Chris Douridas (KCRW) & MFG Present: School Night! CMJ Showcase
Javelin, Willis Earl Beal
BASECAMP, Public Service Broadcasting, resident DJ Jason Eldredge (KCRW/East Village Radio), Guest DJ Chris Douridas (KCRW), & Matt Goldman (MFG)
61 Wythe Avenue
Brooklyn, NY, 11249
Doors 6:00 PM / Show 7:00 PM
This event is 21 and over
Formed in 2005 by cousins Tom Van Buskirk and George Langford, Brooklyn, New York-based indie electronic duo Javelin crafts funky, abstract, R&B-flavored pop with an emphasis on painstakingly re-created samples and loops. The band's 2009 self-released collection of demos (Jamz n Jemz) and pair of Thrill Jockey 12"s (Javelin, Number Two) were followed by its debut album, No Más, on the Luaka Bop label in 2010. The Western-influenced Canyon Candy EP followed one year later. To record its second album, the duo moved away from homemade sounds in favor of recording in a real studio and decided to write more traditionally verse-chorus songs that could be re-created on-stage with a band. The resulting album, Hi Beams, was released in early 2013. ~ James Christopher Monger, Rovi
Willis Earl Beal
Willis Earl Beal - A biography
"He made dozens of songs using whatever spare instruments and materials he could find in Albuquerque's flea markets, thrift stores and alleyways; a red electric guitar, forgotten acoustic guitars, a lap harp, a makeshift drum kit created from pots and pans."
Willis Earl Beal isn't an easy person to find. He isn't on Facebook and never had a MySpace page. No Twitter account, nothing on SoundCloud, not a single BandCamp page with his name attached to it. All I had to guide me was a curious flyer I found tacked to the wall of a used bookstore on Chicago's west side displaying a rough drawing of a slender man with a bizarre message thnot a Weasel", signed willis earl beal and a phone number.
Speaking to Willis on the phone is a peculiar, often thrilling experience. He dips in and out conversation -- dropping the phone to turn up the TV or radio, or argue with his brother in the background. He'll pause mid-sentence to rid debt-collectors on call waiting or if you're lucky, sing one of his many songs. 'Of course willis earl beal can sing', I thought the first time this happened. Beal's songs were immediately arresting, his soulful croon sincerely underscoring lyrics about everyday tedium, fear, and death. Sometimes he'd simply place the receiver up to a speaker and play me his existing recordings. The tunes sounded sublimely messy -- his drumming sometimes skipping the beat, his overdubbed melodies sometimes sounded clamped together, his guitar chords sometimes rang in and out of tune -- but it felt urgent, vital and real. I felt like I had stumbled upon a mystery and those enchanting songs kept me on the hunt. I finally met Beal a few weeks later and wrote a story about him that graced the cover of the Chicago Reader's B Side.
Now, after years of toiling in obscurity, Hot Charity/XL Recordings will release Beal's debut album, Acousmatic Sorcery, on March 20th. The album's 11 songs are taken from a series of recordings Beal made while living in Albuquerque, New Mexico. After living in the Chicagoland area for his entire life, Beal felt compelled to be near the desert, an idea he had long romanticized. "The desolate atmosphere was always in my head," Beal says. He arrived in Albuquerque without a plan, a place to live, or enough money to live off of. He lived on the streets while trying to land a job and began singing to help him cope while sleeping rough. He spent days drawing and printing up his flyers, distributing them all over his new city. Eventually Beal found work as the night porter at a motel.
It was during the late-night shifts that the 27-year-old musician from the south side of Chicago found his voice and taught himself to make music. The recordings are a result of what one creative mind could do with a few found instruments and objects; a cassette-based karaoke machine and a $20 microphone. Somehow Beal managed to create warm, visceral and moving music seemingly out of nothing, just a little bit of imagination -- it's practically magic done without any fancy gadgetry, hence the name Acousmatic Sorcery. He made dozens of songs using whatever spare instruments and materials he could find in Albuquerque's flea markets, thrift stores and alleyways; a red electric guitar, forgotten acoustic guitars, a lap harp, a makeshift drum kit created from pots and pans. Beal selected the songs for Acousmatic Sorcery because he feels they offer a look at his development as a musician -- creativity vs. ability. "They represent my dreams as much as they represent my lack of real musical ability," he says. Perhaps most importantly: "They represent my experience in Albuquerque. I was there. It happened."
The downcast Evening's Kiss recounts a particular trip to a local diner, where an attractive waitress who Beal found likeable happened to work: Beal would dress up in a suit in an effort to impress her and in the hopes of perhaps wooing her, but on this night something felt amiss. "I felt like 'Jesus Christ, I'm just a fraud. I'm here and I'm deluding myself into thinking that this person, this waitress, is actually interested in me," Beal says. He grabbed a napkin and scribbled down some heartbreaking lines about losing out on a desired dream, about "the evening's kiss got me fading away." At that moment the sky seemed to part and rain fell over the desert and everyone in the diner began to cheer.
As the summer came to an end, Beal plotted his journey back to Chicago. "I started feeling real, actual loneliness that meant something. I would sit around in dark shades, dressed nicely and trying to look cool but I didn't feel cool on the inside. I had found what I was looking for." As he traveled across America he continued to receive phone calls as his flyers made their own journey, appearing on the cover of FOUND Magazine, a publication made up of discarded ephemera. One caller introduced himself as "Mos Def" and together they plotted to write a script based on Beal's life, with Mos Def playing the lead. One caller asked for help with her homework. Another caller using the name Steve The Tranny asked for career advice and the two plotted to audition for a new show called The X-Factor. Neither made the cut and once again the empty sky seemed to part and rain fell over the desert and everyone in the auditorium began to cheer.
A trio with musical influences that extend far beyond their hometown of Nashville,
Tennessee, BASECAMP came to fruition when the three producers joined forces
to write. With a natural affinity for writing and collaborating, what resulted
was 'Emmanuel' - a track that pulls you in and lingers in your consciousness
even moments after its end. Realizing there was a musical void that needed to
be filled, the idea of BASECAMP immediately took hold. Deconstructing typical
genre boundaries by utilizing haunting melodies, intensified by thumping bass lines
and heavily percussive drums, BASECAMP effortlessly layer unpredictable tempo
changes with elements of subtle glitch and live strings. Combining seducing vocals
with irresistible R&B timbre reminiscent of James Blake or Sampha of SBTRKT, the
trio meshes seemingly incongruous musical textures and chords to create beautiful
tension across all four tracks on their upcoming self-titled debut EP. Universally
appealing with burning lyrics and a fully realized musicianship that can't be faltered,
the EP is only a prelude to the eclectic BASECAMP narrative.
Public Service Broadcasting
PUBLIC SERVICE BROADCASTING IS THE CORDUROY-CLAD BRAINCHILD OF LONDON-BASED J. WILLGOOSE, ESQ. WHO, ALONG WITH HIS DRUMMING COMPANION, WRIGGLESWORTH, WILL BE TOURING THE LENGTH AND BREADTH OF THE UK IN 2013 ON A QUEST TO INFORM - EDUCATE AND, MOST IMPORTANTLY – ENTERTAIN.
THROUGH THEIR UNIQUELY SPELL-BINDING LIVE AV TRANSMISSIONS AUDIENCES WILL WITNESS THE BAND WEAVE SAMPLES FROM OLD PUBLIC INFORMATION FILMS, ARCHIVE FOOTAGE AND PROPAGANDA MATERIAL AROUND LIVE DRUMS, GUITAR, BANJO AND ELECTRONICS AS THEY TEACH THE LESSONS OF THE PAST THROUGH THE MUSIC OF THE FUTURE - BEAMING OUR PAST BACK AT US THROUGH VINTAGE TV SETS AND STATE OF THE ART MODERN VIDEO PROJECTION DEVICES.
ARTROCKER: "GENUINELY ORIGINAL, INNOVATING AND AMAZING"
JANICE LONG,BBC RADIO 2:"MY NEW FAVOURITE BAND"
THE INDEPENDENT: "THEY BLEND THE VOICES OF THE PAST WITH THE MUSIC OF THE PRESENT TO ASTOUNDING EFFECT"
THE INDEPENDENT: "THEY BLEND THE VOICES OF THE PAST WITH THE MUSIC OF THE PRESENT TO ASTOUNDING EFFECT"
TIME OUT: "INSPIRATIONAL STUFF"
JOHN KENNEDY, XFM: "ABSOLUTELY BRILLIANT"
MUSIC WEEK: "THIS DUO ARE BRINGING THE PAST UP TO DATE WHILST SOUNDING LIKE THEY BELONG IN 2012"
resident DJ Jason Eldredge (KCRW/East Village Radio)
With individual taste and a passion for musical risks, Jason Eldredge appeals to the avid music lover as well as the casual fan seeking a soundtrack to their life’s adventures.
Jason’s musical education started at an early age. “It was obvious to everyone around me that I had a real fondness for music, so babysitters and older kids were always feeding me the cornerstone albums of that time."
“Later on in school, my friends would ask me to create mix tapes for their parties. I never really thought that much about it, but other people seemed to realize that I had a knack for it.”
Jason became a “public radio junkie” while living in Chicago listening to WBEZ. He was involved in the local theater scene and finally moved to the West Coast to pursue his acting career. He discovered KCRW and became a volunteer almost immediately. “I showed up to my volunteer interview in a tie and brought along a portfolio. I knew what I wanted and was determined to be involved with the station.”
Jason's desire for accessibility in introducing the newest jam or resurfacing the occasionally forgotten gem brings a mixture of sounds that is consistently varied and original. “I always take chances. Sometimes the things I think people are going to hate end up being what people love the most. That's one of the best parts of my show.”
Jason was previously named by Billboard Magazine as one of the ‘Top 30 Under Thirty’ in the music Industry for his music supervision work in film and television. His credits include: HBO’s Six Feet Under (music coordinator), The Closer for TNT, and Free Radio for VH-1. He has been featured in other print and online publications such as Monocle Magazine, Hamptons Magazine, LA Weekly, and Mashable.
He has deejayed live for the MTV Video Music Awards, Oliver Peoples, Ace Hotels, Soho House, Santos Party House, Flavorpill, The Standard Hotels, The Bowery Hotel, Armani, and The House of Blues.
W Hotels and The Patina Group run exclusive mixes produced by Jason in a variety of their establishments worldwide.
In addition to his work in music, Jason has acted in a variety of commercials, films, and stage productions. He studied acting with the Atlantic Theater Company in New York and completed the BFA acting program at the University of Colorado, Boulder. He has also studied photography at UCLA and recently completed a major candidacy in Art History at Columbia University.
Guest DJ Chris Douridas (KCRW)
"I plan an interview like a trip," says longtime music curator, radio host, and two-time Grammy nominee Chris Douridas. "I know I'm going to get from here to there, but the side trips and roadside attractions are always the most interesting." Chris' penchant for crossing borders has led him to audiences around the world. Throughout most of the 90's, Chris held the music director position at KCRW. As host of KCRW's popular daily new music program Morning Becomes Eclectic (1990-1998), he was the first to play demos from then-unsigned artists Beck, Gillian Welch and eels, among many others.
While Chris was still in his KCRW role, Geffen Records enlisted him to identify and recruit new artists as an A&R consultant, bringing to the label the bands Remy Zero and That Dog. Two years later, he became an A&R executive at DreamWorks Records where he brought in the eels and Propellerheads, among others.
While at DreamWorks and KCRW, he hosted the debut season of Sessions at West 54th, a weekly PBS music performance and interview program, which bowed in the summer of 1997, and is still in syndication. The show featured interview segments filmed by D.A. Pennebaker, and extended sets from Beck, Fiona Apple, Ben Folds, Sonic Youth, and Zap Mama, along with the television performance debuts of Belle and Sebastian and Jane Siberry, among many others.
Chris is probably best known in film circles as a music supervisor and consultant for major motion pictures and television series, having put together music for Northern Exposure, the Austin Powers series, One Eight Seven, As Good as It Gets, Heat, Grosse Point Blank, Grace of My Heart, American Beauty (GRAMMY nominee for Best Soundtrack), One Hour Photo, Down With Love, The Girl Next Door, The Chumscrubber, Rumor Has It, the record-setting Shrek 2 (GRAMMY nominee for Best Soundtrack) and Bobby, the Robert Kennedy tribute from director Emilio Estevez.
As the new millenium began, Chris set new standards in the online arena as the former VP at AOL Music where he created, produced and hosted the popular Sessions@AOL interview and performance program. For Sessions, Chris interviewed Paul McCartney, U2, Moby, Radiohead, Peter Gabriel, Madonna, Nelly, John Mayer, Sheryl Crow and Avril Lavigne, among hundreds of others.
Also a creative programming consultant for Steve Jobs and Apple's iTunes Music Store, Douridas created and produced the inaugural two years of the live performance and interview series, iTunes Originals, featuring Paul Simon, Jack Johnson, Alanis Morissette, Sting, Willie Nelson, Bjork, PJ Harvey, and others. Additionally, Douridas created and curated the launch of iTunes Essentials, an ongoing series of downloadable music playlists for the iPod culture.
In his voice-over work, Chris was recently heard in the Nissan Shift TV commercial campaign.
He continues his dedication to discovering and nurturing unsigned and forward-leaning artists through his global radio program, heard on KCRW-FM and KCRW.com.
& Matt Goldman (MFG)
MFG Productions is an event production & promotion boutique based in downtown Los Angeles. We have produced influential live music and DJ events since 2006, having averaged over 200 shows per year ranging from 100 to 10,000 people in attendance. Our partners include music festivals, international hotel chains, relevant magazines, influential radio stations, leading beverage brands, and every facet of the apparel industry. We are consistently approached for our understanding of current and future trends in art, fashion, design and, most importantly, music.
“Matt Goldman is an LA nightlife titan, responsible for Thursday’s Dance Right at La Cita and Monday’s School Night at Bardot, as well as the bi-coastal Swimming with Sharks summer pool parties at the NY and LA Standard Hotels. And then there’s the match-made-in-heaven team-ups with Mad Decent and Scion, the one-off after-parties for poised-to-be-huge bands like Foster the People, the secret shows with M.I.A. and Spoon... should we keep going? Because [MFG] is...”
- Excerpted from Paper Magazine Nightlife Issue
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