Paper Garden Records + Ernest Jenning Recording Co. present
Conveyor, Arms, The City And Horses, Trummors, Chris Mills, Miniboone, Wild Yaks
186 Bedford Ave
Brooklyn, NY, 11211
Doors 6:30 PM / Show 7:00 PM
This event is 21 and over
The Northside Festival is New York City’s largest and most accessible discovery festival. From June 13-20, 2013, hundreds of bands, entrepreneurs, filmmakers, innovators, and over 80,000 fans will converge on Brooklyn over eight days to witness an incredible showcase of what’s next in music, film, entrepreneurship and art. We’re still hammering out the details for 2013, so until we do, follow us on Twitter and “like” us on Facebook for festival update
Conveyor is a Brooklyn-based music project spawned by the fated juncture of a wandering tarot of musicians in Gainesville, FL. Was it kismet or perhaps a primordial summon which led these gentlemen purveyors of sound to individually tune in and migrate North to the bustling seductress known as New York CIty? Their retort is Sun Ray, a debut EP birthed and released in the warm embrace of Spring 2011. Brimming with lucid, homey synths layered over acoustic guitars and harmonious vocals, they channel extraterrestrial bible-thumpers drenched in love, spouting acid-soaked pop unabashed to beam with the simultaneous embrace of life/death realities backed by a polyrhythmic, pulsing backdrop. A decidedly grand task indeed, and following a string of self-released, handmade EPs, they are releasing their debut full-length album in 2012 with Brooklyn's Paper Garden Records, a testament to our nature and the nature of ourselves.
ARMS is what happens when the back burner bursts into flame. A one-time side project transformed into a full band, ARMS synthesizes Todd Goldstein's years of bedroom experimentation and sharpens them into a single bright blade. ARMS' full-band debut, Summer Skills, explodes the lo-fi pop of 2008's Kids Aflame into a widescreen epic, telling a fractured tale of love under supernatural circumstances. Sonically generous and emotionally raw, ARMS' Summer Skills lures listeners like a siren song and then pulls them into the deep.
Todd Goldstein has been writing and recording songs as ARMS since 2004 — although never quite like this. During his years playing guitar in NYC-based indie rockers Harlem Shakes, Todd quietly self-released his own music as ARMS, sneaking home-recording sessions in his rare spare time. Todd's first album as ARMS – the luminous, ramshackle pop of Kids Aflame – was released on Melodic Records (UK) / Gigantic Music (US) in 2008 to enthusiastic Internet-praise. When Harlem Shakes disbanded in the summer of 2009, Goldstein expanded ARMS into a full band with the addition of Tlacael Esparza on drums, Matty Fasano on bass / vocals and David Harrington on keyboards / electronics. The group immediately began writing the songs that would become Summer Skills, holing up with producer Shane Stoneback (Vampire Weekend, Sleigh Bells, Cults, Fucked Up) in Stoneback's Treefort Studios in Brooklyn.
On Summer Skills, ARMS' former emotional directness is abstracted and expanded into something more ambitious and ambiguous: a keenly observed fictional universe that shows more than it tells. With Stoneback behind the boards, drums pop and shimmer, analog synths cast audible shadows and ambient clouds glow on the horizon, rendering ARMS' golden guitar pop something both lovelier and more ominous than before. Todd's unmistakable baritone is the anchor; it swoops and slides into view, veering between vulnerable, seductive and, maybe, a little bit dangerous. The resulting noise calls to mind the atmospheric clarity of British pop experimentalists like Talk Talk or Kate Bush, with a nod to the minimalist melancholy of Red House Painters and the end-over-end urgency of early REM. But ARMS ' noise is all their own, taking the no-nonsense bones of tight songcraft and covering them in shining skin.
Amid the life-or-death stakes of Summer Skills, noses drip kerosene, chill winds blow sweet and razor-sharp teeth gleam in the darkness. It's this terrain of texture and mood, set among the long purple shadows of August afternoons, that underpins the album's sequence of haunting moments — little nightmares lit with the blurry shine of dreams. With Summer Skills, ARMS manages the elusive trick of weaving these threads into something both lush and beautifully, painfully alive.
ARMS has had the pleasure of sharing the stage with bands including Walkmen, White Rabbits, Passion Pit, The Love Language, A Place to Bury Strangers, Japandroids, Braids, Hospitality, Caveman, and Asobi Seksu.
The City And Horses
The City and Horses is the work of a Brooklyn songwriter and former Cosby Show extra (Season 7, Episodes 25 & 26). While firmly steeped in the indie tradition, TCAH's songs traverse many genres of pop: from twee to power to psychedelic to chamber to folk to lo-fi (and back again). The common threads are idiosyncratic vocals, often accompanied by surprising harmonies, and clever and heartfelt lyrics that mix the wit of Stephin Merritt with the wist of Stuart Murdoch (or something).
The City and Horses play catchy indie pop, literate lo-fi folk, earnest country ballads, electro-sex dance, grunge rock and Mo-Town fop. The members of the band are adorable and can fit in your pocket.
Their debut album "I Don't Want to Dream" is out now on White Shoe Records. The band is currently recording their follow up album.
Time Out New York says, "The singer-songwriter behind The City and Horses refers to himself merely as Marc, hinting at the breezy informality of his indie-pop tunes. Unassuming as it might seem, though, the Brooklyn outfit's debut, 'I Don't Want to Dream,' is both wise and disarmingly wistful."
Trummors are a folk-rock duo formed by songwriter Anne Cunningham and David Lerner, best known to some for his years of work with Ted Leo & The Pharmacists. The two multi-instrumentalists focus on acoustic instrumentation, incorporating harmonium, fingerstyle guitar, and close-harmony vocals into their warm sound. Early on in the group's existence, Cunningham and Lerner moved from Brooklyn to the considerably calmer surroundings of Woodstock in upstate New York. Trummors first album, Over and Around the Clove, was released in June of 2012 and reflected their recent change of scenery with its lushly earthy songs and slightly psychedelic filter on a '70s pop sound.
Harvesting music and lyrics from headlines, horror movies, four-color ash-can adventures, and the black and white reflections of late night re-runs, Mills returns from the recent orchestral majesty of his critically lauded The Wall to Wall Sessions with a raw and ready collection of true rock n' roll numbers, each one peppered with knowing asides, and unencumbered poignancy.
Over the course of a year and a half, MiniBoone has made Brooklyn their own personal protectorate, decimating human audiences while twisting melodies and swinging instruments wildly above their heads. With three rotating front-men and a rhythm section made of angry rotating swords, they channel the mechanical abandon of Devo while evoking the lyrical resonance and emotional power of Springsteen.
The distinctive brand of American-strange rock and roll formed from this mixture may be at odds with the prevailing lo-fi strains emanating from New York City these days, but it has won them converts of everyone from the Village Voice to NPR. Since January 2010's Big Changes EP (Drug Front Records), The L Magazine bestowed upon them the prestigious title of one of the "8 NYC Bands You Need to Hear" in April, and the video for their can-you-be-in-a-hardcore-band-and-still-like-Kylie-Minogue standout "Cool Kids Cut Out of the Heart Itself" was featured on the first episode of the Flavorpill Fix. Live, MiniBoone is a genuine thrill, and has displayed its explosion of sentient energy at Northside Festival, Brooklyn Bowl, Mercury Lounge, and the Rocks Off Concert Cruise Ship amongst many others.
Now MiniBoone is adding more fuel to the fire with a new 7" released in March 2011. "The Other Summer" is an exhaustingly frenetic Andrew W.K. "hiding on the backstreets" opus, clocking in at nearly six minutes. On the other side, "Fight Song" is an immaculate specimen of fractured pop glory. Look for a new EP this summer and their first LP in the fall.
As the world's youth continue to define their existence against the ideas of love and confusion, MiniBoone hope to provide a suitable soundtrack.
This is some writing that this girl Maud did about about us on her blog. I don't know this girl, if I did she would ... (more) know how actually messy my apartment is or how truly, beautifully refined my taste in movies is. I'm also using this, as I'm wont to do, without her permission, but mostly because her blog doesn't offer any way of getting in touch with her. Without further ado: Sweaty boys playing sloppy drunk jammy music is the reason why I like dudes, and Wild Yaks do it oh so well. I want to be their friends because I bet they have a really dirty apartment and watch really good movies. I want to listen to their music because it's masculine and not at all pretentious and they're so into it and their glasses slide off their noses and their shorts are too short.
The drummer looks like a beardier Williamsburgier Iggy Pop. They sing songs about girls and love and tomahawks and pearls like the world and beg for a new guitar when they bust their own. They have a saxophone player with really sticky-uppy hair. You could totally kick ass and run around and drive your car to their songs. Their myspace url is "boyhoodforever" which makes me think they may be aware of how dudely they are but it makes me like them more. They also played this slower song that actually DID remind me of Jonathan Richman, specifically the part in "A Plea For Tenderness" that goes "I know how beautiful death is (duh duh duh duh duh)/ I know why you hate life..." and so on. They're kind of like a screamier Modern Lovers. Or maybe they're just what The Modern Lovers would be like if they weren't straight edge. If they were real real real drunk.
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