Entries tagged with: Peter Silberman
Son Lux at Merkin Concert Hall in 2012 (more by David Andrako)
NYC art pop musician Son Lux (aka Ryan Lott), who's fresh off a couple Sufjan collaborations, released his newest album, Lanterns, last week (10/29) via Joyful Noise. The record features contributions from Peter Silberman (The Antlers), Chris Thile (Punch Brothers), DM Stith, yMusic, and more. It can be streamed, along with the recently-made video for "Lost It To Trying," below.
Son Lux is doing a one-off in his hometown TONIGHT (11/4) at Joe's Pub with a 12-piece band. We're not sure of all the members in his band, but we do know that one is album collaborator Peter Silberman of The Antlers. There's an early and a late show tonight, and though the early one is sold out, you can still get tickets to the late one.
In other news, Son Lux and Sufjan's project with Serengeti, s / s / s, are planning to release a new EP.
Video and album stream below...
photos by Chris La Putt
DOWNLOAD: Chelsea Light Moving - "Groovy & Linda" (MP3)
Sharon Van Etten @ Town Hall
Sharon Van Etten brought her tour through NYC for a hometown show at Town Hall on November 15, her biggest headlining date in the area yet. Though she unfortunately was not supported by Damien Jurado, who opened most of the tour, she treated her hometown fans to a special show without an opener, which instead saw Sharon playing two sets and an encore with a number of special guests. The guests, mostly past collaborators, included Jenn Wasner from Wye Oak, Peter Silberman from The Antlers, Brad Cook from Megafaun, Aaron Dessner (who produced her new album) from The National, Thurston Moore (and his band, Chelsea Light Moving), and her own father, who came out to cover "Barstool Blues" by Neil Young (who he is a fan of and it was his birthday, which is why Sharon chose that cover) during the encore. A special night for many reasons.
When Thurston Moore first came out, it was all the members of his band Chelsea Light Moving (Keith Wood, Samara Lubelski, and John Moloney) and all the members of Sharon's band, to play the CLM song, "Groovy and Linda," which you can download above and stream below.
Sharon is also presenting a show in NYC soon with She Keeps Bees and Speck Mountain, that she may or may not be performing at.
More pictures and the setlist from the show, below...
Sharon Van Etten at Bowery Ballroom in February (more by Amanda Hatfield)
Sharon Van Etten is on tour now and as discussed, that tour hits NYC on November 15 at Town Hall. At that show, Sharon will be joined on stage by a number of guests, including Thurston Moore, John Maloney, and a handful of her usual friends/collaborators Aaron Dessner (The National), Jenn Wasner (Wye Oak), Peter Silberman (The Antlers), and Brad Cook (Megafaun). Tickets for that show are still available.
In other news, Sharon is releasing a deluxe edition of her 2012 album, Tramp, on November 13 via Jagjaguwar with demo versions of every song on the album, a bonus demo of "Tell Me," a self portrait, and liner notes from Sharon's journal. Regarding the demos, Sharon just told RedEye, "I'm kind of excited about [the demos] because I'm always interested in hearing where people came from and how they progressed. I believe my songs are strong enough to stand on their own--even way back then when they were recorded badly and minimally."
A stream of the "Tell Me" demo and an updated list of dates are below...
photos by Chris La Putt
melophobe: From your experience, what's the best way to blow away a live audience?The Antlers, who you can catch at Osheaga in Montreal this weekend (with Arcade Fire, Weezer, Metric, The National Sonic Youth, Devo, Pavement, The Black Keys, Stars, Owen Pallett, Beach House, Robyn, Seu Jorge, Avi Buffalo, Jamie Lidell and more) played a NYC show with Dinosaur Feathers at Pier 54 back on Thursday, 7/22. A second set of pictures from that show continue below...
Peter Silberman: Oh I don't know. It's tricky; it's in their hands. I've found that we've had the best experience when we feel connected to the audience and we feel like they're listening. You can't necessarily control that, but you can make the effort. A lot of bands definitely don't acknowledge the audience, they don't seem appreciative of them. And I think it's really important to appreciate the audience. They don't have to be there. They don't have buy tickets, they don't have to buy your record, they don't have to do anything, they don't have to give a shit about you. The fact that they do, is really cool. And it should not go unthanked.
melophobe: And honestly, as someone who is in the audience a lot, it seems like at the end of the day we are all there to share something. It's not just give and take, we all just supposed to come together and have a good time together. And go inside our heads or do whatever.
PS: Yeah. And if everybody feels like they are sharing something, then hopefully that will lead to a good show. If they like what you are doing. And I don't talk a lot on stage. The more I talk the less sense I make on stage for some reason, so I don't really talk that much, but I try to get across that...how important they are to us.
melophobe: What's a perfect record to you and do you aim for perfection when you write?
PS: Let me think for a minute. Well, I would say like Kid A is a perfect record, and that's an understatement. Not just perfect because every song is really good, it's perfect because it achieves this really, REALLY difficult thing of being incredibly strange, but being so listenable. And I've been working on just trying to, I mean I've been listening to that record for so long now. And I'm only now just starting to understand it. And these new kind of revelations I'm having about are making it better than I ever could have imagined.
After a decade in which private lives basically became public domain-- think confessional emo, YouTube, reality TV, and social networking updates-- you would think that we'd have become inured to the private pain of semi-autobiographical songwriting. But as the debut album by Peter Silberman's former solo project (it's now a trio) proves, with the right blend of earnest, whispery vocals, delicate, gauzy melodies, and strangely smothering scratchy effects, a desperately delivered concept album about personal loss still has the power to emotionally destroy listeners. Hospice, as its name implies, is not an easy album to take-- the haunting songs' plainspoken prose tells of mental illness, abortion, cancer, and death-- but couched in soaring anthems and swathed in layers of ambient noise, its heartbreaking stories are easy to love. --Rebecca Raber, Pitchfork.comPeter Silberman of The Antlers answered our end-of-year questionnaire...