Angioplasty Media and Signal Kitchen Present at ArtsRiot
Bible Camp Sleepovers, Joey Pizza Slice, Disco Phantom
400 Pine St
Burlington, VT, 05401
Doors 9:00 PM / Show 9:30 PM (event ends at 2:00 AM)
This event is all ages
Future Islands' romantic synth sound scales new heights with On the Water, the Baltimore trio's most ambitious and fully realized statement yet. Built around a song cycle exploring love, loss, and memory, their latest album finds the band continuing to deliver pounding rhythms, swelling melodies, and undeniable hooks - but finding new ways to probe inner space and tug at hearts.
Convening in March 2011 in Elizabeth City, NC's historic, waterfront Andrew S. Sanders House, vocalist Samuel T. Herring, bassist William Cashion, and keyboardist Gerrit Welmers lived together in a space that served as both studio and sleeping quarters. The band used this tranquil retreat to refine their most reflective and mature batch of songs to date, adding new material in the process.
What emerged is a lush yet visceral album about two parallel journeys--one physical and one psychological. On the Water's narrator offers enough detail that their story feels personal, yet open enough that any listener can inhabit each twist and emotional pang as their own.
Travelling on foot, we seek something - an exorcism, an epiphany, an ending. Memories wash across us as in life: nonlinear, linked by emotional resonance rather than conventional chronology. And so, the pain of letting go channeled by "The Great Fire" collides with a moment's fleeting serenity in the Eno-esque "Open"; the triumphant rallying cry "Give Us the Wind, " despite its confident declaration of individual strength, remains a mile away from final chapter "Tybee Island." It is there the song cycle ends, and what is discovered in "Tybee Island" will be as different as the lives lived by each person who finds their way to this album.
On the Water may unearth aural memories as well. The mind may flash upon our first encounters with New Order's "Ceremony," David Bowie's "Heroes," or The Cure's Disintegration, memories which, are continually reborn and reimagined in the context of the here and now. And as the song-cycle's narrator comes to terms with his own memories, his singular journey collapses into the collective experience of album-closer "Grease." It is here that the "I" of the nine previous songs collapses into the "we" of Future Islands, now singing the literal journey of the people who came together by the ocean to deliver these songs into our ears.
Far from just a narrative trope, the ocean played an integral role in On the Water's creation. The bulk of the album was recorded with waves pounding sand mere feet away. The album opens and closes with field recordings made by the band on a nearby dock, and one pivotal track, "Tybee Island," began with vocals recorded on the beach (subsequently fleshed out in the studio with additional instrumentation).
The ocean inhabits every note of these songs. On the Water is an addictive ride that demands repeat listens, eagerly awaiting the test of time. To produce these results, Future Islands fleshed out its sound with the additions of cello, violin, marimba, and field recordings. As with their 2010 breakthrough album In Evening Air, On the Water was produced by frequent collaborator Chester Endersby Gwazda, perhaps best known as producer of Dan Deacon's Bromst. Noted guests include Wye Oak's Jenn Wasner, who provides vocals on "The Great Fire," and Double Dagger's Denny Bowen on live drums and additional percussion.
For all its undeniable weight, On the Water is not a sullen concept album. Every track on the record works both as a contribution to the whole and as a stand-alone pleasure, evident in the insistent throbs, addictive melodies, and stirring vocals of tracks like "Close to None," "Balance," and first single "Before the Bridge."
Make no mistake, On the Water is a record that aims to both break your heart and heal your wounds.
Joey Pizza Slice
Pizza Slice rewinds the tape, hits play, listens to a few moments of the beat, then presses record again. The beat disappears and he plays a keyboard part. Then the high-pitched whir of rewinding tape fills the air, and he hits play. You can hear the drums again, as well as the keyboard part. Then he’ll add a bass line. He keeps doing this — recording, playing, rewinding, singing, rewinding — until he’s declares that he’s finished.
It’s hard to know what he’s finished, exactly, as the only thing the crowd — or Pizza Slice himself — has heard is a few seconds of music at a time while he assembled the song. But when he plays the tape, more often than not, a wild, demented pop tune blares out. Afterward, he tosses the tape into the crowd.
“He’s pretty much making music in a blind way,” says Toby Aronson, a Burlington-based experimental musician and co-owner of cassette-tape label NNA Tapes. NNA recently released a boxed set of Burlington music that included some of Pizza Slice’s songs.
“He’s amazingly good at this rare technique,” Aronson continues. “It’s not that no one else is doing this, but I’ve never heard of anyone making militantly eraser-head-less pop music. It’s totally wacked out and awesome.”
DJ Disco Phantom (Brian Nagle) comes from Burlington, Vermont and has been blowing up local venues for the past six years. Disco Phantom is one of the busiest men in Burlington’s music scene. He is the DJ for every and all indie rock events in the Burlington area and a man with undeniable style and excitement.
A master of all things disco and champion of indie remixes, Disco Phantom’s crates are deeper than deep. His sets are beyond catchy and accessible and his track record is proof enough that he is the type of DJ that surgically implants a permagrin on his audience. Every performance guarantees flawless mixing, great track selection and making people dance.
Disco Phantom is not your ordinary deejay. He can rock a club or an art gallery, a diy venue or a private party. He has experience playing shows with music of every genre including electronic, rock, punk, hip-hop, folk, and noise.