French Horn Rebellion, She Keeps Bees, Future Generations, Dead Stars, Abraham King

French Horn Rebellion

Love Is Dangerous in the big, bad city where late nights always bring out swingers on party patrol, hipster suits in dark alleys, beat-boxers at street corners and Poster Girls with Broken Hearts. It's Friday Night, baby and French Horn Rebellion's dance card is Void and Fancy Free.



FHR is Robert and David Perlick-Molinari, two Brooklyn-based brothers born and bred in Milwaukee, Wisconsin. In 2007, while hanging on a heartstring and daydreaming of Beaches and Friends, Robert had been playing French horn in the Chicago Civic Orchestra, got restless and decided to turn all attention to making dance music. After informing his conductor that Mahler isn't fun anymore, Robert asked bassoon-toting older brother, David, to share this epiphany of self-emancipation. Our sordid tale of French Horn Rebellion's mission to deliver NextJackSwing to The Body Electric begins here.



Explains Robert, "We were trying to think of a way to engage kids who play in orchestra or band, and say, 'Hey. You guys can have fun too and this is how you do it.' That's when the wheels started turning - we could make music the way we want to, and it's OK."



David offers, "We realized that we had the power to create something of our own. The rebellion was about accepting wholeheartedly the uniqueness of who we are and using that as a driving force. We had to rebel against the status quo and focus on what drove us internally."



These self-proclaimed band geeks gone wild (BGGW) are often Up All Night crafting witty, hook-laden grooves, making reverent noise or Dancing Out on tour with a program of disco-etched lights, hi-octane special guests and a keg full of party-starter anthems. It's the French Horn Rebellion creed. "Could we really be having This Moment?" The answer is an explosive and resounding "Hell, Yeah!" FHR effortlessly weave between the seams of buzzy indie dance, electro, funk and psychedelia through to visceral new wave, rock and ambitious pop. David and Robert's sly productions, smart songs and giddy live shows manage to infuse their devoted disciples with a compulsive and joyous energy.



As FHR's resident pied piper, Robert concedes this bit of affable insight, "I play French horn really, really loud. That's the number one thing - live and loud! We're running around and ripping off Jimi Hendrix solos on French horn. It's the equivalent of a pizza party in band class with Teddy Riley on the jukebox."



David's practical wisdom believes "Our rebellion is about getting the true, everyday meaning of being alive and forcing the bull-s**t out!"



French Horn Rebellion fan favorites like "Girls," "Caaalifornia," "Last Summer," "Johnny Smash," "Swing Into It" or the band's inspired cover of The Human League's perennial classic, "Don't You Want Me" continue to cement their NextJackSwing global takeover aspirations in the studio and on the road.



"Next Jack Swing is a genre we've created from the 'New Jack Swing' or 'Swing Beat' tradition of the late 80's and early 90s, but using today's technology to make the beats heavier, with funkier bass lines, and of course, putting in our own flair..." begins Robert with a knowing, mischievous tone. David finishes the missive, "...It's New Jack's kid brother seasoned by sweaty, basement dance-rages of eternal groove. It exposes everything we love about dance music!"



FHR traveled 5 continents from Seoul to Caaalifornia in search of the best collaborators and fellow champions of the swing. The group have been fortunate enough to work, play, perform and collaborate with some of the best and most influential artists around, such as MGMT, Of Montreal, Ghost Beach, Cut Copy, Yelle, Savoir Adore, Hot Chip, St. Lucia, Jody Watley, The Drums, Two Door Cinema Club, HAERTS, The Knocks, SebastiAn, Autograf, Viceroy, OMD, The Knocks, MNDR, Ladyhawke and Database. Fueled by the group's bounty of wily beats and superbass, The Perlick-Molinari brothers are also very involved with incorporating inspired art, film and visuals to aid and interpret their sonic assault. FHR sleeve, tour poster, cover art and video clips have featured the work of Flekz, Skip Dolphin Hursh, Ronnie Heart, Michael Komar, Jose-Maria Norton, Kristen Winter, Dress Code, Harry Fellowes, Ally Lindsay, Meredith Dittmar and the guys themselves.



Over the years, French Horn Rebellion's emotive pop singles, illustrious dance e.p.'s, well-tailored remixes and an acclaimed album debut, "The Infinite Music of French Horn Rebellion" have received high praise, acclaim and obsession by such media hubs as: The Huffington Post, Billboard, BBC Radio 1, Entertainment Weekly, Jay Z's Life & Times, Interview Magazine, Spotify, Rolling Stone, VIBE, The Guardian, Bust, Mashable, Thissongissick, NY Daily News, VEVO, Q Magazine and Time Out. Additionally, FHR have had 10 self-released singles and mixes storm the top of the influential Hype Machine chart.



With their new record label, Ensemble Records enjoying a glorious bow this Summer introducing Slaptop's smash "Sunrise" (in conjunction with +1 Records) and a busy Williamsburg-based production compound and studio, YouTooCanWoo, churning out the hits, The Perlick-Molinari brothers of French Horn Rebellion are living their D.I.Y. manifesto to the fullest, noting the best is yet to come. It's clear that the group's engaging performer, A&R chief and French Horn-toting label honcho, Robert - partnered with David, the introspective studio geek, world domination enthusiast and production perfectionist, are gearing up for an international rebel party coup. FHR know You're All Right and want to assist with a bit of exclusive party intel.



David knowingly states, "A way the world can feel worthwhile is for its individuals to lead the charge. We are all worth the time and energy. This dance party is where we celebrate!"



Robert breaks it down even further, "I equate orchestra players with middle-class workers. You play the music on the page, listen to the conductor and go home. And I think orchestra players aren't appreciated, much like today's working man. That's why it's a rebellion: working guys, rebel!"

She Keeps Bees

Since 2006, Brooklyn's She Keeps Bees have been making records in their apartment. Singer and guitarist, Jessica Larrabee, met drummer and engineer Andy LaPlant in 2005. The two quickly formed a musical bond and started work on the recordings that would become She Keeps Bees. Not a drummer at the time, Andy needed a few quick lessons from Jess before they could start performing as a duo. The music has transformed along the way, becoming more aggressive, but still maintaing the distinctive air of Larrabee's songwriting. Almost five years later, they've released two full-length albums and a few EP's. With a third album set to be released in July, She Keeps Bees will be on tour all summer long.

Future Generations

It's been nearly five years since Eddie Gore, Mike Sansevere and Eric Grossman serendipitously first met at Fordham University. Five years since they were admitted into a small, integrated community freshmen dorm that, replete with a built-in practice room and a piano in the foyer, encouraged artistic collaboration. As is natural of strangers in a strange new place, they bonded over a shared interest: in their case, a nerd-like, academic appreciation of all forms of musicianship.

"When we first all met, we were in that practice room," recalls Eddie. "(That day) we recorded onto Mike's MPC; We made a little song and then later he emailed it to us. From then on we kept emailing back and forth. Right then we decided we should be a band."

It's fair to say Future Generations' music contradicts the assumption that music always reflects the objective time and space in which its creators operate. When penning lyrics, Eddie shirked references to collegiate lawns, Jesuit lineage and other specific milieu of college life. Instead, he wrote tender refrains to an introverted struggle with finding individual meaning in an infinitely large world (moving to New York City will do that to you) and sharing those anxieties with loved ones. In "Stars," which would eventually catch the ears of Frenchkiss Records and lead to the 2014 EP, "Polysun," he invites both an anonymous muse and listeners: "If you come to me close/we'll cut the cable to outside/it's taken years to open/but lately I've been closed up tight."

"For me college was not so much about learning a specific trade or skill. It was more about discovering who I want to be and learning about life in general," says Eddie. "I'm from the south. I'm from Nashville. It's not a small town, but it's not New York. That's why a lot of my lyrics are about bigger things, kind of life questions."

By the time graduation rolled around, Future Generations, formerly The Suits, expanded to include bassist and fellow Fordham graduate Devon Sheridan. With school in the rearview mirror, Future Generations spent the first few months of post-grad life in Eli Janney's (Boys Against Girls) Brooklyn studio, finishing a full-length record. Along with two tracks from the 2014 EP, "Polysun," the band recorded eight new tunes for the eponymous debut.

On Future Generations, which was produced by Claudius Mittendorfer (Temples, Neon Indian), Eddie's lyrical transfixions reveal an eagerness to burst forth from the confines of collegiate ennui, but still pondering the same existential quandaries that unfailingly tend catch his imagination. And the fuel for such escape comes from a formulaic synthesis of soaring guitar hooks and pulsing synths. In fact, the melody usually comes first. It's a recipe the band has happily relied on for almost five years.

"With "Stars," I had a reaction that wasn't about one particular thing, it was about discovering something broad about yourself," says Eddie. "You have people who come along with you and people who don't. The melody made me feel that."

Due to release this summer, Future Generations flaunts an ambitiously large scope for a band used to writing and recording in the cramped confines of college dormitories and email chains. And though they wrote the album with one foot in the college bubble and the other foot in the adult world, the band has in its pocket a record that points to a fortuitously smooth transition. After all, the formula really hasn't changed much.

For instance, in "Find an Answer," one of the eight new songs appearing on the album, Eddie, curious as ever, straight up asks, "What will become of our lives?/It's my small obsession." With everything that's happened in almost five years, it makes sense for Eddie and co. to continue to wonder where it's all headed. And they have every right to hope for the best.

"...Dead Stars have some immediately familiar sounds even on the first listen—Pixies' loud-soft-loud trademark, Built to Spill, Pavement and Hum when they decide to unleash the wall of guitars. Anyone claiming to be a fan of those bands should get this album today..."

Abraham King

Abraham King is a Brooklyn-based project with roots in Tel Aviv, New Haven, Western Mass, Detroit, and Philadelphia. It started out in 2007 as a solo project and culminated in the 2008 release of a CD/cassette EP on the now defunct Hot Air Press. The last nine years have seen many starts and stops with occasional performances in New Haven, New York, and Boston alongside acts ranging from Woods, Last Good Tooth, MMOSS, and The World is a Beautiful Place.... Abraham King now returns with a full band.

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