The Wild Honey Pie's 4th Birthday Bash
Wilsen, Monogold, Canon Logic, ARMS
289 Kent Avenue
Brooklyn, NY, 11249
Doors 8:00 PM (event ends at 11:30 PM)
This event is 21 and over
Influenced by the likes of Austra, Nick Drake and Cat Power, New York-based Wilsen blend contemporary folk songs with ethereal, electric arrangements to create a full intricate sound tagged “dream folk”.
Wilsen self-released their debut mini-album ‘Sirens’ in the summer of 2012. Their debut single ‘Anahita’ was released in February 2013.
New single ‘Dusk’ is released on the 10th June 2013. It comes backed by a cover of Grimes’ ‘Oblivion’ as the b-side.
‘Sirens’ is available to download from iTunes here: http://smarturl.it/wilsensirens
”’Anahita’ is an elaborate and intricate track that grows from a fragile four-minutes of plaintive vocals and sparse instrumentation, into the kind of heart-racing build that would send Explosions In The Sky back to the drawing board.” (This Is Fake DIY)
”...(‘Sirens’) manages to be so patient, every musical move so careful that it almost feels like you aught to not move while listening. There’s a darkness equally with that fragility and the instrumentation is at the beck and call of the negative spaces in all the songs. It is space that need not be filled, but indeed is intoxicating for repeated listens.” (Listen Before You Buy)
“This is a journey and a rather wondrous one at that.” (Breaking More Waves)
“Heavy on atmosphere and loaded with an understanding of dynamics and fine details that most bands can only hope to develop.” (Wears The Trousers)
“… “Without a doubt it’s Tamsin Wilson’s voice that’s the captain of this ship, but the arrangement behind her is just as exquisite in it’s well-scripted restraint. A light repeating guitar line sets the gauzy lovelorn mood, soft drums heighten the ominous feel, all blending with her voice into a beauty both elegant and moonlit.” (Their Bated Breath)
Monogold's melodies soar like an eagle on top of a rollercoaster on top of Mount Kilimanjaro. Why would there be a rollercoaster on Mount Kilimanjaro? You see things that are there and say, "Why?" But I see things that are not and say, "Why not?" Or, something like that.
Anyway, this lovely Brooklyn band creates wonderfully crafted lush pop that glides towards dreamy and transcendent territories. Singer Keith Kelly uses his floating falsetto to propel the trio's songs up, up, and up some more.
This is not sad music for you sacks who are sad. Monogold's music reaffirms the things in life that are worth reaffirming. (I'm not going to tell you the things in your life that needs reaffirming. I just work here.)
These three are such hookers too. Wait, scratch that. What I mean is the pop Monogold makes is catchy and sticky and big time hooky. Total sluts... to singable choruses!
After steadfastly perfecting their sound for the past few years this quintet from Brooklyn via Philadelphia finally unleashed their debut full-length, FM Arcade, this spring. The result of all this labor is an album that sees the band fully realizing their unique sound to make for a collection of songs that fit together to create a cohesive artistic image. In addition to the Pet Sounds-esque arrangements that permeate the disc, FM Arcade also showcases the literary nature of the group's lyrics, which are steeped in the storytelling tradition of classic songwriters such as Bob Dylan and Neil Young. FM Arcade is literally the sound of a band discovering—and challenging—themselves.
"[FM Arcade] is rife with slick musical structures and beautiful, clear vocals… Its instantly engrossing romanticism and new-wave rhythms find The Canon Logic at their most skillful."
-Converse's Talk Blog
"I was exhausted," says Todd Goldstein, reflecting on the years since the release of his band ARMS’ lush, ambitious 2011 album, Summer Skills. “I put everything I had into that album—creatively, emotionally—I had nothing left in me.” After spending his mid-20s playing guitar in New York’s much-loved Harlem Shakes and the ensuing years crafting two albums and an EP as ARMS, Todd took a sharp turn away from music. He went back to school to study design; he spent long afternoons throwing down in the kitchen; he looked elsewhere to find his creative kicks. Eventually though, he remembered why he can’t help but write songs. ARMS’ EP2 is the proof.
The product of a long, slow collaboration with drummer Tlacael Esparza, EP2 feels both urgent and relaxed, its five home-recorded pop songs projecting a lived-in looseness without sacrificing an ounce of tension. “Comfort,” the EP’s opening track, seems at first to be about music—or a girl. But, unlike most love songs that pull this double duty, the message of “Comfort” is unexpected: Neither one is a prescription for the ailments of real life. “Sleepwalker” plays like an insomniac’s wake-up call, dressing a careening rhythm in melancholic guitar figures and peals of glowing distortion, while “Up & Up” is the late-night ripper, an album closing comedown that refuses to land. EP2 is the sound of a kid with a worried mind—a frequent character in Todd’s musical universe—learning to let go at last. It only seems right that ARMS’ leanest, most immediate record would finally arrive after leaving it all behind.
ARMS is Todd Goldstein and Tlacael Esparza. ARMS has shared the stage with Passion Pit, Walkmen, Beach House, White Rabbits, The Long Winters, A Place to Bury Strangers, Japandroids, Hospitality, Caveman, Asobi Seksu, and more.
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