Indie Pop Prom with The Pains of Being Pure at Heart
The Pains of Being Pure at Heart, Swearin', Waxahatchee, Weed Hounds, Potty Mouth, Frankie Rose (DJ Set), Shirley Braha (DJ Set)
Brooklyn, NY, 11211-4119
This event is all ages
The Pains of Being Pure at Heart
he Pains Of Being Pure At Heart hail from Brooklyn, but they could have easily been any number of the bands spawned by the C86 revolution of indie-pop around the likes of the Pastels, Heavenly, and of course My Bloody Valentine (circa Ecstasy & Wine, mind you). Within the not-quite-shoegazing wall of sound, The Pains Of Being Pure At Heart craft a brightly jangling set of tunes, some of which get anthemic and punchy with all of the panache of a great power pop number with boy/girl vocals crooning all sorts of "oooohs" and "aaahs", and others smacking of a sugary '60s bubblegum jingle with all of the softened edges that Alan McGee wanted in every Creation band around 1990. For all of the British references that make their way into the Pains, they really sound a hell of lot like so many of those bands that made Slumberland so great to begin with: The Lilys, Velocity Girl, and Black Tambourine. We're not complaining one bit!
Swearin' is a new pop punk band featuring members of Big Soda and PS Eliot.
Waxahatchee is a solo project of songwriter Katie Crutchfield formed after the breakup of P.S. Eliot. She released her first music as Waxahatchee as a split cassette with Chris Clavin on Plan-It-X Records. Her bedroom-recorded debut album, American Weekend, was released on Don Giovanni Records in 2012.
On June 11, 2012 "Be Good" was the song of the day on NPR as well as one of the best 50 songs of 2012. Her debut album, "American Weekend," was named a top album of 2012 by Dusted magazine.
Frankie Rose (DJ Set)
As suggested by its sleek op-art sleeve and future-shocked title, Interstellar, Rose's next album is as welcome as departures get: an icy blend of buffered beats, cascading chords and steely synths. Don't expect an electro album, however, more like what happens when an indie rock vet spends an extended period of time alongside a proper producer – Fischerspooner collaborator Le Chev.
In other words, if Rose wanted synth lines pulled from the same Kraut-y cosmos as Vangelis and Klaus Schulze, a soundtrack-y slice of Enya or a bass line to sound like the Cure's Seventeen Seconds, it wasn't a question of "How?" so much as "When do you want to get started?"
"It's been exciting finding out what's possible," says Rose. "If I can make something sound huge or epic, why wouldn't I?"
Here's the deal then: aside from a fall tour with Dirty Beaches, Rose plans on putting 12-hour days in at the studio until her widescreen opus is completed for an early 2012 release.
"Often this album is the scene in the film when the main character is reunited with his lost love, or perhaps like a visit to another planet," explains Rose. "I want every song to be like some kind of pop song cinematic adventure."