Posts Tagged ‘Parquet Courts’

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Brooklyn’s Parquet Courts are the rock ‘n’ roll band we deserve in 2018, and “Wide Awake” is a major stylistic stride in the band’s growing discography. On the album’s title track, singer Andrew Savage’s decisive vocals guide a danceable beat in the spirit of David Byrne, with globally minded percussion and bells and whistles galore. Gritty bass lines from Sean Yeaton are crisp and prominent, alongside everything from Afro-beat rhythms to stoner-punk anthems. With production by Danger Mouse, this is some of the most intriguing rock we’ve heard thus far this year.

Parquets Courts‘ fifth album Wide Awake! – produced by Danger Mouse – is a groundbreaking work, an album about independence and individuality but also about collectivity and communitarianism. The songs, written by Andrew Savage and Austin Brown but elevated to even greater heights by the dynamic rhythmic propulsion of Max Savage (drums) and Sean Yeaton (bass), are filled with their traditional punk rock passion, as well as a lyrical tenderness. The record reflects a burgeoning confidence in the band’s exploration of new ideas in a hi-fi context.

From Parquet Courts’ album ‘Wide Awake!’, out 18th May on Rough Trade Records.


First of all, a big thanks to everyone who helped us carry out the search for Austin Brown of Parquet Courts! We are happy to report that we found him wandering around New Orleans in a post-Mardi Gras party daze, wearing his “Wide Awake” purple suit and clutching some beads. The band played a terrific show at a dive bar that night, and Austin seems back to his old self now. Watch the whole episode unfold in the video for the band’s brand new track “Mardi Gras Beads”

“Mardi Gras Beads” is the first Austin Brown-penned track to be revealed thus far from Parquet Courts‘ new album “Wide Awake!” (out 18th May). He describes it as “a song about commitment to yourself, for better or worse”.  Maybe some of you heard it early by bagging a copy of it b/w “Seems Kind of Silly” on 7″ at Record Store Day

From Parquet Courts‘ album ‘Wide Awake!’, out 18th May on Rough Trade Records

Parquet Courts have announced that they will release their fifth album ‘Wide Awake!’ – produced by Danger Mouse due on 18th May, and the band will be heading out on a worldwide tour in support.

On working with producer Danger Mouse, A. Savage explains: “The ethos behind every Parquet Courts record is that there needs to be change for the better, and the best way to tackle that is to step out of one’s comfort zone. I personally liked the fact that I was writing a record that indebted to punk and funk, and Brian’s a pop producer who’s made some very polished records. I liked that it didn’t make sense.”

For both Savage and co-frontman Austin Brown, this record represents the duality of coping and confrontation. “In such a hateful era of culture, we stand in opposition to that — and to the nihilism used to cope with that — with ideas of passion and love,” says Brown. He goes onto say that he found himself “writing songs I’ve been wanting to write but never had the courage” on this record.

A deluxe vinyl includes a 16-page double booklet of art and illustration by the band’s Grammy-nominated artist A. Savage – available exclusively from the Rough Trade Records webstore and all other indie relatailers. Here’s a sneak peek:  get a load of “Almost Had To Start A Fight / In And Out Of Patience” – the first (double shot!) track to be unleashed from the album:

Parquet Courts have a new album on the way this year, but the band’s Andrew Savage has been keeping plenty occupied with his own solo material. He released a full-length solo album last fall and recently wrapped up a solo tour, where he performed covers from the Cranberries and the Fall. We’ve heard his version of “Linger” and today he’s sharing his take on “Frightened” from the late Mark E. Smith. .


A. Savage in Session at BBC Radio 6

A. Savage – Guitar, Vocals
Jack Cooper – Keys
Jarvis Taveniere – Bass, Vocals
Aaron Neveu – Drums


Luppi’s follow up to his concept album about Rome is a concept album about Milan, but weirdly enough it could also be a tribute to some of the great bands that have come out of NYC. Featuring Karen O and the Parquet Courts’ member Andrew Savage, the songs tell tales of the misfits of that great Italian city but they come on sounding like Television, Talking Heads and James Chance, as well as later Yeah Yeah Yeah’s and the Courts themselves. A killer pop record on Dangermouse’s label.

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The songs on Thawing Dawn form a guided tour through the romantic environs of A. Savage’s mirrored mind. While some were written recently, other tunes were penned over the past decade. For one reason or another, these compositions didn’t land with any of Savage’s other groups, and instead are presented now as a distinct collection. Reflecting back, Savage says, “Once I realized I had a small body of work that didn’t fit anywhere else, I started to examine the commonalities: What’s the common denominator of all this and how I can expand on it?”

Savage is best known as the frontman for Parquet Courts, a duty split with fellow Texan Austin Brown. Their last record, Human Performance, delved into the emotional wreckage of a broken heart, to critical acclaim. But with Thawing Dawn, it’s clear that Savage has matured. While assembling the record, he fell in love. Now, for the first time, we hear songs about being on the inside of love. Rather than lamenting the end of a relationship, we hear a voice trying, in the moment, to make sense of love’s mysteries. “Part of this maturity,” he says, “is reflecting on something when it’s happening, not just when it’s gone.”

Thawing Dawn gives us honesty: We see the artist at home in bed, more singer-songwriter portrait than esoteric statement. Throughout his discography Savage has long abbreviated his first name as a kind of writerly gesture. He says, of the move, “I am an uncivilized member of modern civilization–I’m just a savage.”


“I always like it when records are good representations of communities,” Savage says, and this one succeeds in this regard. These ten songs were recorded between December 2016 and June 2017 by a cast of friends in Jarvis Taveniere’s Thump Studios in Brooklyn. Members of Woods, Ultimate Painting, PC Worship, EZTV, and Psychic TV all lend their talents. Savage’s voice, once shouted into mosh pits, now glides confidently above its backing band. Thawing Dawn marks the arrival point for Savage as a sensitive and skilled vocalist. A strain of rural inquiry tinges the soundscape, an ongoing trope in Savage’s writing most powerfully felt on Parkay Quart’s ballad “Uncast Shadow of a Southern Myth.” On this record it is stronger, with a healthy helping of pedal steel guitar, a chorus of female back-up vocals, four familiar chords, and maybe the truth, all layered throughout these songs. Their titles also steer us this way, but don’t fully convey the hidden intricacies. “Buffalo Calf Road Woman” opens the record in a burst of C&W energy. The staccato pop piano of “Eyeballs” lays crisply beneath a refrain of heartbreak. “Wild Wild Horses” finds him confessing inside a Talk Talk bubble of guitar static and organ. The build-up of “What Do I Do” yields a guitar freak out that Parquet Courts fans will recognize. You could two-step to the swing of “Phantom Limbo.” “Ladies from Houston” is a Leonard Cohen-like ramble through a party scene. Finally, the title track is a suite of three interwoven songs that closes the record in a beautifully cinematic style.

Throughout, A. Savage delivers one-off lines of razor-sharp observation that will stick in your brain, only to surface when you’re least prepared to handle their insights. When you put your copy of Thawing Dawn on your turntable and drop the needle, you’ll learn what A. Savage has to say about romance in our modern world. Keep your ears open it’s worth hearing.

Parquet Courts artist photo

Parquet Courts are an American punk rock band based in Brooklyn, NY that formed in late 2010. The band consists of Andrew Savage (lead vocals, guitar), Austin Brown (guitar), Sean Yeaton (bass), and Andrew’s brother Max Savage (drums).

The band released their debut album, American Specialties, on a limited cassette release (later released on LP by Play Pinball! Records). This was followed by the full length album Light Up Gold (2012), which was initially released on Savage’s Dull Tools label and later reissued on What’s Your Rupture? in 2013. Light Up Gold received acclaim in both the DIY underground and mainstream indie rock press.

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Feels like a long time ago now that we were blessed with Parquet Courts’ brilliant album Human Performance. Anyone with a brain loved it and has likely since enjoyed every single and video release, with their quirky and individual style permeating their output.

‘Outside’ fits the same sort of bill. Using live footage the band show not only their effortless stage performance but their warmth for their fans and humbleness at actually being allowed to play music for a living. The video is less than 2 minutes long but still manages to showcase their recent gig at the Knockdown Center in New York.

Frenzy and family, it always feels like if you’re part of the Parquet Courts gang then you’re there for life .


Parquet Courts  and their album called Content Nausea under their Parkay Quarts alias, their second LP of 2014 after Sunbathing Animal . And now, PCPC — the supergroup that brings together members of Parquet Courts and PC Worship — have released a new song. It’s called “Fell Into The Wrong Crowd,” and it’s a slow-building 11-minute lo-fi dirge. Impressively, the band manages some serious dynamic push and pull in what mostly amounts to a one-chord song. Considering Parquet Courts drew Strokes comparisons with “Stoned And Starving”  it’s kind of funny that PCPC is working the Julian Casablancas + The Voidz sound. “Fell Into The Wrong Crowd” is far superior to most of Tyranny, though.

Taken from Parquet Courts’ excellent  album ‘Human Performance’, out now on Rough Trade Records: The band have made themselves even more adored amongst music journalists as they have put out one of the best videos of the year for their recent song ‘Human Performance’.

Taken from the album of the same name the band use some slightly odd puppets to create a very odd visual to their brilliant song. It feels perfect as the distant between humans and their performance become blurred with every note. The heartfelt nature of the song feels eloquently placed in this video.

But it’s not all for fun the band “I was thinking about the track and how it paints a break-up both elliptically and with such devastating directness,” says the clip’s director, Phil Collins (nope). ”And I wondered what it would be like if this drama was enacted not through naturalism or authenticity but through its partners in crime, doubling and artificiality. So puppets seemed an obvious choice.

“A puppet is a complex beast, animated by a human but which also, conversely, brings the puppeteer to life. I thought this kind of dialectics could work well with Andrew’s lyrics, and also found it funny to give starring roles to puppets in a track called ‘Human Performance’.

A “Performing Human” 12″ is available to buy now from the Rough Trade Records

Thanks Far Out Magazine