds like a late-night bar crawl, always one drink ahead of loss and grief: “There’s only so much letting go you can ask someone to do.”

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The Epoch Collective, is a community of musicians, writers, visual artists, filmmakers, and more. We were grown together, and are growing still.

One of the final shows of the recent Bellows/Eskimeaux tour. Gabrielle Smith, aka Eskimeaux, was selling merch in a tiny, dusty cellar when a fan approached Smith and gushed to her something of how, The Epoch changed her life!” While flattered, Smith was not terribly surprised this is the sort of reaction The Epoch receives regularly.

Searching The Epoch tag directs one towards a seemingly infinite number of posts citing the group’s influence, pictures from shows, and even handmade cross-stitches. But gaining Internet fandom is not terribly difficult. Over the past three years, The Epoch bands has transformed from being their own biggest fans to having an incredibly devoted and wide spread fan base. For example Told Slant the band’s emotional outpour is overwhelming in itself, it was even more powerful to see how cathartic their music is for their fans. But perhaps the most admirable part about The Epoch is that they have found success completely by their own means. Starting a band with your best friends is a dream many have, but being in three or four bands with your friends, touring together, living together, and being genuinely kind people is actually an accomplishment. This is obviously a group worth examining.

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Most of the members met through attending the same schools or the same shows in the New York City area. While the details of their friendship foundations would require a much longer piece, the core Epoch members orated a brief timeline of the group, from their repressed high schools bands to now, when most of the members lived together in Brooklyn. The Epoch has transformed and will transform still. Because, as the collective says, “We were grown together, and are growing still.”

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The first unofficial Epoch band was The Mighty Handful. The self-described super group of relative unknowns would hand everyone in the audience instruments and shred paper from their parents’ offices for confetti; the concept was very much 2007-DIY party. But even back in 2008, there are glimmers of The Epoch as it is today. A majority of The Epoch members were involved in the band, even on the periphery: Henry Crawford, Jack Greenleaf, and Felix Walworth played in the band, Oliver Kalb may have made an appearance once, and Smith cites the shows as the beginning of her friendship with her future bandmates. But while the grandiose showmanship of The Mighty Handful may barely resemble the performances of its members now, Crawford said the “grains of the language and the attitude” would influence The Epoch. Specifically, the importance of mantras. The group’s future collective would be called The Epoch.

The collective had no trouble finding members; they were already there. But one large struggle was the creation of a logo. Finally, they agreed on the birds of flight because they felt the image best represented a group that may not sound similar, but love each other completely.

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Around the time of its conception, the Epoch members were spread across the country, each member had began independently writing music. Crawford was attending college in Chicago when he began Small Wonder. In January, Crawford released Wendy, a weighty, emotional record filled with soaring melodies. Greenleaf, like Crawford, also relocated to Chicago. It was there that he rediscovered his teenage love of Pop and The result became Sharpless, whose sophomore album “The One I Wanted To Be” was released in May.

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Back on the east coast, room mates Kalb and Walworth created Bellows and Told Slant,  Kalb released As If To Say I Hate Daylight, Bellows’ first album. After touring extensively with Bellows and Told Slant, graduating college, and returning to New York City, Kalb released his sophomore record, Blue Breath. In 2012, Walworth released the debut Told Slant LP Still Water. Now, two years later, the album has been re-released on vinyl. Kalb and Walworth, roommates, enlisted a variety of friends to play in their bands, but each has been a mainstay in each other’s bands, along with Gabrielle Smith. Smith describes herself as “a pretty late bloomer with music.”One of her first bands, Legs, was composed mostly of members found on Craigslist. Smith’s  current project, eskimeaux, are now, with a solid four piece live band, eskimeaux will be following up several EPs with a new album.

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Emily Sprague grew up in upstate New York. After performing for years in the Woodstock area under her own name, she moved to Albany. It was there that she met the Epoch gang. About a year ago, she adopted the name Florist, and has released several EPs of shivery honesty. Susannah Cutler is an artist and a musician. Cutler has been around The Epoch since its beginning , but she was “primarily represented as a visual artist up until recently.” She credits The Epoch as giving her the confidence to give her music a name and take her musical desires more seriously. Her project is called Yours Are the Only Ears.

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A lot of the NYC bands were trying to create a feeling , Most of our bands don’t sound similar but a uniting quality is that we all want to create music that people can feel like they are a part of rather then feel like they are just watching.

If you like this you should check out these bands.

Small Wonder, Florist, Bellows, Eskimeaux, Told Slant, Yours Are The Only Ears, Sharpless,Lamniformes,

Felix Walworth, singer and drummer of Told Slant, is a three time veteran of the Tiny Desk after performing with the bands Bellows, Eskimeaux and Florist, Told Slant is part of The Epoch, a collective of unlike-minded best friends. Told Slant makes dark, delicate indie rock in the same vein. Felix wrote the music for “Low Hymnal” as just a tune that remained unfinished with for about a year before the lyrics arrived quickly following a series of personal crises. “Did I invite disillusionment and self-hatred into my life when I started writing about them?” Felix says. “Probably.” Told Slant is the project of drummer/singer Felix Walworth. What I love about his drumming is that it’s a thunderous propellant, an essential element to the song without being up front and in the way of the voice and guitars. Felix stands behind a very large bass drum on a makeshift stand and plays organic rhythms on mostly bottom heavy drums with arms flailing in ways I didn’t know was really possible. All the while his voice conjures up the hiccup of Sparks and deep power of Bryan Ferry or Lou Reed, but more fun.

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Told Slant’s “Going By” was released June 17th on Double Double Whammy Records.

I first stumbled upon Shilpa Ray when she was still roaming the circuit with her band “Happy Hookers” in tow. My first Shilpa Ray live experience was nothing short of a religious one at the summer festival event in Leicester. Rarely had I experienced such a combination of power and emotion that Ray spewed that day at a festival that doesn’t even exist anymore. Her newest album takes the dirty, bluesy, cacophonous rock that Ray perfected on previous releases and strips it down, at times, more lucid trajectory. But that rocket ship is still aimed at the sun no matter what speed it’s traveling at and the more ethereal aesthetic of this album just seems to make Ray’s music slightly more unnerving in its honesty and grit. This album is a triumph and how Ray hasn’t already become the darling of the entire indie rock world is absolutely beyond me.

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Nobody grows up wanting to be an artist’s artist. Appreciated by the sub sect of other musicians is like being the beauty queen at the leper colony.  Shilpa Ray is, through no fault of her own, one of our unsung great artists. Having made her bones with the gothic Sturm und Drang of Beat The Devil and moving forward to the blues erosion of “…and The Happy HookersShilpa Ray has been, armed only with an incomparable voice and harmonium haunted by the ghosts of dead lovers, perpetually crying in the wind, hoisting both middle fingers in the general direction of god. It’s not a life a wise man would choose. Shilpa Ray kicks against the pricks but the pricks keep coming. But, again, what can you do?

The obsessions with sex, death, bodily functions, and betrayal (not necessarily in that order) remain but Shilpa has expanded the palate to convey the resignation, the simmering discontent of an artist disenfranchised and held down. This is a quieter rage than the music Shilpa Ray has made before, more plaintive and considered.

Shilpa Ray has, up till this, point, yes, been an “artist’s artist.” Just about every musician in New York City, who doesn’t hate her, loves her. Nick Cave sings her praises to all with the ears to listen (he brought her along a European tour as an opener and as a backup singer in the States).