Body Language

Fresh off the success of last year's Social Studies LP—which earned the approval of everyone from NPR to The New York Times to The Guardian, who compared the breakout release to early Madonna, the indie disco of Prelude Records and "CSS doing an impression of Dr. Buzzard's Original Savannah Band"— Body Language is ready to release their sophomore album, "The Grammar LP". Like Social Studies, this sophomore release embodies the band's restless pop experiments with a future-shocked blend of soul and R&B.

Or as multi-instrumentalist/producer Grant Wheeler puts it, "Our world still exists in an indie-disco bubble; we're just pushing the limits of every genre to a point where the bubble's about to pop." As evidenced in "Lose My Head"—a floor-filler that's driven by late '70s funk licks and diamond-encrusted keys to the wobbly synth lines and Motown inspired chorus of "I'm a Mess", versatility and collaboration is the core of Body Language's creative process, which often starts in the home studio Grant shares with singer/fellow producer Matt Young, only to be fleshed out even further with drummer Ian Young and singer/glockenspiel player Angelica Bess.

"Everyone has their part," insists Matt. "In fact, certain people come to our shows to see different performers. I kinda like to think of it as a circus." Body Language's outside projects make that circus even more interesting, from Ian's live drumming for Matthew Dear and Angelica's vocals on Sepalcure's "Outside the Lines", which was featured in the critically acclaimed film 'Black Swan' to Grant and Matt's co-production/writing credits for such rising artists as Passion Pit, Machinedrum and Vacationer; a recurring collaborator Matt Young describes as "like Body Language if you stripped the R&B and soul parts out, took it down 30 BPM, and gave it a Mai Tai on the beach."

Body Language has long proven they are more than just a synth dance band. Live they keep you on the dancefloor and word of mouth spreads fast as they are now known to sell out most NYC venues. They have played shows with Sia, Janelle Monae and The Hood Internet. Their most recent tour with Vacationer was a blow out that included a sell out performance at New York's Brooklyn Bowl. With spring and summer dates lined up and numerous DJ sets sprinkled in the pipeline the band is sure to turn it up in 2013.

Fake Babies

Fake Babies is all things to all people. Fake Babies has never been afraid to utilize a sound that it found intriguing. Fake Babies has never shied away from an influence no matter how obscure or fleeting it may seem to be. Fake Babies is a band of musicians that grew into a collaboration of producers, or, Fake Babies is a group of producers that come together as a band. either way they are banded together, and they fucking produce.

By 2007 Robert James Nuzzello had been in many bands. As and adolescent he opened for the likes of BB King and Chuck Berry. As a young adult he performed the full gambit of pop and rock bands. After surveying the musical landscape in Los Angeles for a few years he moved back to New Haven, gently leaned his guitar against the wall and stared deep into a 1984 Akai MPC. Beats were made, tracks produced and eventually a new approach was formed using a new range of tools and stylistic elements.

At the same time Justin Courtney Roberts was in Baltimore finding new ways to create the music that had been growing in him since his childhood. There he developed sounds and characters to narrate the sweeping minagerie to be later known as "kids with crushes". These recordings made there way back north and Nuzzello knew a partnership was eminent.

Gary Kiernan Velush and Jason Norman Sirianni had both recently finished degree programs in performance from the prestigious Western Connecticut State University music program and, having bonded under an interest in nontraditional composition, were looking for a new way to make music. They rented loft spaces and hammered out free form waves of sound inspired by the likes of Steve Riech and Wayne Krantz but a focused channel for this energy remained elusive.

In 2008, a vessel for all this liquid potential presented itself. Gary, Bob and Justin procured a rehearsal space in New Havens infamous Daggett Street Square. Jay soon followed and the Submarine was born. At the time the New Haven music scene was in hibernation. Aside from regular sunday nights at the legendary BAR night club (which would provide some of the stylistic inspiration and liquid libation that helped cement the four artist in their common goal) the town had fallen on routine. So.. the submarine began throwing shows.

Drawing on the local talent and importing some from other independent music hubs such as Baltimore and Brooklyn the Submarine hosted some of the most remembered parties of that time. There Fake Babies honed a style based not only in sounds but in spaces. Somehow the bump of a deep bass kick resonates off of a wall painted pink more sweetly. The glitter flew, the pipes dripped with condensed sweat and most of the time, the cops were called.

Soon after, a large corner of the sub was devoted to a recording studio space and the production team known as Fuzzy Rainbow moved in. Having produced Fake Babies initial release "we started blues", the fuzzys presence was warm and welcome. With all the elements in line the work began to flow. Fake Babies 2012 release, a self titled EP, produced by Bill Ready of Fuzzy fame, showcases the raw party power of the earlier record with a delicate grace that only time and patience can produce.

Fake Babies continues to record and perform for every set of warm pink ears ready to receive them.

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Body Language with Fake Babies

Wednesday, July 31 · 9:00 PM at BAR