Entries tagged with: Balkans
intro by Bill Pearis
Lars Finberg w/ The Intelligence
It's been almost three years since The Intelligence's last album, Everybody's Got it Easy But Me. What has Lars Finberg been up to in the interim? This year saw the reissue of The Intelligence's first album, Boredom & Terror, on double vinyl (the original CD's bonus disc is now the second platter), which is well worth picking up. You can stream it via Spotify below. As for what else, there's lots going on, including a new album, and we'll let Lars fill you in on all that:
We are fresh home from our "Is it possible to tour Europe on the 'deluxe' reissue of our first LP "Boredom and Terror"? (the answer is a resounding 'somewhat") and Petey Dammit from Thee Oh Sees joined us as a guitarist/stylist. Our new LP Vintage Future is recorded (by Chris Woodhouse and featuring friends from the The Shins/Thee Oh Sees/Sic Alps/Wounded Lion/The Mallard/Mayyors) and currently being mastered for an April release on In the Red Records, preceded by a 12" single/EP called "Cleaning Lady." Then the bench will be warm enough for us to start touring/hawking t-shirts in the spring.Keep your eyes peeled for more details on Vintage Future and The Intelligence's tour plans (they were last in NYC during CMJ 2012).
While Lars was filling us in on the new album, he also gave us his Top 10 of 2014. It's a mix of albums, movies, books and shows, and not all of it was actually released this year, but he makes a good case for all of it with commentary below.
by Andrew Sacher
Atlas Sound at Creators Project in October (more by Dominick Mastrangelo)
Bradford Cox released the latest effort under his Atlas Sound moniker, Parallax, on November 8 via 4AD. For someone who seemingly can't stop releasing songs, when Bradford puts out a proper full length, it always comes off as a cohesive piece of work and Parallax is his most focused album yet. It's got a similar overall feel to the dreamier direction Deerhunter took on 2010's excellent Halcyon Digest, but the material is so strong that it hardly sounds repetitive. The flow of the album subtly works in the slower, more ambient cuts to space out the relatively high amount (for an Atlas Sound record) of pop standouts. Like many pop experimentalists before him, Bradford has mastered the art of leaving his own weird touch on even the simplest tune. This comes across most strongly on "Mona Lisa," a re-recording of a track that appeared on his Bedroom Databank collection. The song is carried by the sort of upbeat acoustic guitar rock that Bowie experimented with on Hunky Dory, and Bradford sings with a fragile falsetto that brings to mind Lennon's "#9 Dream." You can stream the entire Parallax album on Spotify and purchase it at the 4AD webstore. You can also grab two MP3s from the album above.
As mentioned, Atlas Sound will be playing in NYC this winter, like he has been doing for the past few years. Earlier today, we mentioned the 12/17 Bell House show, which tickets are on sale for. It has since been announced that another show is happening on December 18 at Bowery Ballroom, which is good news for those who plan on attending our BV Holiday Party with Twin Sister, Widowspeak, and Ava Luna on 12/17 at Bowery Ballroom (tickets). Both Atlas Sound shows are with Balkans. Tickets for the Bowery Ballroom show go on sale Friday (11/25) at noon.
Casiokids @ Public Assembly
Well, another CMJ week has come and gone. How did you fare?
Though Northside summoned a number of my favorite artists to town, the CMJ line-up was rather thin by comparison, so I made it my goal to catch as many new acts as possible this year. With help from BV's tightly scheduled day parties, I managed to squeeze in 46 bands. While it's all still fresh in my mind (ie, before I spend the next week hibernating), here's a recap of my week, complete with my favorite finds...
I kicked things off with trance-inducing, one-man knob twittler Sun Glitters. Figuring out how to bring life to headphone-friendly, sample-heavy music in a live audience setting can be a challenge, but the few I saw this week (Million Young, Chad Valley and Luxembourg's Sun Glitters included) were decent.
If last year was the age of the one-man laptop act, 2011 was rife with lo-fi, synth/guitar-heavy (mostly) male groups cloaked in reverb. Each band had its strengths: Sunglasses (great energy on stage), Gauntlet Hair, Guards (perfectly summed up the sound of the moment), 1,2,3, Balkans (nice balance of in-your-face guitars and sunnily-swaggering vox), Tiny Victories. But after a while, I confess they all started to blend together--especially since a good chunk of these bands came early in the week for me.
What did stand out for me in this category was San Diego's garage-psych outfit Tropical Popsicle. Instead of falling flat, the deadpan vocal delivery of Tim Hines pulled me in and kept my attention, making me forget about my plans to leave midset. Another pleasant surprise for me was Dive, the side project of Beach Fossils guitarist Zachary Cole Smith.
But after a rather slow start to the week when schedule issues and cancellations made me abandon my original plans, things definitely picked up midweek. I spent Wednesday evening shuffling around in the rain to some seven venues. From the synth-driven pop music of Norway's Casiokids (whom I managed to sneak in on my lunch hour) to the decent public radio-friendly folk-pop of The Lighthouse and The Whaler and Lissy Trullie's alluringly husky vocals, the day was full of pleasant surprises--not the least of which was John Maus, easily one of the highlights of my week.
As I walked through the door at 285 Kent, I immediately felt as if I had gone back in time. Thick music pumped from the DIY graffiti-covered space, through clouds of cigarette smoke. On stage, Maus shook with intensity as he addressed the mass of dancing, sweaty revelers. Beneath the shambling chaos of the quick synth riffs and simple drum lines is an unhinged but triumphant quality that is intoxicating. I had heard whispered stories of Maus shows before, but I never really understood the fervor until I saw it for myself.
Thursday was also packed with a number of good finds. I somehow found myself in the 7th floor of a swanky hotel for an "acoustic" (as in not electric; not unplugged) Dum Dum Girls set (though only 2/4 band members were present). Other highlights included the seriously talented and take-your-breath-away-beautiful dreamy folk-pop of Gem Club (who just released their debut album on Hardly Art), and Brooklyn's own, Headless Horseman who make fun, glitchy, hook-laden music with inventive beats (Their song "Wavlngth" was seriously one of my favorites all week.)
Friday, my band-count escalated rapidly, thanks to the BV day showcase at Public Assembly, which essentially had two bands playing each hour. I knocked out a few of the hyped bands in this fashion, including Chelsea Wolfe and Gauntlet Hair. (I also stepped over to Cameo briefly to catch a few adrenaline-packed songs from the Brooklyn duo Hunters.) With her beautifully haunting (but not annoying operatic) vocals Chelsea Wolfe was certainly one of the more memorable acts of the week. Would she be getting as much buzz if she didn't dress like "a medival [sic] reinactment [sic] person from Medival [sic] Times" (to quote an anonymous BV commenter)? Hard to say, but I have to give the woman credit--I couldn't take my eyes off her, and she was one of the few artists I caught twice. But my surprise favorite of the day show was Young Magic. Hip-hop and dark electro-pop may be unlikely bedfellows, but they sure make for quite an interesting pair. These guys are a force.
Other highlights of the day included the eye-catching electro-pop duo Purity Ring (love the name) and one of my favorite SXSW finds from earlier this year, Sea of Bees. At Webster Hall, Purity Ring's bass was so powerful at times that I almost forgot to breathe. Though the band relies on a lot of samples to craft their sound, they are far more interesting to watch due to their onstage chemistry and mysterious gold-piped instrument. Though nothing alike, my other favorite artist of the evening was Sea of Bees. Singer/songwriter Julie Baeziger's genuinely sweet demeanor and earnest acoustic performance are always a pleasant change of pace from the more aloof, laptop-driven artists that seem to sprout with the speed and frequency of mushrooms.
The week concluded not with a bang (I was turned away at the door of Brooklyn Bowl for Unknown Mortal Orchestra, whom I had hoped to end on), but with more of a slow fade-out. Forced to change my schedule at the last minute, I caught a few acts nearby, including Delicate Steve (how those five people were working from the same set list was a mystery at times given the haphazard nature of their sound, but it was fun to watch them put it all together), Races (pleasant and charming), Bleached, and about four minutes of the Kopecky Family Band (fun!) before hopping on the L and calling it a week.
So how does this year's CMJ stack up? Most people I spoke with seemed unimpressed. No doubt, the growth of SXSW--especially over the past few years--seems to have sucked some of the life out of CMJ. (It's hard to compete with free tacos, 76-degree days, and the compact nature of downtown Austin.) But like a hipster chick desperately scouring the racks at Beacon's Closet, I like the challenge of the frenzied search. There's good stuff in there hiding among the dross. You just have to look a bit harder.
Pictures in this post are from day parties at Pianos (We Listen for You) and Public Assembly (Under the Radar) on Wednesday. More of them below...
Crystal Antlers will release their new LP Two-Way Mirror on July 19th. You can stream the whole thing now at Grooveshark. The band, currently in residency at The Echo in LA, will visit NYC in August to play a free show at House of Vans and another Brooklyn show one day day later, August 6th at Glasslands with Team Robespierre and Balkans. Tickets are on sale. All dates and a video for one of the songs off the new LP, below...
photos by Kyle Dean Reinford
DOWNLOAD: Little Dragon - "Nightlight (Unknown Mortal Orchestra Remix) (MP3)
DOWNLOAD: Unknown Mortal Orchestra - "How Can U Luv Me" (MP3)
UMO @ Glasslands
Unknown Mortal Orchestra headlined Glasslands on 6/4. Headless Horseman, Balkans, and Fort Lean rounded out the rest of the bill. Despite some gear issues, UMO played an hour long set that concluded with "How Can U Luv Me" to a relatively full crowd. UMO is currrently prepping to release their self-titled debut on Fat Possum on 6/21. Stream three songs at the label site and download one above along with a remix the band did for Little Dragon.
The Glasslands show was one of two NYC dates for UMO, who played Webster Hall with their tour-mates Portugal The Man the night before. They'll return both venues in September while on tour with Toro Y Moi who headlines Webster Hall on 9/14. Ava Luna is also on the bill and tickets are still available. One day later, 9/15, UMO return to Glasslands for another headlining show. Tickets are on sale for that too.
UMO also has a bunch of dates scheduled with Yuck.. All dates and more pictures from Glasslands below...
by Bill Pearis
Atlanta whippersnappers Balkans are visiting NYC this weekend, playing Shea Stadium tonight/Friday with Austin TX's Flesh Lights, plus So So Glos, Grand Rapids and Night Collectors. Then Saturday night (4/16), Balkans play again with Flesh Lights and also Population 1280 and an '80s hardcore cover band featuring Gavin McInnes and Josh Styles. All upcoming Balkan dates are at the bottom of this post.
Brash and jangly, Balkans' impressive debut -- due out May 10 on Double Phantom -- reminds me of the kind of shout-a-long pop we got in the early '00s, maybe somewhere between The Libertines and The Walkmen. (Or even The Cribs.) Plus a genuine youthful energy and snarl that can't be faked. Apparently Bradford Cox is a big fan. You can download two tracks at the top of this post and be sure to check out the video for single "Edita V," with all dates and the album cover and tracklist, below.