Grand Resort, Robert Bryn of Wild Yaks, Army Men
289 Kent Avenue
Brooklyn, NY, 11249
Doors 8:30 PM
This event is 21 and over
Let’s talk about the Beets. The story of the Beets begins in scenic Queens, New York, where Uruguayan transplant Juan Wauters met Jose Garcia in art classes at LaGuardia Community college. The two started playing guitar together, and eventually found the first in a series of many drummers so that they could play shows under the name of… The Beets. Soon enough, Wauters and Garcia found another like-minded soul in Queens-based artist Matthew Volz. Volz quickly took over the visual needs of the band, creating flyers, album covers, videos, and light shows, in effect turning him into the secret fourth member of the band. Volz also plays recorder for the band from time to time.
Over the course of four years, the Beets have become one of the best bands, if not the best band, in New York. With two full-length LPs and three singles on NY label Captured Tracks under their belt, and an amazing live show to boot, it is no wonder why they have been personally asked to share the stage by the likes of Pavement, and to tour with bands from the Vivian Girls to the Mountain Goats. The Beets are the musician’s band, the artist’s band, the band of bands. The Beets are smart and colorful individuals who treat life as a sing-along and a comic book all at once. The Beets are more than a band: they are a way of life, a gang, a gang from Jackson Heights, a gang that you want to be a part of.
Hardly Art is proud to present to the world Let the Poison Out, the third masterpiece from the Beets. It was recorded in two days, with a few overdubs here and there, at Marlborough Farms by Gary Olsen of Ladybug Transistor. It’s the album the Beets have been working up to. Let the Poison Out also marks the addition of Chie Mori, an important component as the latest and last drummer for the Beets. It’s true that the Beets have had many drummers. “If this doesn’t work out, then no more Beets,” asserts Garcia.
While the title references the band’s idol and unofficial mascot, Howard Stern, Let the Poison Out is really an album about getting everything out of your system. All of the Beets elements are here: jangly acoustic guitar; simply captured, sing-along lyrics about being yourself, being free, not fitting in; and an undercurrent of restless energy. The Beets love the Ramones. The Beets love MAD magazine. The Beets love Queens and Keds. Now is the time for you to love the Beets.
The Beets are and always will be: Juan Wauters (guitar, vocals, songs), Jose Garcia (bass, vocals), Chie Mori (drums and more), and Matthew Volz (artist plus).
What happens when a teenager escapes the confines of his home country, trading breezy, eternal summers for painstaking winters? Three years ago, Andrés Pichardo was wondering the same thing, when he decided to leave his hometown in the Dominican Republic to study in Massachusetts, but mostly to play music.
It may seem unlikely to pin a teenager growing up in the Dominican Republic as a fanatic of Britain's jangle pop, C86 and shoegaze. But during Pichardo's musical coming-of-age, these sounds somehow found their path all the way to the Caribbean and right into his ear canal.
Three years later, the 20-year-old is bursting with similarly inspired guitar melodies and synth layers under the moniker Grand Resort.
Last autumn, Pichardo locked himself up in his apartment in Massachusetts to record the magical Vanguard Dreams, before being mastered by Josh Bonati (The Men, Widowspeak, Zola Jesus) in Brooklyn. The result is an eight song LP recollecting every feeling and emotion he had been hiding for years. This isn't just another kid in his bedroom with his laptop and a guitar. Instead, Pichardo crafts massive recordings within the confines of his bedroom.
"I wanted to develop my ideas as clear as possible, as they did not sound small or vague at all in my head," Pichardo says. "Most people don't believe me when I tell them this is just me in my room with my twelve-string electric guitar."
Earlier this year, Pichardo released Microscopic, a glistening guitar-driven tune with gliding synths and whispery melodies all over the place. Grand Resort officially made the leap to Brooklyn in February, with Pichardo spending his free time interning at a local record label and perfecting his sound. Grand Resort now performs as a four-piece, with Paul Laughrige on guitar, Rich San Luis (Telenovelas, Ghostless) on bass and Rony Bonilla on drums, perfectly envisioning the sound Andrés Pichardo has been crafting within himself for years.
Grand Resort has recently followed up with the solid, soothing avant pop composition "Night Is Dark". Vanguard Dreams will see the light of day this summer.
Robert Bryn of Wild Yaks
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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