Crash Avenue + Mecca Lecca Showcase:
Elder/Brother, Unicycle Loves You, The Darcys, Dinosaur Bones, Howth, Christopher Paul Stelling, SWF
249 4th Avenue
Brooklyn, NY, 11215
Doors 6:30 PM
This event is 21 and over
Elder/Brother is a 2 piece flamethrower based in Brooklyn NY. There will be no prisoners.
Unicycle Loves You
In 2010, Unicycle Loves You stripped away the studio gloss of their self-titled 2008 debut and took a large step forward with the release of Mirror, Mirror. Once again handling the roles of songwriter and producer, Jim Carroll has dug even further into his Sebadoh/Guided By Voices-influenced home-recording roots for Unicycle Loves You's latest record, Failure. Due for release on Valentine's Day 2012, their Mecca Lecca debut contains all the pop sensibility of their earlier work but with a rawer, more focused sonic palette.
Loaded with buzzing guitars in the red, highly addictive melodies, and lush boy/girl harmonies, Failure combines the best elements of 90′s indie rock and dream pop for a refreshing Pop Art sound. While it may be the band's heaviest, thrashiest album to date, songs such as "Garbage Dump", "Sun Comes Out (And I Don't Care)", "Bitch Eye", "Piranha" and "Wow Wave Cinema" are also some of their strongest and poppiest moments on record.
Unicycle Loves You are honored to have shared the stage with such acts as Weezer, The Raveonettes, Fiery Furnaces, Telekinesis, Generationals, Art Brut, Tapes 'n' Tapes, Cymbals Eat Guitars, Bishop Allen & Crystal Antlers.
AJA is the second in a trilogy of releases from Toronto art rock quartet The Darcys.
An interpretation of Steely Dan's 1977 studio masterpiece, the album was produced, arranged and recorded by the band at home during the summer and fall of 2010.
Moody, dense and textured, AJA is an exploration of physical and emotional space and the real and imaginary divisions within it.
The decision to interpret the album in full was made during a period in which the band struggled to complete its self-titled sophomore record.
With no label and mixing stalled, The Darcys were unable to track new material, instead embracing the challenge of reshaping the collective favourite and presenting it to the world as a declaration of self-sufficiency.
"We did it because we could," the band's Wes Marskell explains. "And because we thought we couldn't."
"It became as much an art project as an album."
More than a year later, following a multi-album deal with Arts & Crafts and the release of The Darcys on October 25, AJA is unveiled, representing an essential
link from 2011's self-titled offering to the band's much-anticipated third studio release.
And above all else, AJA has come to signify a crucial turning point for The Darcys - created in the darkness to bring light and living as a demonstration of resolve, proficiency and imagination.
Late last year Toronto’s Dinosaur Bones decamped to Texas to work on their second full-length album, Shaky Dream, released on August 6, 2013 via Dine Alone Records. Teaming up with the production lead of John Congelton (St. Vincent, The Walkmen, Explosions In The Sky) the band found themselves immersed in a study of sound; in some cases, challenging and peeling back layers of their songs and taking them in directions they hadn't contemplated before. The quintet was moved, literally and figuratively from their comfort zone and the resulting 10 new tracks are thematically steeped in self-reflection, yearning for honest communication and filled with a blend of dark pop, bombastic hooks, and flourishing rhythmic drone.
We were both leaving the worst behind, mistakes we had made that followed us into the dusty corners of our old rooms. Leaving behind those we spoke of love to, but felt none for anymore. We were leaving behind days of feeling like aliens in our own homes. He moved in the basement, I lived upstairs. We felt fresh, wide eyed, and ready for the world we had been scared to embrace. But the day was too bright, and the faces were too mean, and the city felt no different. We felt no different. So, we hid in the basement where the light barely cracked through the grates like a prison. But we had chosen this prison and we needed it. Our legs wouldn't let us crawl upstairs or out the door. We didn't give a fuck what anyone would think, but with that our eyes were no longer wide. They had adjusted to the dim light of a flickering light bulb and the red lights of guitar pedals. I was lonely and still had my demons, he was lonelier and just waiting for something bad to happen. Survival mode. He had to move back home to Minnesota to take care of his dying father. He was almost too late. I moved to nature and felt wide eyed again. Our friend burned down the old place while he slept. He barely walked out alive. I went back with him to gather stringless guitars covered in fire extinguisher fluid, tapes that had blackened, and ash covered drums. Nothing worked, but I didn't care anymore. We finished what we had to. Here it is.
Some kind words said about us:
"...beautifully atmospheric..." - My Old Kentucky Blog
"... (Howth) is a raw and emotional album that is as real as they come." - We All Want Someone
" You don't normally hear too much fuzz in folk songs (Blitzen Trapper do it well), but Howth put it to great use in this one." - You Ain't No Picasso
"It can take you on a drive through the country, it can take you to a peaceful city street at night, it can make you remember feeling in love." - The Deli NYC
Christopher Paul Stelling
"The musical storytelling of Christopher Paul Stelling embodies a long road full of lush folkloric, mythological and religious imagery." - WNYC
"There is a reverence in and of Christopher Paul Stelling that is immediately perceptible. It's striking and it's powerful. It's a draw. It's a magnetism that sucks you right into the landscape that he sees." - Sean Moeller, Daytrotter
"...organic, southern Gothic-meets-classic folk. Everything about his performing style and songs was inspiring, refreshing, and also blissfully familiar." - Beyond Race Magazine
"...it wasn't until Christopher Paul Stelling performed that the final emotional wall came crashing down. As though Stelling was reliving every emotional moment that went into the creation of each of his songs, he dug deeper than I've seen just about anyone, and everyone in the room was channeled into every second. It was heartbreaking. It was draining. It was revitalizing. It was genuine." - New York Press
"To watch Stelling play is akin to watching a master work...The furious guitar lines flow effortlessly as tales are woven over them." - The Muse In Music
SWF is the dream of and moniker for artist, musician, and self-described mystic, Stevie Weinstein-Foner. Stevie’s messages of love and longing roll from his debut album, Let It Be Told, like mantras blasted from the radio of a brightly re-painted VW van, cruising down a metaphysical highway of endless summer with the windows down. Let It Be Told (out October 8 via Mecca Lecca Recording Co.) was recorded in Memphis, TN at High Low studios, and the album’s soulful proclamations are backed by a chorus of fuzzy guitars, vocal harmonies, and very singable hooks. Time Out New York calls SWF “warm, mellow, scruffy rock & roll,” and their performances are a passionate celebration of a spirit-driven American experience.
After spending the summer of 2008 rafting down the Colorado River through the Grand Canyon, Stevie moved to Brooklyn where he began his formal study of yoga, and began writing the material for what would become Let It Be Told. After some soul searching, he left Brooklyn to live and work on a farm in Central America, ending his travels in Memphis in May 2011, to record the first half of his debut album with Jake Rabinbach (the Echo-Friendly) and Toby Vest (Tiger High). Returning to Brooklyn, Stevie began performing as SWF with band members Rob Chamberlain (drums, vocals) and Monika Heidemann (bass, vocals), friends from the yoga community based in Brooklyn and upstate New York.
After a year of new love, sobriety, and deep self-study with spiritual teacher Harshada Wagner, Stevie returned to Memphis in January 2013 to record the rest of the album. On “Warrior”, he sings, “I let my darkness shine/ I let all the darkness out/ I’ve taken the warrior’s vow”—a nod not only to Alexander Ebert’s song “Truth,” but also to his own path of sincerity, sobriety, and soul discovery. Revealed in both the spirit of light and darkness, Let It Be Told is a work of truth, love, and a heart that beats for summer.
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