Blonde Redhead

Moving from Sonic Youth-like art punk to eclectic pop over the course of their decades-long career, Blonde Redhead remained one of indie rock's most creative acts. The band formed in 1993 after Japanese art students Kazu Makino and Maki Takahashi randomly met Italian twin brothers Simone and Amedeo Pace at an Italian restaurant in New York. (The name was taken from a song by the '80s no wave band DNA.) With Makino and Amedeo on guitars and vocals, Simone on drums, and Takahashi on bass, the band's chaotic, artistic rock caught the attention of Sonic Youth drummer Steve Shelley, who produced and released the band's debut album, Blonde Redhead, on his Smells Like Records label. Shortly after the album's release, Takahashi left the band. The remaining members continued as a trio, releasing a second album, La Mia Vita Violenta, on Shelley's label in 1995.

For their 1997 release, Fake Can Be Just as Good, recorded for Touch & Go, the trio was joined by guest bass player Vern Rumsey from Unwound. By 1998, the band eliminated bass and scaled back to guitars, drums, and vocals for In an Expression of the Inexpressible. Melody of Certain Damaged Lemons and the Melodie Citronique EP followed two years later. The band's first for 4AD, Misery Is a Butterfly, was released in spring 2004. For 2007's 23, the group opted for a mix of dream pop and delicate electronic textures. Three years later, Blonde Redhead delivered Penny Sparkle, a more stripped-down, even more electronic-leaning set of songs the band recorded in New York and Stockholm with Alan Moulder, Van Rivers, and the Subliminal Kid. In 2014, Blonde Redhead returned with Barragán, featuring production from Drew Brown (Beck, Stephen Malkmus, Radiohead). The band revisited its early days in 2016 with the Numero Group box set Masculin Feminin, which collected Blonde Redhead and La Mia Via Violenta along with demos, singles, and radio performances from that era. That year also saw the release of Freedom of Expression on Barragán Hard, a collection of Barragán remixes including contributions by Deerhoof, Van Rivers, Nosaj Thing, and Connan Mockasin. Blonde Redhead returned with new music in 2017 in the shape of the EP 3 O'Clock, which they released on their own Asa Wa Kuru Records. ~ Tracy Frey

Brooklyn duo Beacon explore the dark side of sweet melody with a sound thats as seductive as it is subtly discomfiting. The duo Thomas Mullarney III and Jacob Gossett met at Brooklyn’s Pratt Institute, where they were studying sculpture and painting respectively. They fuse the deceptively sweet melodies of R&B with an intoxicating undercurrent of darkness, drawing on influence as disparate as Warps back catalogue and Underworld.

The duos first release, the No Body EP, consisted of four songs that deftly walked the line between seductive and sinister. The production took as much from electronic music as it did from R&B and hip hop, setting Mullarneys vocals against backdrops that define as much of the songs atmosphere as do the words themselves. That sound was deepened and expanded on 2013s The Ways We Separate, a collection of songs about human relationships set to flickering electronics and driven by Mullarneys soft, aching vocals. Separate was the perfect illustration of Beacons dual nature: electronics pulsed and blinked, but Mullarneys silky, whispering vocals made every song sound like synthetic soul.

Where The Ways We Separate was about space—specifically, the space between people—Escapements is about time. The title is taken from clock mechanics; escapements are timekeeping regulators designed to transfer energy at a constant pace. “I was attracted to this concept because of the entropy it implies,” Mullarney explains. “Friction and changes in amplitude over time mean every escapement, no matter how well crafted, will lose its accuracy and effectively slow down time via its own decay.”

The songs on Escapements demonstrate a new depth and complexity: “Backbone” is a song that operates in discrete movements—soft dance one moment, haunting elegy the next. The title track lays harplike electronics over a stuttering rhythm track, and “Cure” pops and vibrates endlessly, its jittery and scrambling production the perfect counterpoint to Mullaneys sighing voice. I hope this record proves our restlessness and shows that we really arent content to have only one approach to creating music,” says Mullarney. Gossett agrees. “When you don’t give yourself a specific place to land you never really miss,” he says. “We just tried to trust ourselves and not put limitations on what this record was supposed to be. In that sense, it’s exactly the record we were meant to make.”

Bearcat (Discwoman)

BEARCAT is a London born, Brooklyn based artist. Internationally known for her various skill set’s as a DJ/Producer, Audio Engineer and Pro MUA, BEARCAT began touring with various artist’s in 2005 providing backing vocals and creative direction for live festivals such as Afropunk, Glastonbury, Reading and Lovebox. Since launching her solo career in 2008 she has performed in various parts of the world including Egypt, Paris, Lyon, Berlin, Leipzig, Barcelona, Mexico City, Oakland and Chicago. Never afraid to delve deep she uses her emotive musical selections as a form of therapy. Drawing from deeply personal experiences and diasporic root’s, her ear guides her into creating bass-heavy uncompromising, powerful mixes that harness a symbiotic energy between the music and the crowd to generate the perfect soundtrack to any event. 2016 was an astounding year of new heights for BEARCAT with a two month European tour and set’s played at Boiler Room (NYC) MoMa PS1 (Warm Up / Sunday Session’s) MFA (Boston), RinseFM (Paris), Radar Radio (London), Slake, Flavorpill and a documentary score premiering at the Tribeca Film Festival. BEARCAT is the #rappersdj for acts including 21 Savage, CupcakKe and Calaborate.

$30-$40

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Day of Show: $40

 

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