Ad Hoc presents
Andrew W.K. (solo), DOM, Cities Aviv, Cool Serbia, Blue Hawaii, plus 1am set from DICKPIC
Dickpic (DJ Dog Dick + Pictureplane)
Brooklyn, NY, 11211-4119
Doors 8:00 PM
This event is all ages
Andrew W.K. (solo)
"I'm trying to make the most exciting music possible."--Andrew W.K.
Age 4 Born in California and raised in Michigan, Andrew W.K. begins classical piano lessons. Encouraged by his parents, he continues to play piano throughout his young life, eventually taking up the drums in his teens and playing in numerous Detroit punk and metal bands.
Age 17 Begins recording solo material.
Age 18 Moves to New York City. Early recordings are circulated among record labels with the help of friends.
Age 20 Andrew plays dozens of shows up and down the East Coast, equipped only with a CD player, keyboard and microphone. Girls Own Juice, a debut EP culled from the early solo recordings, is released on Bulb Records.
Age 21 A second EP, Party Til You Puke, is released, also on Bulb. Andrew plays another series of one-man shows--including two support slots for Foo Fighters and a Belgian arts festival--before returning to New York to focus on forming a band. Members are assembled: Guitarist Jimmy Coup, formerly of Minnesota's Coup de Grace, drummer Donald "D.T." Tardy, late of Obituary, bassist Gregg R., and guitarists E. Payne and Sergeant Frank. The crew moves to Florida. Andrew signs to Island Records.
Age 22 Andrew W.K.'s debut album, I Get Wet, is recorded in Michigan, Los Angeles, New York City, Colorado, Minnesota, Florida. On October 29th, Mercury UK releases the "Party Hard" single, which enters the British charts at 14 as Andrew plays a series of sold out shows and appears on the cover of NME (twice!).
March 26, 2002 I Get Wet is released in the U.S. "This record is about 'not stopping' in every sense of the word, and every aspect of life, and it was created with determination that reflected that. Whatever you do in life, if you go full bore you're bound to get wet--with blood, sweat, urine, semen or girls' lubricant. This record is about cutting in to the heart of existence and getting wet. But it's also about having no fear, experiencing intense emotions--from passionate feelings of love and excitement to the most anger filled, hateful rages, and everything in between--embracing life and other people, and coming together as a party in celebration of possibilities, potential and opportunity. It's an explosion of human life."
"I like things to be strong because I feel that other people can derive strength from that themselves. And I try to reflect that strength, and purity, truth and passion for what we are doing in everything you see and hear. How it's not a fucking joke and that what we mean is very serious to us. I guess you could say this is a cause, but if so, it is a cause that is undertaken simply for its own sake."
While many bands suffer with identity crises, Worchester, Massachusetts four-piece Dom has their priorities straight. "We want to be the Lady Gaga of garage rock," proclaims Dominic, the 23-year-old mastermind behind the buzzed-about twisted-pop rockers, who have stampeded into music world consciousness like a herd of irritable rhinos.
If it seems like Dom just came out of nowhere, that is because they did. In December 2009, Dominic (who goes by Dom, and will not reveal his last name, due to "owing people lots of money") met drummer Bobby in a Massachusetts boarding house. The two sought out to make Dom an "electronic sci-trance project" but after writing the song "Jesus," the band took a more garage pop sound. Later, they connected with bassist Erik and guitarist Cosmo, and the finished project sounded more like a jangle pop mixtape left on your dashboard on hot summer day.
With warped vocals, fuzzy low-fi distortion, and broken Casio keyboard lines, Dom filters a DIY aesthetic through the upbeat, sunny rhythms of pop music. There's a MacGyverized style to Dom buzzed-about debut EP Sun Bronzed Greek Gods, the seven songs feel like they're held together by sonic duct tape. At any minute they could break apart. But they don't. These tracks recorded in Erik's bedroom—on a pink paisley guitar, a Casio and Fruity Loops—are solid, edgy and irresistibly fun. "We like to get gnarly, but that doesn't mean we're a joke," Dom says.
By March they were playing frenzied basement shows on the East Coast, and by April DOM was featured as a rising band on tastemaking music site, Pitchfork. Then the buzzing began.
Yet, inside the breezy pop of Dom, is Dom, the man, whose personal history is decidedly less carefree. He doesn't want you to dwell on his past, but to understand Dom today, you have to excavate the skeletons hidden deep in Dom's closet. After all, pop music is escapism; it's a drug, a candy-coated antidote to pain. Unfortunately for Dom, pain has followed him like a shadow through life.
When Dom was 8 years old, his mother gave him up for adoption. At an age where he was all-too conscious, Dom was devastated by this breach of trust and schism from his family. His siblings stayed with his mom, he was the only one to go. Unanswered questions reverberated in the back of Dom's brain: Why him? What made Dom so different?
Like so many children in foster homes, Dom bounced from family to family, searching for permanent place to call home.
Acclimating to these temporary families was impossible, and when Dom was 14 he got into a serious fight with a foster brother. Dom was arrested in the school cafeteria in front of his friends. He was locked up for a few months and became subsumed in the cycle of within America's ailing juvenile justice system.
Dislocated in life, he found a home in music.
"When I was a kid my mom listened to Roy Orbison, and I remember wanting to be him. I was told I couldn't be him. So later I had this dream that if I could be him someday, I would be somebody, and maybe my mom could see that," Dom says.
Dom's personal troubles add a caustic irony to the feel good lyrics on Sun Bronzed Greek Gods. "It's so sexy/ to be living in America" he sings on "Living in America." On "Burn Bridges," he explains, "Burn your bridges / make yourself an island / Just forgive 'em and forget 'em."
On Dom island, music is the cure. It's the reason to pick up those broken pieces of your life and move on. Dom says forget that baggage, fuck the past, and rock for now.
"I'm gonna live how I want to/ This is okay/ I've been living for today." – Dom.
Cities Aviv is one of the foremost disarming performers in modern music. With a marriage of old guard expression and contemporary practice, he has garnered critical acclaim for his unorthodox approach that defies genre boundaries. Partly due to a catalog which shifts between amplified soul, industrious punk, and dissonant street rap, Cities Aviv remains a mainstay amongst progressive circles.
Cool Serbia formed in 2010 as three friends whose past musical projects include Austin, TX bands Ringo Deathstarr, International Waters, and Low Line Caller. A bunch of shows later, including a ton of performances during the 2011-2012 SXSW music festivals and a tour of the East Coast, and after a modest amount of internet buzz from blogs like NYLON daily and Impose Magazine, they've relocated to Brooklyn in anticipation of the release of their debut EP.
Cool Serbia draws their influence from a diverse list of bands and artists encompassing everything from The Zombies to The Jesus and Mary Chain, and the result is a completely unique sound that seems both contemporary and timeless.
Live, they've gained a reputation for delivering pop in the loudest way possible, blasting jangly guitars through 100 watt Fender amps at near-uncomfortable volumes with pounding rock and roll beats that are impossible not to at least think about dancing to.
The band has plans to release their first EP in the Fall of 2012, to be quickly followed with another United States tour.
Blue Hawaii's music follows their winter in Canada, becoming colder and introspective - reflecting the vast world of self-awareness and delicacy. It takes for its subject the question of belonging, despite overwhelming space.
Musically, the production is spacious and physically it was recorded in separation. Despite this, it belongs together in its final form. It demonstrates successful creative process in a pair who composed apart, and in doing so it is a meditation on communication: how technology and art influence modern human relationships. It contains the vast space of two years passing, including watching their Montreal scene change as some launched into international success and others turned deeper inwards. Here, the album finds the conflict of separation/belonging to one’s self and community.
The duo notice that throughout the changing social and personal landscape which is one’s twenties, these divided notions and people somehow stay together. Even the name Blue Hawaii suggests a kind of melancholic, jaded paradise, but a paradise afterall. It is because – or perhaps in spite of – these disjointed intersections that the record is called Untogether (Arbutus 2013).
Dickpic (DJ Dog Dick + Pictureplane)
A new collaboration between Travis Egedy (Pictureplane) and Max Eisenberg (DJ Dog Dick).