Sat, Aug 31
Sun, Sep 1
CT5 - Five Years of Captured Tracks w/ DIIV, Mac DeMarco, Wild Nothing, Beach Fossils - TWO DAY PASS
Widowspeak, Blouse, MINKS, Chris Cohen, Soft Metals, Heavenly Beat, Alex Calder
272 Meserole Street
Brooklyn, NY, 11206
Doors 3:00 PM / Show 4:00 PM
This event is 18 and over
Watch & Listen
Originally known as Dive, the Brooklyn-based group, DIIV, started as the project of Zachary Cole Smith (also a member of the group, Beach Fossils) in 2011. DIIV delivers a smooth, beachy pop sound. Smith teamed up with a live band composed of guitarist Andrew Bailey, bassist Devin Ruben Perez, and drummer Colby Hewitt, who collaborate with him in performing his own songs. After releasing their single, "How Long Have You Known?", the group released their debut album, Oshin, in June.
When the then 21-year old Mac DeMarco released his debut Rock and Roll Night Club 12″ just a short while ago in the Spring of 2012, it was accompanied by a barrage of bizarrely funny promo videos, wildly unhinged live performances and a not-so-subtle disparate range of promo photos. The glam facade was purely that, an image that was manufactured for fun to confuse the stiff and compartmentalizing world of indie music journalists. But it wasn't all a jest, as that EP covered a whole range of music styles that were latent in the ex-Makeout Videotape frontman's already impressive slough of cassette-only releases. The sincere and warm Mac who sang "Only You" was the same lipstick-wearing sleazoid that crooned "Baby's Wearing Blue Jeans" and that suited him and his listeners just fine.
Now, all of six months later, Mac is back with his first proper full length, Mac DeMarco 2. As opposed to RNRNC, "2″ is a concerted effort to produce a cohesive work that showcases Mac's natural ability as a songwriter, singer and producer. With a new arsenal of recording gear, the fidelity has substantially improved without compromising the immediacy and organic quality of his prior releases under any monicker. The results are immediately rewarding, from the warm "Cooking Up Something Good" to the heartfelt "My Kind of Woman." It's obvious Mac is presenting himself musically in the most sincere way possible, no matter what happens in his wild videos or live shows. "Freaking out the Neighborhood," Mac's apologetic ode to his loved ones about such public behavior, shows that Mac DeMarco is still with us, coming along for the ride, getting everyone else in trouble. Even so, the maturation process of Mac DeMarco, recording artist, is in full swing. He did, after all, turn 22 this April.
Nocturne is the follow up release to Wild Nothing's critically acclaimed debut 'Gemini'.
Ask Jack Tatum what 'Wild Nothing' means and he'll answer: 'a contradiction'. In 2010, 21 year old Tatum released one of the finest cult pop records of the summer whilst ensconced in his senior year of college in Blacksburg, VA, a small mid-atlantic town better known for producing football fans and engineers than musicians. Tatum lives in contradictions. You'll often hear Wild Nothing referred to as a 'one man pop band'. Jack creates in the studio, alone. On the road, he's with a band. There are two Wild Nothings.
The critically acclaimed debut 'Gemini' was underpinned with summery childhood longings, and shot through with the instant dichotomy of anxiety and almost whimsical paranoia. The album, which was home recorded by Tatum and rooted heavily in 80's indie-pop, quickly gained popularity throughout the internet. Tatum assembled a band of Virginia friends and hit the road for the first time. 'Gemini' showed a promising future for a songwriter who wore his influences on his sleeve while still approaching pop craftsmanship in his own way. When asked about it in regards to 'Nocturne', Jack states:
I don't think it's going to be a secret to anyone that I care about pop music, but it's definitely more my sense of what pop music used to be or even what pop music would be in my ideal world.
The new album 'Nocturne', is a window into Tatum's "ideal world" of pop music. Written largely while living in Savannah, GA during 2011, the songs that became 'Nocturne' speak to a new Wild Nothing where the lines between Jack's influences and personality have been further blurred. The album features some open references to past music just as 'Gemini' did, but it's also an album that feels much less rooted in anything in particular and, well, more adult.
'Gemini' was written before there were Wild Nothing fans or even a live band; 'Nocturne' is different. With an unexpected fan base to turn to, Jack spent more time perfecting his craft. The obsessiveness of 'Nocturne' is inherent in it's gentle harmonies, orchestrated synths, wandering voice, and songs that speak of his post-Gemini experiences as he explores new paradoxes of pop.
And yet Nocturne' isn't obvious, it is a strange and distinctive musical beast, the product of an obsessive pop vision that creates its own reality.
Beach Fossils began in 2009 as the solo project of Dustin Payseur. Before and after the 2010 release of the S/T debut LP and 2011's What A Pleasure EP, they performed around the world with a lineup that once featured Cole Smith (DIIV) and John Peña (Heavenly Beat). They quickly became known for their highly energetic stage show, bringing the recorded work to a volume and tempo that would make even the indie-est of crowds wind up in a frenzy. With the exception of drummer Tommy Gardner, that lineup dissolved to pursue their ambitions with the aforementioned projects. Wanting to bridge the gap between the live and recorded aspects of the band, Dustin began writing Clash the Truth determined to capture the urgency, human flow and spontaneity of the live performance.
Now with a full time drummer (and co-writer of two tracks on the LP) Beach Fossils entered the studio in the fall of 2012 with producer Ben Greenberg of The Men. Instead of merely going from a "bedroom DiY" project to a "better fidelity studio project" the deliberate decision to work with Ben was determined to capture, if not in style, the spirit and enthusiasm of punk and aggressive music in general. To ensure that dynamic, the drums were recorded live in a room with Dustin on bass to give the album a driving and energetic force. Consider the titles "Generational Synthetic," "Caustic Cross" and "Burn You Down," it's easy to see how the record, while not a punk or post-punk record by strict definition, certainly nods to the first major influence of Dustin's creative spark. The first two notes of the title track that kick the LP off are a clear indicator of where his head was at.
The LP also sees Dustin stretching his songwriting muscles, with the acoustic Lennon-esque "Sleep Apnea" and the dreamy "In Vertigo", which features the vocals of Kazu Makino (Blonde Redhead). During the recording period, the studio was flooded and destroyed by hurricane Sandy and the band had to relocate to another studio to finish the LP in earnest. It all came together when the work of legendary video artist Peter Campus was finalized to be featured throughout the release and on the striking cover. Clash the Truth marks a clear progression in the ongoing story of Beach Fossils. Drawing from the previous works' melodic strengths and uncanny guitar textures emboldened by a sound closer to their energetic and cathartic live set, it's the clear next step in the trajectory of the band and the dis-association from the home-recording boom from which it originated.
Widowspeak is an American band comprised of Molly Hamilton and Robert Earl Thomas, known for its dreamy, western-tinged take on rock and roll. The outfit formed in 2010 and released two singles in 2011 (Harsh Realm, Gun Shy) followed by a debut album (self-titled) in the summer of that year, all on Brooklyn label Captured Tracks. Widowspeak was praised for its reverential spaciousness, Hamilton's haunting voice, and Thomas's spindly, Morricone-esque guitar lines; both drawing on 1950's pop ballads and 1970's psych, creating languid call-and-response melodies. The band then toured extensively, wearing in their warm, nostalgic sound.
Widowspeak began to write what would become their second record, Almanac, at the start of 2012, as popular fears of the apocalypse became imminently close to realization. Though not totally convinced of catastrophic disaster coinciding with the year's conclusion, Hamilton nevertheless began writing lyrics seeped in doomsday imagery, darkness and dread, inspired by the idea of such a universal experience of the end. The two started making demos in their practice space. Thomas shaped the ideas into songs, experimenting with denser arrangements and grander gestures. Black and white became Kodachrome, subdued became saturated. Widowspeak explored Appalachian melodies and desert rhythms, Saharan to the Southwest, as well as incorporated acoustic instruments and slide guitar, stemming from a shared love of Neil Young.
As the compositions were brought to life, they became something new, something unlike the fatalistic seeds from whence they'd grown. These songs were no longer concerned with the end of the Earth, but with the life and death of seasons, youth, love, and the cyclical nature of all things. The band chose the name 'Almanac' in tribute to those annual tomes which have eternally provided predictions of weather patterns, lunar and solar movement, and astronomical phenomena. But the songs are also about the changing times we find ourselves in: "the good old days" at odds with the hyperactive present, and the sense of loss, but also adventure, which that provides.
The album was recorded by Kevin McMahon (Swans, Real Estate) in a hundred year old barn in the Hudson River Valley of New York State during the transition from summer to fall. Producing with McMahon, Thomas expanded on the band's demos, crafting layers of guitar, Rhodes piano, organ and harmonium.
Almanac will be released by Captured Tracks on January 22, 2013.
If Widowspeak's first record serves as a collection of postcards, sent from destinations traveled to in that first transformative year, then their second is the guidebook written after they'd found their sonic home and inhabited it fully.
Blouse is based out of a 6,000 square-foot warehouse in North Portland. The project started in the summer of 2010, after Los Angeles native Charlie Hilton met Patrick Adams in art school. They made a few home recordings and soon began spending nights at the warehouse recording with Jacob Portrait (Producer of Mint Chicks, Dandy Warhols, Starfucker). Having played music since their teens, the three found that there was something inexplicable in their coming together. After posting two demo tracks to Bandcamp's website, the group was picked up by Captured Tracks out of Brooklyn, NY. A 7" single of Into Black was released at the end of March '11 by Captured Tracks. Sub Pop Records will be releasing the second single for Shadow on May 31st.
In April of 2010 Captured Tracks released a 7" single by an unknown new york band called MINKS. On the date of release, few people knew any information about the musicians behind the music. Most writers and listeners assumed that it was a one man bedroom music project, like many other artists on the label, and were confused even more when six musicians appeared on stage to perform songs at the first MINKS concert. The first single, titled "Funeral Song" was quickly praised by music journalists and publications like Pitchfork, Stereogum, and Fader. Fader said that it sounded like "If Robert Smith gave birth to a baby, and the baby was actually a cassette of Cure demos that had a lot more staying power than actual Cure demos." Seasons changed, and MINKS returned with a follow up 7" single titled "Ophelia," which continued to shadow people's minds with curious thoughts and open ears. The uniqueness of these early singles showed the ability to balance the feelings of joy and sadness, as well as a door to past and present worlds. For these songs were less about the songs themselves, but the ability to make you feel a certain emotion when listening to them. No element alone would stand out, but as a whole, the swirling waves of sound which Pitchfork would describe as "all texture and drift," would drive you away to a nostalgic place in your mind.
With the release of "By The Hedge," MINKS further the ability to make you feel eternal autumn. Frontman and songwriter Sean Kilfoyle's ability to capture the raincoat grey Boston mornings of his youth, have the desire to make you feel like you are listening to a dream while awake and standing in the pouring rain. Put on your raincoat and enjoy the splendor.
Chris Cohen is a 37 year old native of Los Angeles currently residing in the farmlands of Vermont. He is the child of a former music business executive and a Broadway actress.
A multi-instrumentalist who records himself, Chris has cycled through many different styles and techniques, combining them into his own brand of psychedelic pop music. Idiosyncratic in form, using dissonance, irregular phrasing and open space, Chris's music is more than anything about the character of the moment in which it is created.
His resume of projects with other people is a long one – as a contributing member of The Curtains, Cryptacize, Deerhoof, Natural Dreamers, and Park Details Band, he released 10 full-length albums between 2002 and 2008.
Overgrown Path is the first under his own name, and Chris spent the last three years developing and recording it. A singing drummer who writes psychedelic pop music, Cohen also records his own bass, Casio MT65, piano, and guitar. Tracks like "Caller No. 99″ and "Monad" follow idiosyncratic forms, but are still melodic in an unconventional and homegrown way — like the best of Robert Wyatt, Mayo Thompson, Syd Barrett, and Jerry Garcia. Overgrown Path unfolds its delicate and unexpected arrangements around Cohen's relaxed baritone, unhurriedly revealing the detailed world wrapped up in each song.
LA's Soft Metals formed in 2009 after Ian Hicks and Patricia Hall met at a DJ night and connected over their obsession with analog synthesizers and the shadowy, sultry, untamed expressions of underground electronic music. Their early collaborations paired Patricia's delicate vocals and introspective lyrics with Ian's solo sketches. Soon they moved on to writing music together, building songs from wild, improvised sessions in Ian's home studio. Their genre blurring brand of voltaic pop draws inspiration from a spectrum a sources including krautrock, synth wave, and techno. They've won over audiences in situations as varied as experimental noise shows in dingy basements, to sleek, modern nightclubs, to clandestine after hours warehouse parties, to dimly lit dives where post punk and synthpop records fuel the dance floor.
Soft Metals found a home on Brooklyn's Captured Tracks with the 2010 EP The Cold World Melts. The following year Hicks and Hall presented us with their debut self-titled long player; an album steeped in driving beats, maximalist textures, and the perfect placement of Hall's atmospheric vocals.
July 2013 will see the release of Soft Metals' next installment, Lenses; a continuation of their ethos aiming directly at your body and subconscious mind with an intimacy that only lovers can bring. The song "Lenses" describes the experience of shifted consciousness with the lyrics "breaking through my perception of you, breaking through my concept of life". It celebrates the feeling of escape from a mind imprisoned with lack of presence and stuck in habit all set to an earnest beat and lush enigmatic melodies that entwine and seduce. "Tell Me", "No Turning Back", When I Look Into Your Eyes" expresses that nervous, vulnerable feeling of falling for someone, but questioning the reality of the situation asking "Is this love true? Or are we just lost in lust?", "when you said you loved me, I laid my whole life down", "When I look into your eyes, I wonder if we'll meld". "In the Air", perhaps the most movement inspiring track of the album, is a dense, pulsating piece about the power of nature, the effects of seasonal changes on all living things that rule over sexuality, productivity, and inspiration- the basis of man's various forms of mysticism.
Texas native John Pena began writing and performing under the Heavenly Beat guise in the latter part of 2009. After a handful of unfulfilling and embarrassing live shows, John put performing on the back burner and began working on building a stronger set of songs. John emerged from his bedroom after months of leisurely paced recording with a couple of tracks that would become his first release on Captured Tracks in the form of the 7 inch single "Suday". Being influenced by nothing in particular has payed off as many have had trouble pinning the sound down as anything other than "immaculately arranged and paced" and "attractive music for attractive people". Thus again proving that just because you've heard a song by The Cure or Neil Young doesn't mean you have to ape it shamelessly to gain wide acceptance. Shortly after the release of "Suday" Heavenly Beat released the A side "Faithless" for their forthcoming 2nd single, igniting not only the blog world but the interest of the uninformed few who might have missed "Suday". By paying homage to no one but himself, John Pena's band has become one to watch in 2012.