Boston trio Quilt are getting ready to release their sophomore album, Held In Splendor, on January 28 on Mexican Summer, but in the meantime they’ve released the LP’s first single: “Arctic Shark.” This track is a promising preview of what’s to come with its softly psychedelic instrumentals (sitar included) and delicate vocal harmonies—audible fingerprints left by producer and Woods member Jarvis Taveniere. Listen to “Arctic Shark” here:
Kings are a three-piece country band composed of Brooklynites Emily Bielagus, Steph Bishop, and Robert Maril. Together, their exquisite harmonies, pedal steel and bright banjo weave together stories along the lines of traditional country, bluegrass, and folk, but the band has a deeper agenda, too. As activists in the queer community, they’ve made their music a reflection of that identity, composing narratives around the LGBQT experience.
AF: You describe Kings as queercore alt-county and perform with a very powerful mission in mind – in your own words, “to open up a space for queer people inside traditional country music”. What’s been the most difficult part of fulfilling that mission, and what’s been your most triumphant moment?
KINGS: We know that we’ll never be on Top-40 Country Radio, and that’s OK with us. Really, our goal is to reach some queer kid living in Bumblefuck, Oklahoma/New Hampshire/Poughkeepsie who loves country music, but is currently stuck listening to mainstream heteronormative bullshit music about drinking beers out of red solo cups and riding dirtbikes. Don’t get us wrong, those things are fun, but we want that kid to know that they can enjoy country music AND still feel queer pride. It’s been hard to accomplish that yet because we’re still so unknown outside the Brooklyn music scene. But hopefully not for long?? One of our best moments so far was when a music writer mentioned Chely Wright in one of our music reviews. We were like, “Yes, EXACTLY.” That’s exactly the movement we’re championing.
AF: Though Kings’ music evokes the sensibilities of the Western plains and other wide-open rural spaces, you’re based in Brooklyn. Is it ever difficult to cultivate and maintain a country sound in such a huge, urban city?
KINGS: Nice Dixie Chicks reference! [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][Eds. Note: It actually wasn’t, but having grown up on country music I guess it seeped in to me a bit, too.] No, it’s been easy. It’s the kind of music we all listen to on the regular, and it’s a timeless sound. Americana/Folk/Country music is having its trendy moment these days (it’s also maybe a part of this somewhat insufferable trend – the Brooklyn handmade knit-bomb moustache homebrew ball jar suspenders thing) but I’m glad people are into it. The three of us grew up in rural places, and it’s the music that’s just a part of who we are. It’s almost like we cling to it and create it because we live here – we maintain this sound for our big-city survival.
AF: How do you collaborate when writing songs? We’re dying to know how you develop those breath-taking harmonies!
KINGS: We generally come in to rehearsal with a few songs already written, or a few song “nuggets” that we flesh out together. The songs that stick around are the songs that lend themselves to our 3-part harmony and, honestly? That harmony just kind of happens. It’s sort of magical, and it’s how we first realized we were on to something when we first got together. We sang a couple lines of harmony and we were like “oh shit! That sounds good.”
AF: You just finished recording your gorgeous debut EP, Bones. Do you like recording or playing live shows better?
KINGS: Yikes – that’s like a choice between the best and the other best! Oh man, being in the studio is the best best best, though. We joke that we could spend all day every day in the studio, but actually, it’s not really a joke. We loved our Bones studio days and we can’t wait to go back and record more. However, we’re theater-kid performance-junkies at heart, so the live shows keep us going. They also inform our songs. You can write a song and rehearse a song for hours but you don’t really know what the song’s personality is until you sing it live.
AF: If you could hear any classic country singer cover a Kings song, which one would you want to hear and who would you want to sing it?
KINGS: I think all three of us would lay down and die if Dolly Parton covered “Western Sky.” I would absolutely never recover.
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To get you as pumped as we are for our CMJ 2013 showcases, we’re introducing each band to you by asking them five unique questions. We love Diamond Bones so much that we invited them to play both of our showcases! The first is at Sidewalk Cafe, 94 Ave. A in Manhattan on Wednesday, October 16th at 10PM. You can RSVP on facebook or DoNYC. And if you can’t make it to LES, you get a second chance to see DB at Spike Hill, 186 Bedford Ave. in Williamsburg, BK on Thursday, October 17th at 1PM. You can RSVP on facebook or DoNYC.
Influenced by dreams of past and future, Diamond Bones creates something in between psychedelic electro & shoegaze pop music, rooted in raw emotion. Their songs invite you in with hypnotic rhythms and gripping melodies, and charm you with haunting lyrics that convey unfeigned experience. Their sound, once described as “dark disco” has evolved over the year they have been together into something along the lines of “tribal dream pop.”
AF: Tell us about the music scene in Montreal!
DB: There are (and have been) a lot of great bands from the Montreal music scene and it’s known as a kind of music haven but we think it has a great community vibe and lots of opportunity to be creative. There are tons of great venues, festivals and events put on by different organizations year-round and the musicians seem to be really supportive of each other from coming to see each other’s shows to lending gear around, etc. It’s definitely a scene we’re proud to be part of.
AF: How did the three of you meet and what made you decide to play music together?
DB: Isabelle and Lana met on the first day of college and soon started playing music together in Lana’s garage. A few bands and a few years later, Lana’s high-school friend Michelle moved home from Toronto and came to a jam session. The chemistry was aces! and without being too cheesy here, the three of us knew we were doing the right thing. Diamond Bones was born just a couple of short months later.
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AF: We just can’t wait for the new album! What was the process of recording it like?
DB: Dream come true, yo! We were lucky enough to record at Montreal’s esteemed Breakglass studio amid an array of beautiful equipment and a killer vibe. We’re hoping that comes through in the finished product! The three of us got pretty goofy after the first few days, There were lots of late nights filled with corner-store wine, chocolate bars and home-cookin’. It was amazing though- such a great environment for creativity and collaboration- It was one of our favourite experiences (as a band) to date- we loved not having to be anywhere or do anything else while we were in studio. We’re super excited to get the finished product out there!
AF: Has anything embarrassing ever happened to you on stage?
DB: Lana frequently hits herself in the head with drumsticks. Actually, she’s frequently injuring herself on stage. Isabelle once played a whole song on the bass without realizing the amp wasn’t on. Michelle once just stopped playing in the middle of a song. We’re a little awkward in general so we put time aside during rehearsals to practice our stage banter. That’s fairly embarrassing, no?
AF: Are there any other bands playing CMJ who you’re particularly excited to see?
DB: Half Moon Run (Montreal sweethearts), CTZNSHP (another home-brew), we’re hearing a lot of hype about Haerts so we’re definitely going to check them out. Alpine, Human Human, many more I’m, sure. We’re just excited in general!
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To get you as pumped as we are for our CMJ 2013 showcases, we’re introducing each band to you by asking them five unique questions. Dark North is playing Spike Hill, 186 Bedford Ave. in Williamsburg, BK on Thursday, October 17th at 1PM. You can RSVP on facebook or DoNYC.
Full disclosure: Emily and Glenn Forsythe are friends of mine from back in the day when we all used to live in Ohio. But it wasn’t until the siblings moved to Boston that I got an invite to the then fledgling band’s MySpace page (this pre-dated facebook, of course). I remember clicking the link, listening, and practically tearing up, partly because what I was hearing was so beautiful, and partly because I had no clue that Emily could sing like that. The band has gone through some major growth since that time – morphing from “Forsythe” to “St. Claire” before finally settling on Dark North just a few months ago; taking on new members and saying goodbye to old ones; moving from Boston to Brooklyn and traveling the world in between. Their sound has grown too, from winsome, heartfelt folk into wise, intricate story-telling.
AF: You’ve performed for years as St. Claire but recently changed your name to Dark North. What was the impetus behind the name change? Was it scary to shed your old identity?
DN: Dark North just felt right. I love the name for hardly any reason. I wrote a song called “Dark North” and it just felt like how I feel right now. There’s a lot in there that I think fits the band the way it is at this time and I’m really excited about it. That said, yes it’s hard to change. But soon I have faith that people who liked St. Claire will know it’s still us– but better– and embrace it.
AF: What was the first song you remember hearing that made you want to start a band?
DN: Wow. Hard one. I have to say listening to Neil Young when I was really young just made me feel like I could and should sing. He had so much to give and I wanted to do the same. I guess I always really knew that’s what I wanted to do!
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AF: You’re from Ohio, have traveled all over the world, and finally settled in Brooklyn after living in Boston for a while. How has exposure to such varied music scenes influenced you?
DN: I have seen a lot of how where you are influences you– and doesn’t. A lot of people value where they are and think that defines them. And it does have a big effect… but you can’t rely on that making you who you are. There are amazing, talented, brilliant, and kind people everywhere. I love knowing that that’s true no matter where you go– be it New York, Paris, or small towns in Ohio. I think what you have to give is more important that what scene you’re a part of.
AF: Being siblings, is it ever difficult for the two of you to work together?
DN: Ha. That’s easy. No, it’s not hard. It’s a blessing. Glenn got the heart and the brains and I got the heart and the wanderlust. We are a great team and it’s only ever fun to discover new ways to connect and make things happen.
AF: You’ve been booking bands for a series of house shows in Crown Heights called Prospect Parlor. How did that get started? Can you talk about that process and about some of the bands you’ve hosted?
DN: We love putting on shows there. It’s our home and sharing it with tons of strangers is the best. We grew up going to shows in Columbus that were really raw– in basements and squats and warehouses… There’s just nothing like the way that felt. The goal is to bring that kind of spirit to a space where people can feel that they are really a part of the music. I think that’s the way music should really be experienced. Come to our CMJ show on Saturday! There will be 6 bands all day long!
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Brooklyn natives Empty Chairs are continuing on their wave of rhythmic harmonies toward the release of their first full-length album with a video for their single “GTMO.” The album, Caveat Emptor, drops on November 5, but for now, you can check out the exclusive premiere of the video here on AudioFemme. Frontman Peter Spear debuted Empty Chairs’ 5-track EP back in April 2011 and has since been joined by bandmates Whitney Broadstreet, synth and vocals, and Matthew O’Koren, percussionist.
Leading up to the new album, the band released singles “Akira” in July 2012 and “War Cries” in March 2013. Now, they’ve given us “GTMO,” a dreamy harmony of synthesized guitar and keyboard. They keep within the same psychedelic sound as the EP, which in this case isn’t a bad thing. Elias Gwenn shot the video and Empty chairs teamed up with him to produce it at Velidoxi Studios.
The video follows Spear walking around New York with an acoustic guitar — clearly not the instrument responsible for the song’s electronic-heavy sound. The footage appears to be playing backward: as Spear walks around Washington Square Park heading toward the camera, pedestrians behind him travel in reverse. It’s a clever touch that takes a second to notice, for the focus is on Spear. The video is reminiscent of a type of home-video montage and evokes thoughts of sunny skies and brighter days. As Empty Chairs continues to grow, their infectious rhythms are keeping our attention.
To get you as pumped as we are for our CMJ 2013 showcases, we’re introducing each band to you by asking them five unique questions. And The Kids is playing Spike Hill, 186 Bedford Ave. in Williamsburg, BK on Thursday, October 17th at 1PM. You can RSVP on facebook or DoNYC.
And the Kids is made up of Hannah Mohan (lead vocals, electric ukulele and guitar), Rebecca Lasaponaro (vocals, drums, bells) and Megan Miller (vocals, synth, glockenspiel, woodblock). Playing what they call accessible unconscious existential indie folk rock glitter popsicle crisis music, they have been packing the sidewalks and clubs from Northampton to Boston to New York City with their fierce infectious harmonies, tight and unique grooves and songwriting that has the ability to reach down and tug at the truths of their generation and beyond. Hannah and Rebecca met in their grade 7 music class and have been collaborating ever since. Megan Miller direct from Canada met Hannah and Rebecca at the Institute for the Musical Arts (IMA) in Goshen, MA at a women’s recording and sound engineering program and together the trio is on a mission to inspire the hearts of all living beings of light and laughter one stage at a time.
AF: Hannah and Rebecca – you met in 7th grade music class. What are some of the songs you remember singing as kids?
ATK: The first song we sang together is Tom Sawyer (that irresponsible child…)
AF: During the filming of your “Cats Were Born” video you were living in a tent and practicing in an electrified portable storage pod. What made you decide to do that? Can you tell us more about the experience?
ATK: It’s really hard to find a place when you have two dogs, you wanna play really loud music all the time, and you have no money. Eventually the place was condemned so we had to leave. Overall, it rocked.
AF: There’s some unexpected twerking toward the end of that video. What do you think about all the controversy surrounding twerking these days?
ATK: We don’t think of the controversy – our twerking was hilariously spontaneous.
AF: For a while you were running an underground studio space and performance venue called JamPony – it sounds rad! How did you start it and what ended up happening to the space?
ATK: Long story short, Hannah and Rebecca rented a commercial practice space in Holyoke and it came with a bar and pool table so they had shows there. Then Hannah slept there for a while because she was without home. We found out during the end of our lease that a lot of our equipment was being stolen (from the manager’s coke-head son…seriously). So Hannah and Rebecca peaced when the lease was up.
AF: You stated that you’ve mostly built a fan base by busking in and around Northampton – is that true? When you’re in the streets vying for the attention of passersby are you performing as And The Kids or doing something else altogether? What was the strangest reaction you ever got from someone?
ATK: Yes, we busk as an acoustic version of And The Kids. Funny you should ask, one time a listener waited until our song was done to talk to us and we knew the whole song that they really wanted to talk to us. They offered us free drugs, a hair tie and a pig roast for our birthday party. Just kidding, nothing really strange happens except for the occasional asshole who tells us to stop playing.
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To get you as pumped as we are for our CMJ 2013 showcases, we’re introducing each band to you by asking them five unique questions Time and Temperature is playing Sidewalk Cafe, 94 Ave. A in Manhattan on Wednesday, October 16th at 10PM. You can RSVP on facebook or DoNYC.
Val Glenn began Time & Temperature as 4-track recording project in 2005. Though T&T occasionally expands to include other musicians, Glenn performs and records mostly solo, her soulful croon relating stories mournful and beautiful. The music has a timeless, folk-noir feel; one gets the sense that these songs are beings of their own accord, birthed by magic into the air. Her guitarwork is deliberate but takes its time, weaving through Glenn’s intimate narratives with confident ease.
AF: You recently relocated from Columbus, OH to Minneapolis. What has that process been like as a musician? Has it inspired any new songs
T&T: Well…I moved to Minneapolis because I wanted to be closer to a music community that I felt better understood in. I have some really good long term creative friendships there that I wanted to be closer to. But, I was thrown a curve ball when one of my dear friends was killed on her bike 2 weeks after I got there. It’s been a real tragedy and basically immediately changed everything in the community I’m involved in. Friendships changed, motivations changed. Also, a lot of great venues in Minneapolis have closed or stopped doing shows recently so it’s hard in a way for people not to have the ending of things on their mind a lot right now. The process has been more challenging, actually. In terms of my inspiration, I still think it’s been good. Having more time to think and feel and challenge the way I do things is still as good for my creative process as doing the rock star thing where I’m just going out being awesome with other awesome people all the time. It’s like a rebirth. Or something.
AF: Where did you learn to play guitar? What artists inspired you to pursue a music for yourself?
T&T: Well, I started playing guitar when I was 11. My parents didn’t want to buy me a guitar because I was super shy as a kid and everyone at school thought I was a geek so they thought that maybe it was best to keep me away from things that would have me interact with society. I took lessons for a year but I’m mostly self-taught. My teacher wanted me to learn theory and I was like, jesus christ. A lot of people are like me and learn the basics and then just play along with their favorite records.
I actually listened to a lot of metal as a youth and a lot of classical, but I think initially I was inspired by early indie rock bands and proto-punk bands because it seemed like they were conceptually compelling but not like, prodigal musicians at all. Like hardly even good. I figured I could at least do that.
AF: Some time ago, you were planning to release a follow-up to Cream of the Low Tide but only released one single from those sessions. What are your plans for that material?
T&T: Yeah! I just self-released a tape of that material for this tour that I’m on right now. I also have a full length record coming out in a few months but I wanted to keep doing short run releases before that record comes out.
AF: Your songs seem so personal and yet you deliver them unflinchingly. Do you ever get nervous sharing your work in intimate spaces? Does it make you more nervous to play for strangers or for people you know?
T&T: I initially thought this said “does it make you more nervous to play for stranglers”.
I totally get nervous. It always depends, it depends on the crowd. Nerves are always good for me. I get more worried when I’m not nervous. It means my head is not in what I’m doing.
AF: What kind of bird makes the worst sound?
T&T: Lovebirds, definitely. The bird kind and the human kind.
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To get you as pumped as we are for our CMJ 2013 showcases, we’re introducing each band to you by asking them five unique questions Trabajo is playing Sidewalk Cafe, 94 Ave. A in Manhattan on Wednesday, October 16th at 10PM. You can RSVP on facebook or DoNYC.
Brooklyn electronic duo Trabajo is Yuchen Lin & TJ Richards. Their sound explores traditional and popular regional music from across the globe, refracting each style thru an experimental framework of samples, loops, and avant noise-scapes. From lush ambient drones to bursts of high energy postpunk, Trabajo is a constant diversity of sonic investigation and stylistic celebration.
AF: How did the two of you meet and when did you decide to form the band?
Trabajo: We met at a Rubulad dance party in Brooklyn 3 years ago this week! We shared a love of wild and world music so we started jamming. After a few months we got serious and then played our first show in August 2011.
AF: Trabajo performs, in my mind, world music interpreted through a Brooklyn lens. One of your records, for instance, focuses primarily on Indonesian gamelan samples. How do you source those types of elements and build them into your songs?
Trabajo: We sampled from the Nonesuch Explorer Series and performances on youtube. Composing this way is a little like doing a puzzle – you start with a few core samples and then fit beats, melodies and other samples around or against those central themes.
AF: What’s the best and worst thing anyone’s ever said about your music?
Trabajo: Somebody told us we look like we’re worshiping the music in performance which was a really keen, affirmative observation. Dunno about the worst thing, tho… in certain contexts not commenting is probably the worst, right?
AF: What’s your favorite venue to play in Brooklyn?
Trabajo: Probably no single favorite venue but our pal Gabe curates shows with multi-channel quadrophonic mixing which elevates the live music experience at any venue.
AF: Can you make up a color?
Trabajo: I’ve always wanted to play our music for someone that experiences chromesthesia and have them describe what they’re seeing…
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“Our tours are cursed,” Radical Face frontman Ben Cooper explained from his position seated in a chair onstage. Elaborating, he detailed a series of misfortunes including surgery on his head and a recent chiropractor visit for his injured back as an apology for his seated state. This opening remark was an unfortunate foreshadowing for the rest of the concert.
Even before Cooper and the band took the stage, the atmosphere at Le Poisson Rogue was uneasy as the audience endured what at first was a promising opener in Johnny Rodgers, who uses reverberating glass recorded on a loop to enhance his songs. However, after the first track, the novelty and impressiveness of this skill wore off and exposed mediocre lyrics and strange, contorted facial expressions Rodgers displayed while performing. By the end of the gig, the buzz of the audience talking rather than listening was apparent.
Then it was Radical Face’s turn to save the show. Crew aided the band in setting up the stage, scattering tiny, electronic candles throughout the equipment and placing a chair directly behind the leading microphone. Unfortunately for Cooper, his injury made it more difficult to connect with the audience, as they could barely see him from his position so close to the ground. He did make an effort, however, to bridge the gap by engaging in conversation with attendees and explaining the meaning behind each song before performing it. On the opposite end, the audience responded in unfunny, unnecessary shouting matches, hopelessly trying to communicate with Cooper, forgetting that they were attending a concert and that dialogue between the artist and the crowd in a packed space is pretty much useless.
In accordance with the “tour curse,” Cooper snapped a string partway through the set and try-too-hard-overdressed-drummer whose name I can’t even remember was recruited to fix the broken string while Cooper covered Sinead O’Connor’s “Nothing Compares 2 U.” Cooper explained the misfortune by stating, “Nothing we do is planned. We decided you pay money to watch us practice.” The self-deprecation was meant to be humanizing and funny but came off as unprofessional and juvenile. This coincided with occasional jokes about how depressing and dark each of the songs are and declaring all of their romantic relationships unsuccessful. The string replacement itself was an awkward moment that was next filled by the “former professional yo-yo-er” drummer’s yo-yo performance. Sadly, the tricks were the most impressive portion of the show.
The performance continued in the same shaky way it began, with the band not quite sounding like themselves. No one expects artists to sound the same live as they do on recorded albums, but they were so far off the mark it was depressing. Radical Face is by no means a barrier-breaking band, but the greatest strength they possess is that their songs sound so pretty. The live version just doesn’t transfer that sound. The littlest salvation came when the band united as one and jammed out on several tracks, with swooping guitar chords that — albeit simple, basic skills — were effective in rallying the crowd. Crowd-favorite tracks such as “Wrapped in Piano Strings” and “Always Gold” elicited joy and nostalgia from the crowd.
When it came time for Cooper to introduce the band’s most popular track, “Welcome Home,” he declared that he needed some assistance for the crowd to sing along to the chorus: on the recorded track, there are multiple voices present and on stage there is just Cooper’s. He informed the crowd that the drummer “is kind of a dick” and compares each city’s rendition of the song, that they should sing as loudly and as heartfelt as they could. This seemed to convince them to ban together, as many voices filled the small space when the chorus came around. However, not even the nostalgia for the hit and assistance from the crowd could save the performance.
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A forrest gives way to a wide, open river where the air is warming up with the dawning of the sun. The smell of trees and ground colliding with the freshness of the clear water. The only sounds heard are crickets chirping and the water splashing gently against a canoe — a quiet place before the world is fully awake. This is the serene setting that I imagine soaking in Breathe Owl Breathe’s album, Passage of Pegasus.
Most of the band’s sixth album involves smoothly crafted melodies blended with vocalist Micah Middaugh’s throaty, deep hymns. Middaugh’s baritone is reminiscent of The National’s frontman Matt Berninger. With the booming pitch comes an atmosphere of not only relaxation, but also a hint of despair. “Love’s become an artifact/ a rattle in your hand, archeologist,” Middaugh croons in the opening track, “Vision Quest.” It is a brooding that is difficult to resist. There’s no better way to shed your own depression than singing along to someone else’s; it’s a consolation that we’re not the only person who feels that way sometimes.
The dreamy, moody songs are easy to soak up and revel in. Titles such as “Vision Quest,” “Silent Movie” and “Hologram” further advance the dreamy, other-worldly feeling the songs themselves elicit. Lyrics also reflect the daydreaming playfulness of the songs. In “Ferns Move,” Middaugh croons, “In the fortress of the mind, make believe never dies.” The band has clearly spent time getting lost in their own alternative version of reality and they invite the listener to join them with comforting guitar strokes and smooth cello plucks.
With all of the brooding, the first half of the 10-song album burns slowly. But it’s not a bad thing. Middaugh joins bandmates Andrea Moreno-Beals, cellist, and Trevor Hobbs, keyboardist, to create an enjoyable ride through several folksy alternative songs. However, Passage of Pegasus takes a turn halfway through when Middaugh and the gang adds some electronic mixing and more pronounced beats to the album on “Explorer,” as well as the following track, “Sand Stone.” It’s a nice break from the heaviness of earlier songs.
Breathe Owl Breathe still showcases Middaugh’s baritone voice and moody lyrics, but this time with a variety of instrumental accompaniment. The contrast in deep voice and light electronics is fun and playful. At times, Moreno-Beals joins Middaugh on the chorus to give the songs a fresh punch with her somewhat shaky, yet overall enjoyable singing. Her singing adds a joyful tone to the otherwise uneasy “Followin Ya.” The chorus declares, “I know something is followin ya,” which could be creepy without the upbeat tone in which it is sung.
The album concludes with a descent back into the tone of the first half of the songs in “Two Moths.” The track begins with the narrative of two moths who help each other through a difficult time. When they find each other, things become better and seem to go alongside the uplifting, sweeping instruments as well as several rounds of “oh’s” and “ah’s.”
Passage of Pegasus explores a journey through the band’s experiences leading up to this point. Having come together almost a decade ago, they have weathered much to get to the point where they currently stand. The effort doesn’t go unnoticed and results in an album expressing not only despair, but also some hope. Breathe Owl Breathe have crafted an offering of acceptance and provide a sound that relates to both their fans as well as new listeners.
It’s been a little over a year since Brooklyn’s very own Parquet Courts gave us their debut LP Light Up Gold, a release that has garnered a considerable amount of attention and approval from DIY enthusiasts and mainstream music publications alike. Since then, the band has built up quite an impressive resume consisting of a couple of mini-tours throughout Europe, much-talked about gigs at SXSW, Austin City Limits Festival, Pitchfork Music Festival, and even a stint opening up for alt-rock legends the Pixies at NYC’s Bowery Ballroom earlier this fall.
After much anticipation, the band finally released their follow-up EP Tally All The Things That You Broke on local indie label What’s Your Rupture? just earlier this week. The opening song, “You’ve Got Me Wonderin’ Now,” kicks off with a punch of their signature stoner, indie-punk sound that quickly progresses into an addictive chorus “Toothache’s better than heartache, baby/I’ve figured that much out/And I thought I knew a thing or two about the blues/but you’ve got me wonderin’ now”, all accompanied by the shrill sounds of a recorder mimicking Andrew Savage’s vocals in the background.
“Descend (The Way)” continues with the same agile, garage punk stamina. In “The More It Works”, Savage entrances listeners with the ongoing, fervent proclamation “The more you use it, the more it works,” amongst the backdrop of obtrusive guitar feedback and piercing, frenzied riffs. Parquet Courts takes a break from their spazz-punk vigor for a moment and transitions into a 70’s post-punk, Richard Hell & Television-esque strut in “Fall On Yr Face” with a series of vocal snippets contorted by a number of effects. The biggest departure from the band’s ongoing garagey, post-punk sound throughout all of Tally All The Things That You Broke however, is in the final song “He’s Seeing Paths”. The band plays around with a simple (but nonetheless very catchy) hip-hop loop similar to what one would find on an earlier Beastie Boys record.
Although Parquet Courts wanders off from the stoner-punk sound on 2012’s highly-acclaimed Light Up Gold, Tally All The Things That You Broke gives us a glimpse into the band’s musical versatility and the desire to step away from the indie/post-punk/garage genre they’ve been pigeon-holed into.
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Rumors of Justin Vernon forgoing Grammy-winning Bon Iver for other projects have been spreading for months. Vernon himself has fed these rumors, confessing in a recent Reddit Ask Me Anything session along with other members of Volcano Choir that, as far as Bon Iver goes, he has “no plans, not sure what I or the world needs from that perspective anymore. We’ll see. VC [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][Volcano Choir] is where my heart is at these days.” Even if this does mean the death of Bon Iver, Volcano Choir’s second album, Repave, and the live performance of Volcano Choir’s catalogue are proof that as long as Justin Vernon is making music, he need not be tied down to a singular vehicle of that talent.
Volcano Choir, stitched together by members of Collection of Colonies of Bees, All Tiny Creatures and Vernon, in its first U.S. tour, brought to Webster Hall Saturday energy upheld by the sea of fans throughout the night.
Sylvan Esso opened up the concert with a startling electronic performance, mixing pounding beats with catchy lyrics. Vocalist Amelia Meath danced around her half of the stage, belting out tracks while electronic musician Nick Sanborn pounded out beats on an electronic mixer on the other half. At times, the two would take a break from expressing their own response to the music by temporarily making eye contact and dancing with each other from across the stage. At first it seemed like a (pleasantly) surprising and somewhat odd choice to open up in such a loud, energetic way, but Sylvan Esso clearly shared the same passion for music and the opportunity to emerge from a small town that Volcano Choir represents. Each is dedicated to focusing on the music and getting lost in the art.
Toward the end of their performance, Sanborn took a minute to express their gratitude to the members of Volcano Choir. “They’re going to fucking slay,” he predicted. He was right.
Volcano Choir’s own passion was clear from the moment they stepped onstage. They held the audience captivated from the first song to the encore performance. Part of this was due to a wondrous stage set up. Whether intentional or not, Repave takes a sense of a nautical theme, expressed through various lyrics as well as the album cover, a picture of The North Sea taken by Chris Arnol. The album cover was recreated by netting hung behind the band as it played, turned to shades of blue, purple and yellow with lighting. It all blended so well with the band’s sound and created an atmosphere of peace.
The band had been touring only a week before playing at Webster Hall and was set to take a break in touring for a few weeks. Collectively, they expressed their regret of the short touring time, and in almost an offering of apology and consolation, guitarist Chris Rosenau announced they would be playing “almost ever song we know” as well as several unreleased tracks that “haven’t found a home.” Surprising, considering the recent release of Repave on September 3. The new songs, including a track tentatively titled “The Agreement,” “Valleyonaire” and “Nini” were a departure from the sound of other songs. They took on a guitar-heavy, almost hard-rock sound that hasn’t been heard in previous works. Rosenau was correct in identifying them as tracks that did not have a home. Although catchy and well-played, they would not have fit in with the more mellow rock of Repave.
In familiar songs, such as “Tiderays,” single “Comerade,” “Dancepack,”Acetate,” and “Byegone,” the band filled the hall with pounding instruments and a heartfelt crooning from Vernon, who did his share of dancing to the beat and playing air drums. His excitement in touring with these other talented musicians is palpable in the energy put forth in his performance, and it seems to inspire the rest of the band as well. Although the performance was set in the mid-sized Webster Hall, the musicians exuded a presence that could command an entire arena. It was easy to get lost in the scenery, pulsing music and honest joy felt through those in the room.
The crowd rallied in cheers during the first few notes of “Still,” a remix of Vernon’s “Woods” under Bon Iver. The beefed-up version had Vernon back in his well-known falsetto, bringing feeling of nostalgia to those who have been listening to him from his beginning. But the loudest response came during “Byegone,” as attendees joined Vernon as he pumped his fist in the air, singing, “Set sail!” Regardless of the track, the band had the crowd with them the entire concert.
Partway through the concert, Vernon looked out at the packed hall and gushed, “It never gets old… It never gets old, to work really hard to produce something for a long time and have people actually give a shit about what you did.” At the very least, the live manifestation of Volcano Choir’s work proved that following Vernon and those he makes music with never gets old, either.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]
New Politicians capture the angsty, stick-it-to-the-man mentality that defines the guitar and synth-heavy post-punk genre in their second EP, Drag a City. The quartet of New Jersey natives harness a strong voice in the form of vocalist Renal Anthony and provide a background of significantly guitar-laden accompaniment from bassist Winston Mitlo, guitarist/vocalist Gian Cortese as well as Anthony himself. Evan Glickman serves as the pulse of the action as drummer. They use the four-track EP to remind their listeners of the music introduced in their first EP, “Alpha Decay,” as well as recruit new fans by delivering a refined, professional sound. For lack of a full-length record, it’s not a bad start.
Drag a City begins with the catchy “The Length of Our Love,” where a medley of dreamy guitar chords supported by a pulsing beat deliver Anthony’s crooning ode to the length of his love — for which he would tear down a city. It’s hard not to get lost in the pretty combination of instruments and voice and pay less attention to what Anthony is saying in favor of how he is saying it. It is quite easily the catchiest track on the EP and would likely serve well as a single.
The EP transitions into a similar sounding “Sail Away” where Anthony describes his love as plucky guitar chords set the tone. The most captivating part comes at the end when Anthony repeats a hypnotizing plea, “Take me home/ Sail away, away from here” as guitars and drum form a lovely, equally-hypnotizing cushion to the lyrics.
Drag a City picks up with “Are We the Dining Dead,” which is the most anthem-like song on the track. A call to awareness, the band pronounces their lives lonely because of their mistakes and lies. They offer up causes for their own unhappiness and hint that they have no other choice but to live their lives this way. Whether this is a cop-out or revealing of facts about their personal lives and journeys and the obstacles they have faced is unclear. Regardless, it will likely serve to form a bond between all those with similar outlooks, collectively nodding their heads and raising their fists at the unfairness of it all.
The EP closes with the track for which is is named: “Drag a City.” The song winds up slowly, building with short drum rolls to a soft promise to a lover to drag a city down, akin to Anthony’s love declaration in “The Length of our Love.” One thing’s for sure: the lover is worth fighting for. Once again, the instruments provide a great accompaniment to Anthony’s crooning. It’s fun to listen to and be swept away by the melody.
Put together, the New Politicians’s Drag a City contains a solid array of contents that blend well together and create a pretty package.
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In a little less than six years, Lee Rickard and Sean Bohrman of Burger Records have built an accidental empire. What began as a way to release records for their band Thee Makeout Party and their friends’ bands (Audacity, for instance) quickly morphed into one of the more prolific purveyors of cassettes tapes during a reawakening of cassette culture. It was not just that they were releasing tapes, it was the sheer volume of tapes they released. And quality was never spared for quantity; Rickard’s and Bohrman’s impeccably curated catalogue quickly earned them a reputation as taste-makers and made Burger a bellwether in terms of what bands to watch, particularly in punk, lo-fi DIY recordings, garage rock, and slightly left-of-center pop performers. There are plenty of acts on Burger’s roster who can’t be so easily classified, but there’s an overarching aesthetic here, infused with a carefree, West Coast, sometimes vintage vibe.
A few weeks ago, Rickard set out with a stable of Burger’s most buzzed-about acts (including Cosmonauts, The Growlers, Habibi, Colleen Green and Gap Dream) for Burger’s second “Caravan of Stars” tour. While Rickard is away, Bohrman is running the record store in Fullerton, California – also mailorder headquarters – with a very diminished staff. When we first called for an interview there was a pressing matter in the warehouse he had to attend to, insisting that he “take care of it himself”. Though Bohrman was slightly more relaxed when we called back, he never stopped working, even during our interview – he went right on buying someone’s collection of Japanese hardcore records.
It’s that kind of work ethic that’s often glossed over when the label is discussed; the pair are oft represented as stoned goof-offs who like poop jokes and bubblegum pop and started Burger to bring the two together. “It’s really easy to make fun of what we do,” says Bohrman. He cited a recent write-up about Cassette Store Day in which Billboard referred to Burger as “scabby truants” while using sun-dappled in the same sentence to describe Moon Glyph. “People have been hating on Burger since the beginning. That’s been part of the process of growing as a label and learning. The more people who know about your label, the more times you’re gonna get people fuckin’ making fun of you or just like, dismissing your whole operation in a sentence.”
Describing Burger as an “operation” is perhaps more accurate a term than “record label”; it’s a label first and foremost, sure. But there’s also the record store, which has changed the landscape of Fullerton’s music culture. Fullerton shaped Burger’s sound, says Bohrman, “because we’re so influenced by where we are, and Disneyland and the suburbs and [/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][having] nothing to do. We have a lot more cool shows coming through town now, and a lot more people coming out.” Burger has turned Fullerton into something of a Mecca for fans and bands interested in what the label is doing. Just last December, Gabe Fulvimar (who records and plays music as Gap Dream) moved to Fullerton to record his second LP under the support of Rickard and Bohrman – he actually lives in a storage space in the store. Almost like a cult or the Mafia, Burger welcomes bands into the fold and they automatically become family.
“Any kind of way you can think of a band getting on a label, we’ve probably done it,” Bohrman reflects. “We put out so many different bands. We’ve had them come to us, we’ve gone to them, we get demos, we’ve had labels coming to us wanting to put out the bands. But for the most part, we seek out stuff.”
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Bohrman and Rickard’s uncanny knack for identifying unusual talent is, by and large, the biggest factor in establishing the label’s momentum. They’ve been instrumental in introducing and supporting acts like King Tuff, Ty Segall, Mikal Cronin, Black Lips and Thee Oh Sees, now stalwarts of the scene. Bohrman shrugs this off. “Ty and all them were already on their way up.” But Burger’s rise to recognition goes hand-in-hand with the bands it is so often associated with; their trajectories actually compliment one another.
“I remember we were at Kirby’s Beer Store in Kansas City on tour with Makeout Party and Audacity and I was sitting in the driver’s seat and I was like we should put out tapes of all these records ‘cause none of the records coming out at the time has cassette releases with them.” Bohrman recalls. “So I just immediately emailed Ty who was in The Traditional Fools at the time and I emailed The Go and I emailed Apache. And those were our three first cassettes that we did outside of Makeout Party or Audacity or anybody. Then we got ahold of a bunch more people, then people started getting ahold of us, and it just started growing and growing and growing.”
Burger’s stars also aligned with the resurgence of cassette tape collecting, and in many ways, contributed directly to it. “I think actually we kind of helped create the craze that’s around cassettes right now, as far as just releasing so many things in the face of people telling us that cassettes are stupid and no one buys cassettes and why are you making cassettes?“ Now, there’s a whole new generation interested in the medium. “A lot of older people will complain that it’s just nostalgia, it’s just a fad, people will get over it. But for eighty percent of the people who are buying our cassettes there’s no nostalgia involved. It’s a whole new thing to them. They’re getting cars passed down from their parents that have cassette tape players in them and people want to listen to music and if you offer them a way to listen to good music, they’ll take it. That’s what we found out.”
And so they kept putting out tapes, sometimes five a week, amounting to, at current count, over 500 cassette releases (not to mention fifty-some vinyl releases). Bohrman and Rickard exhibit a level of enthusiasm for promoting each and every release that’s unparallelled. And they’re clever at branding too, placing the Burger logo not just on cassette spines, but also on tees and buttons that bands proudly sport in music videos. “We’ve just always been hype men, I guess. Once we quit our jobs and started the record store and started working 100% full-time on Burger that’s when it started getting really big.” says Bohrman. “This year, we got proper PR, we got proper distribution… that’s why you’ve been seeing us in a bunch of the bigger magazines and things. It’s cause our PR people rule. They’re really really good. And we’re really good ourselves just doin’ the grassroots thing.”
Their latest grassroots promotional project is their effervescent YouTube channel, known as BRGRTV. The theme song is performed by Free Weed and is as catchy as anything else in the Burger catalogue, begging the questions “What makes the ladies think you’re cool?” and “What’s your favorite TV show?” before responding with a dreamy “Must be BRGRTV” and launching into fuzzy clips of in-store performances or outtakes from music videos. BRGRTV’s off-the-cuff feel bares the mark of genius, but like most Burger endeavors, BRGRTV seems to have happened organically. “We met this kid Steele O’Neal” Bohrman explains. “He turned us on to Cherry Glazer and some other bands, and we really liked his name and he was interested in filming stuff. And then we had Jack Sample, who also has a really good name, who had done the Between Two Buns documentary for a high school project.” O’Neal and Sample had just graduated high school when they were asked to film BRGRTV episodes full time. “It just came from me and Lee getting stoned together and talking about random stuff and within a week and a half we had the first episode with the theme song. It all came together really really quickly. Since that episode we haven’t missed a week.”
That’s truly an accomplishment, considering the tours and showcases they’ve been immersed in executing. They virtually took over SXSW last spring with what seemed like an endless stream of raucous parties. Buoyed by the positive response, they began plotting their current tour. “We did a Caravan of Stars tour back in 2010. It was good, but it was hellish on the road. People knew what Burger was but it wasn’t like this big thing yet, and it was The Cosmonauts first tour. So it was a rough ride but everybody had fun.”
The road should be less bumpy this time around, because at this point, Burger seems like an unstoppable machine. The tours and the TV show, the acclaimed releases, the thriving record store and the enthusiastic new audiences all seem to highlight an incredible amount of dedication, hard work, and forward thinking. But Bohrman remains nonchalant. “We really haven’t planned anything that’s happened. Everything has just happened, with no we’re gonna put out this many tapes or we’re gonna do this tour or we’re gonna release all these things and we’re gonna be the biggest! It just kind of fell into our laps, and just started happening. It’s crazy.” But that doesn’t mean there aren’t plans for Burger’s future. “We definitely have plans for world domination.” Bohrman jokes. “New York, Tokyo… we want to go all over the world. It’ll happen. As long as we keep it in our heads it’ll happen eventually.” He adds, “We don’t have a lot of time to sit back and like, look at what we’ve done. We’re moving so quickly and there’s so many things happening all the time.”
Bohrman’s dream project is a bit unexpected. When asked what he’d been listening to, he mentioned Burger favorites The Memories, Cornershop, White Fang, John Krautner, Curtis Harding and Gap Dream. And then, without any hint of irony, gushed “And I listen to a lot of Weird Al. He’s not a Burger band yet, but I listened to him today. I’ve met him a couple of times. I’m a super huge Weird Al fan.” Is a Weird Al and Burger Records collaboration in the works? It might be closer to happening than you’d think. “He actually knows about us, cause we were trying to get him to play one of our festivals, and he wanted a lot of money but I kept telling people ‘Get Weird Al, get Weird Al!’ and like out of nowhere I would just send a text and be like ‘I reeeeeally want Weird Al for this’ and his people wrote back “Why do you want Weird Al so bad for this show?” It was for Burgerama and so I wrote them a really long email about how much of a fan I am and why we wanted him but I never heard anything back. He’s had a lot of original songs too that he could put to tape. I’ve dreamed about putting out an original Weird Al record with no parodies.”
Weird Al aside, the key to understanding Burger Records is that first and foremost, Bohrman and Rickard are consummate music fans. At the heart of everything is a passion for music and the effect it can have on the listener. Even if some media outlets refer to Burger’s sound or ethos dismissively, Bohrman and Rickard and surely everyone they’ve brought in to help out as the label expands are earnestly attempting to share with the world music in which they hear something special. There are destined to be those that don’t understand it, but perhaps more importantly, there are easily as many folks who absolutely comprehend the label’s vision, and to them, Burger is beloved.
“We didn’t see that when we first started making cassettes… but as time went on we could see that something was happening and it was growing and there was a real movement happening for what we were doing. Which has just been the best, most blessed thing ever,” Bohrman reflects. “I mean, that’s what we want to do – turn people on to music and create a legacy for Burger and for us and actually make a difference in music in general. ‘Cause music is so important. It can change feelings and it’s just a really magical thing and to be a part of it – to be like, a bigger part of it than I ever thought I would have been – it’s just the greatest thing ever. It means a lot to us that people are listening and getting something out of it; it’s more than we could have ever asked for.”
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Gabe Fulvimar neglected to bring a towel, toothbrush or dental floss on a cross-country tour with Burger Records’ Caravan of the Stars, but he departed Fullerton, CA with a few choice essentials. “I forgot everything, I just brought…I brought a backpack full of underwear, that’s all I brought. Fuck,” he laughs when we catch up with him via phone. He is somewhere between Olympia and Vacouver, and his companions on the road are traveling even lighter. “Lee [/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][Rickard, half the founding duo of Burger Records] didn’t bring no underwear. He doesn’t wear underwear, he doesn’t wear socks. He is free of socks and underwear. He has unleashed those burdens from his back.”
Fulvimar, better known in certain circles by his musical moniker Gap Dream, isn’t letting his lack of toiletries get to him. He’s riding high on the impending release of his second LP, Shine Your Light, out 11/12/13 on Burger Records, the Fullerton based imprint that built a reputation on releasing eccentric lo-fi, garage, and punk cassettes. When asked what he’s most excited about, he enthusiastically responds “I’m excited about all of it! I’m excited about the release date, I’m excited about the catalogue number, I’m excited about the cover, I’m excited about the little piece of paper that’s gonna go around the cover… oh it’s crazy.” M Wartella, famed NYC-based illustrator known for his work on Cartoon Network’s Mad Magazine, designed the holographic artwork, having recently hooked up with Burger labelmates King Tuff to animate the band’s trippy video for “Sun Medallion”. “He’s one of the most brilliant artistic minds of our time. It’s gonna look like Lisa Frank shit on mushrooms. It’ll be sick,” says Fulvimar.
As mind-bending as the cover art sounds, we’re not gonna lie – it’s the music that we’re most excited about. Gap Dream’s warped synths, vintage-tinged riffs, and intricate, infectious drum rhythms left us humming material from the self-titled debut since it came out last year. In the interim between records, Gap Dream released swanky singles “Chill Spot” and “Fantastic Sam”. While the newer tracks stay well within Gap Dream’s wheelhouse, it’s fun to hear Fulvimar amping up the synths. “I love synthesizers and I’ve always loved them, and I’m always going back and forth between guitars and synths. Right now I’m in a synth phase,” he says. “I just got a Moog Little Phatty that Burger bought for me, and I’m using that on the tour, not playing guitar, and it sounds great. It’s the best sounding thing on the planet. I love it.” Fulvimar’s reverence for synths ensures he’s not in any danger of treading into cheesy 8-bit territory on tour or on the new record. “It’s a classy instrument. You’re supposed to treat it right. You’re not supposed to treat it like Nintendo.”
Other than synth obsession, there’s another factor which stands to have a huge influence on Shine Your Light. Fulvimar moved from Cleveland to California last December. “The new record has more of a West Coast sound than the last one, which is funny because I didn’t think the first one had any sort of West Coast sound,” Fulvimar says. In Fullerton, he’s fully integrated into Burger culture. “I’m living in a storage space,” he says. “We have a good time. We work on Burger stuff and Gap Dream stuff all the time. It’s a great place to be. Everyone’s great, it’s like we’re a family living there. I love being there.”
During the recording of the record, Rickard and Sean Bohrman (co-founder of Burger) were constantly exposing Fulvimar to obscure music. “At any given moment I was hearing something different. We’re all hanging out, listening to music, you know, enjoying rock n roll. So it came out in the songs. It’s interesting to listen to that collection of songs and see how all over the map I was at the time. But you know, it definitely changed the sound. I dunno in what way, if it was good or bad, but it did.” These new influences provided ample inspiration for Fulvimar to take Gap Dream in some new directions. “I don’t like to do the same thing twice. I’m always trying to do something that I haven’t done yet when I write songs. I’m always trying to break new ground and trying to make something that I haven’t heard yet, I guess. I’m just trying to make songs that I want to hear.”
Gap Dream is poised to go a long way with Burger’s backing. Rickard is literally at the helm on the Caravan of Stars tour; Fulvimar says he’s “driving us all over the country, making sure we don’t, you know… fall into peril. He’s like our spirit guide, he’s the best of the best, he knows his way around every city in the country. He’s the man.” He met Rickard on the first Caravan of Stars bus tour, back in 2010. “That’s when I was introduced to Burger. And ever since then, it was me ordering tapes from them, and getting really stoked on ‘em and excited about what they were doing, and then it turned into me submitting my own stuff.” The label put out Gap Dream’s first LP and it gained momentum among fans and critics interested in its breezy, psych-tinged sound. “It just kinda took off based on the fact that Burger put the tape out, [and] people were interested. They got me out of the house pretty much.”
For someone who has been playing guitar and recording his own music for nearly two decades, there’s a level of modesty involved in those statements. Fulvimar remains modest in discussing his musical background, as well. “I started playing guitar when I was in like fourth grade. I never really took it seriously enough to learn anything as far as theory, but I always recorded myself and always found ways to do things with limited means. I guess you could classify me as ‘studio nerd’.”
Gap Dream doesn’t come across as your typical bedroom recording project, and in a live setting it takes on a life of its own. When I saw Gap Dream at now-defunct Brooklyn DIY space Big Snow Buffalo Lounge during CMJ 2012 it was a four-piece rock n’ roll outfit, but for Burger’s Caravan the line-up has shifted again. “Now we’re trying to hammer it down so we do have a set lineup, just because it’s becoming a pain in the ass to deal with that every time we go on the road. We don’t have a drummer on this tour, we’re just using a drum machine. It has more of a vibe like the record does.”
Assisted by Bobby Burger on bass, Fulvimar’s “buddy” Corey on guitar, and a drum machine, Fulvimar explains “It’s a groovier set. It’s got more of a dance feel to it and it’s more chill, more angular. It’s fun, people have been getting into it. We just did our first show last night, and it’s been a positive reception and fun, you know. We’ve been having a good time.” That good time is an essential motivating force behind Fulvimar’s project. “I love playing. Like, we love playing for people and getting their minds off how they owe rent or whatever. We just like to spread a good vibe and hopefully, you know, make some dough in the process.”
Along with The Growlers, Cosmonauts, Habibi, Pangea, White Fang and Colleen Green, Fulvimar and crew are about halfway through the tour, which rolls into New York tonight for a sold-out show at Bowery Ballroom. That performance, and the tour as a whole, is sure to get folks talking about the new LP. “I feel like if you love to play something and if you love what you’re doing it’s gonna come out sounding good, because you’re gonna put the care into that is necessary. It’s like cooking. It’s like anything.” He’s got his backpack of underwear, his best friends, and one other essential item: his signature yellow-lensed sunglasses. “I mean, I just started wearing ‘em because I liked ‘em. I had a bunch of different colors and my actual glasses broke and I needed something on my face so started to wear those all the time, and they just kinda stuck.” With the release of Shine Your Light, Gap Dream is similarly destined to become a permanent fixture – a little retro, a little brazen, and unassailably cool.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]
10/27 Caroline Polachek @ Bowery Ballroom
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