First Aid Kit
Dylan LeBlanc, Doe Paoro (Record Release Party!)
17 Irving Place
East 15th St. and Irving Place
New York, NY, 10003
Doors 8:00PM / Show 8:00PM
This event is 16 and over
First Aid Kit
Stockholm, Sweden's First Aid Kit is confirmed to release their sophomore full-length album The Lion's Roar on January 24th, 2012 via Wichita Recordings.
The follow up to last year's highly-praised debut LP The Big Black & The Blue, The Lion's Roar finds sisters Klara and Johanna Söderberg at their finest, singing bittersweet songs that frequently juxtapose sadness and beauty. The title track opener is a glorious, punchy waltz and the achingly lovely "Emmylou" is a wistful swell of acoustic guitar, pedal steel and piano, over which Klara's bell-clear voice name-checks heroes Ms. Harris, Gram Parsons, Johnny Cash, and June Carter. Filled with exquisite harmonies and coated with a deceptively playful patina, "Blue" is among the album's most upbeat tracks, while the gentle "To A Poet" comes to an elegant, cinematic close of soaring strings. Final track "King Of The World" brings The Lion's Roar to an exuberant end, all handclaps, fiddle, accordion, and horns - also featuring Conor Oberst on the last verse and instrumentals by The Felice Brothers (who happened to roll through town during the recording session). Throughout the album, the Söderbergs' evocative, preternatural harmonies and remarkable songwriting take centerstage, expanding upon the already accomplished storytelling shown on their debut.
First Aid Kit recorded The Lion's Roar with producer Mike Mogis (of Bright Eyes and Monster Of Folk; producer of Cursive, Lightspeed Champion, Pete Yorn, and many others) in April and May at his ARC Studios in Omaha, NE. In addition to Klara (vocals, guitar) and Johanna (vocals, autoharp, keys), the album features their father Benkt on bass and Mattias Bergqvist on drums, while Mogis, Nate Walcott (Bright Eyes), and a cast of Omaha-based musicians further round out the sound. A short album teaser trailer, soundtracked by "The Lion's Roar" and shot in the studio with the band, can be seen here:
Earlier this year, First Aid Kit released a Third Man Records Blue Series 7-inch that featured covers of Buffy Sainte-Marie's "Universal Soldier" and the classic blues standard "It Hurts Me Too," recorded with Jack White at his request in his Nashville-based Third Man Studios. The Big Black & The Blue, recorded with their father at their home studio, was released in May 2010 and earned praise from AOL
Music's Spinner blog, NPR's All Songs Considered, Nylon, and SPIN, among others, eventually landing on HearYa, Nylon, and PasteMagazine.com's 'Best of 2010' lists. In the past year, First Aid Kit has performed at the Austin City Limits festival, CMJ Music Marathon, and SXSW in addition to touring the US twice and making their way around Australia. The band first gained attention as teenagers around their 2008 debut EP, Drunken Trees, which was released initially on The Knife-owned label Rabid (re-released by Wichita in 2009).
First Aid Kit - who recently performed a moving rendition of Patti Smith's "Dancing Barefoot" at the Polar Music Prize awards ceremony - has also announced two US headlining shows in November: on the 8th at The Troubadour in Los Angeles and on the 16th at the Mercury Lounge in New York. The band is on the road now supporting Bright Eyes - they perform at the House Of Blues in Myrtle Beach, SC tonight - and will support fellow Swede Lykke Li on her US tour in November as well.
On Dylan LeBlanc's debut album, Pauper's Field, a lost world is brought to life - both in the carefully sculpted songs and rich well of country soul from which those songs emerge. RoughTrade is excited to release Dylan's album on August 24 th , 2010.
Although the Golden era of Alabama's fabled Muscle Shoals sound had passed by the time Dylan was born in 1990, his ancestral roots and family background connected him to one of the most significant sources in the rich tapestry of American music. His father's position as a Muscle Shoals session player and songwriter meant that early in life Dylan was privy to the sights and sounds of an unvarnished, vanishing epoch and such legends as Spooner Oldham. "I grew up around a lot of the session players…when I was 11 or 12, I would watch and ask a lot of questions, so for me it was like going to music college," is how the tall, gentle voiced, lank haired Shreveport, Louisiana native remembers it. "It seemed like a much simpler world - it was romantic to me the way everyone sat in a circle and "took it from the top". They just played and hit the record button. That's the path I followed when I made this album."
Dylan expands…"for me music is about getting together with a group of people who feel like family - you create a bond, feeding off each other. Just a look or a hand gesture and they know what you're talking about." Dylan's progress was natural, organic - learning the ropes as a young sideman helped define his own worldview and artistry through his teens.
"My first hand influences are all interesting, but I've always been a loner when it comes to music. I had the opportunity to, and did my own thing and whoever wanted to join in was welcome to. I started picking on my 7th birthday when my dad bought me a guitar, and I started writing when I was 11 or 12." Although he dismisses his early songs as "not very good", Dylan's early learning served him well. The songs on this debut are beautifully nurtured, gently astonishing, stop you in your tracks reveries - gilded with strings, smokey organ lines, and keening pedal steel.
Despite his age, Dylan's worn yearning voice already has the mark of aged experience. Neither the feel nor sound of the album, nor the haunted ghost summoning songs he has written, can be faked. "If Time Was For Wasting" seems to be wrenched from the heart of ever-present currents in Deep South life - where the pull of the past is unavoidable. "Admittedly I was drinking a good bit myself, and when I wrote the song I was thinking about an arrogant ignorant man and the woman he was with. It has a lot to do with the culture around here. I pictured a man walking into a room where he lives with an angry wife."
Heritage springs up everywhere on Paupers Field. Ghosts and demons emerge from the mist in compositions featuring archetypal characters such as "Emma Hartley" and "The Outlaw Billy John".
Like much great art, Dylan's work is often rooted in pain and anxiety. "Eccentricity runs in my family, and all the men seem to die very young and all the women live to be very old." His great great-great Grandfather shot a notorious local bandit, and was in turn slain in an ambush. This killing took place in Palestine, Texas in the early 1900s - a time and place which fits right in with the album's sepia mood. "There were concerns when I was growing up about how things might turn out, says Dylan carefully. "I wrote music because it made me feel better. I used to get these feelings that would come over me so strong; I felt I was sinking into darkness, like staring out of a large hole in the ground. It scared me and I struggled daily trying to be content in life. In a lot of ways I still do."
His songs - ominously dark yet tenderly appraising emotions to find light and balm - don't just open up a world and his personal feelings and experience, they provide their creator with a valuable lifeline. "It helps me…I'd be a lot darker if I didn't write and it's almost like playing God writing a song." It's a telling comment from the usually modest and soft-spoken LeBlanc. He is not the sort of performer to shout about his arrival or proclaim his talent from the rooftops. Nonetheless, the seamlessly organic and self- produced Pauper's Field presents a fully formed total artist and this record speaks for itself. LeBlanc's is a voice from the present connected to the past, one sure to outlast passing trends and fads. Soul deep.
"Its funny I never thought anyone would take an interest in what I do, so I had the freedom to sound natural with folks I know and love and trust. Everything was basically recorded live, so when we play it live, it's about trying to give people a little of that same feeling. We mean what we say and do what we feel. I think we did that very well on this record."
Ain't that the truth.
Doe Paoro (Record Release Party!)
Brooklyn-based artist Doe Paoro describes her music as “Ghost Soul," characterized by a dolorous, ethereal sound that evokes the resurrection of "a choir of ghosts who haven’t completely detached from the human experience.” Echoes of attachment and detachment permeate her debut album, Slow to Love, out February 14, 2012.
The album’s first single, “Can’t Leave You,” was co-produced by cellist Yuri Hart and Decibel Studios' Lasse Mårtén, who began collaborating with Paoro after he saw a YouTube video of her
performing it on the piano. The official video for the song, produced by award-winning cinematographer Jon Fordham (Pains of Being Pure At Heart, Sublime, Shiny Toy Guns), recently premiered on Contact Music.
Paoro’s haunting vocals are strongly influenced by her in-depth study of Lhamo—a powerful, unusual, and vocally acrobatic Tibetan-style opera—that she encountered while traveling alone through the Himalayas this past year. At times she channels Coco Rosie, Lia Ices, and even Julianna Barwick. During her travels,
Paoro spent several weeks practicing silent meditation. The high-contrast nature of her music is directly influenced by these studies and experiences, as she was forced to reflect on the deep and expansive space between silence and sound.
Upon returning to the U.S., Paoro sketched out Slow to Love while
isolated in a cabin near her hometown of Syracuse, New York.
Paoro has been compared to Lykke Li and James Blake, but her haunting vocals and spacious arrangements are singular, realized in a state of sorrow without bitterness, passion without pretense. To add cliché to an artist otherwise devoid, Doe Paoro is going to make a huge mark in music in 2012.