INPUT | Kitsune Club Night with CHVRCHES (DJ Set), Brenmar, The Range with TÂCHES, Sety, The Deep DJs
74 Wythe Avenue
New York, NY, 11211
This event is 21 and over
In little more than twelve months CHVRCHES have come out of nowhere to be everywhere. There’s a lot to catch up on since they posted their first song, Lies, online last May – a place in the top five of the BBC Sound of 2013, sell out headline tours in the UK and US (the most recent US tour playing to almost 20,000 people over 18 shows), a triumphant, award-winning appearance at SXSW and a string of stadium dates with Depeche Mode, to name but a few.
The excitement around that debut track was enhanced by the fact that there wasn’t so much as a photo of the band online. Who was that facelessly contorting the legacy of electronic music into surprisingly palatable new shapes? Lauren Mayberry, Iain Cook and Martin Doherty weren’t being deliberately coy – they were just hard at work capturing a sound that, in the tradition of all great musical alchemies, even surprised the band that made it.
Lies was followed in the summer by The Mother We Share – a euphoric, expertly-crafted piece of synthpop with a warm emotional centre that captured the imagination of a million listeners and saw the band step out from the shadows to put faces to the names. Both tracks, alongside bona fide singles Recover and Gun, feature on CHVRCHES’ longed-for debut album, The Bones of What You Believe, out now.
The album was produced by the band and recorded in Cook’s Alucard Studio in Glasgow, before being mixed by Rich Costey (Nine Inch Nails, Rage Against The Machine, Arctic Monkeys, Sigur Ros). “To me this is an indie rock band,” says Doherty. “Guitars are just replaced with keyboards – we want it rough.” The band’s peculiar magic lies in their juxtaposition of joy and doubt – these are robust, colourful pop songs whose lyrics reveal doubt and humanity, enhanced by the purity of Mayberry’s voice.
Cook and Doherty watched the world of electronics develop from behind more traditional instruments. Cook, who also composes for TV and film, played with the Scottish alt-rock group Aereogramme and was one half of its later incarnation The Unwinding Hours, whilst Doherty played keyboards for The Twilight Sad. Neither made music that sounded quite like this, until Mayberry – then working as a music journalist while singing with Glaswegian post-rock collective Blue Sky Archives, with whom Cook had previously recorded – turned up to help with a demo.
“I was late, I didn’t know the way, it was Sunday buses, it wasn’t a good start!” she recalls – “And this is going to sound weird,” Doherty cuts in, “but within thirty seconds of hearing her singing with us I knew this was something special. The range, the tone, the way the voice worked over the synths – it was immediate. I’d heard her voice before and liked it, but I wanted to take it out of its comfort zone. Now there’s a power to the vocal we never heard at first.”
During their recent headline tours Mayberry’s voice – a cut-glass, sci-fi soprano rounded off with warm Glaswegian tones – has developed into a formidable force. Onstage Cook and Doherty stand behind two banks of analogue synths, linked by a controller, allowing them to access one another’s machines and dovetail their bright explosions of sound. Their digital/analogue interface recalls their ‘80s heroes Prince and Depeche Mode but they work with the era-spanning musical know-how of Kieran Hebden and the celebratory spirit of LCD Soundsystem.
The twelve songs that make up The Bones of What You Believe are linked by their humanity but Mayberry’s lyrics are abstract and strangely inspirational. “With teeth we’ve come this far, I’ll take this thing by the throat and walk away,” she sings on By The Throat: everywhere, the imagery of flesh and blood, love and hope, rub up against Doherty and Cook’s aggressive synth fills and spluttering fanfares. On You Caught The Light, Doherty takes lead vocals and Cook’s guitar is reminiscent of Simple Minds or The Cure – an indie-rock yearning in an electronic world. Science and Visions (“a kind of sci-fi stalker story,” Mayberry laughs) sets her choirboy voice on a dark and ominous techno soundscape; on Lungs the sweetest melody gets an attack of crunchy bass and guitar. “That sweet and sour contrast is the key,” says Mayberry; adds Cook, “we pushed aggression in the production whenever there was sweetness in the vocal – we all gravitate towards that balance.”
Above all, the album is characterised by a combination of passion and restraint, Cook and Doherty often withholding their wizardry to let the melodies speak for themselves. That subtle balance is the sound of experience – three musicians who are endlessly excited by the sound they have discovered, but clearly in it for the long haul.
Brenmar was a name given to me by my then 2 year old brother. Born in Chicago, living in NYC, this is club music for the present. My songs/mixes usually revolve around money, sex, and party. Sometimes a little heartache.
The Range is James Hinton, 25, of Providence, RI. He's been making music since he was 13, first on a little Fostex machine recording looped drums and synthesizer. At Brown University, while studying Physics, he started making electronic music full time under the alias Stegosaurus, producing two albums under that moniker, 'Quill' and 'Cower' in 2009 and 2010 respectively. In the mid 2010 he started making music as The Range, drawing from more percussive footwork sounds. An album 'The Big Dip' followed for Astro Nautico (co-run by Obey City and Kuhn) in 2011, and then two EPs 'Seneca' and 'disk' for Donky Pitch. His next album 'Nonfiction' will be released by Donky Pitch on October 14th 2013.
He has received support on BBC Radio 1 from Benji B, frequently playing shows across the US, and completed remixes for artists like Howse (Tri Angle), Kuhn (Civil Music) & Alphabets Heaven (King Deluxe). In August 2013 he played The Boiler Room US, followed by a string of UK and European dates in October to co-incide with the album release.
Bred in London, reared in Palma de Mallorca until his recent return to the UK, TÂCHES finds himself inspired but not characterized by the current leftfield garage phenomenon and the vibes of UK house.
While his stance on romantic relationships has not been disclosed, TÂCHES is definitely polygamous in his love affair with music genres.
With a refreshing versatility, this enthusiastic young producer intrigues with inventive original productions as well as unexpected collaborations. TÂCHES’ influences include Erroll Garner and Marvin Gaye as well as more recent artists, such as Mount Kimbie and Deadboy. However, he also admits to being heavily influenced by the sun and middle of the night bird song. Through his innovative tracks, where the main continuity lies in mellow harmonies merged with more prominent and deep basslines, TÂCHES has been blessed with ongoing support from a variety of up-and-coming and established DJs. After a promising first release on Paranoiak, an independent label that prides itself on being a platform for ‘young, self-sufficient artists whose talent can only propel them to the top of the music game’ TÂCHES is looking forward to deliver many more gems and surprises in 2013.
Since the late '90s, Sety has been a fierce and tireless activist within Paris' electronic underground scene, determined to carve out a space for unconventional, experimental dance music. In 1999 he co-founded the Circus Company label, along with fellow artists Kean and Freak, of Nôze; in 10 years, it has grown from a local outpost into an international hub. With a roster including Nôze, Ark, Dave Aju, dOP, Guillaume & the Coutu Dumonts and DJ Koze, among many others, Circus Company has become one of Europe's most respected modern house labels.
Sety spent much of the label's history working more or less behind the scenes, aside from a handful of tracks for Circus Company, Karat and Logistic (where he had the honor of remixing the godfather of minimal techno, Robert Hood). But it's become clear that he's not just talented DJ and curator, but also a formidable producer. His 2008 Sweet & Sour EP—which included a beautiful and often-charted remix by Guillaume & the Coutu Dumonts—showed an unusual focused attention to the fusion of tones, textures and grooves in a powerful current of deep house energy. (It was all the more unusual considering that it was his first solo EP release.) Sweet & Sour received enthusiastic support from the likes of Luciano, Daniel Bell, Zip, and Ricardo Villalobos—but you wouldn't need to know that to be swayed by the record's immediacy. Since then, Sety has gone on to remix Butane, and more releases are in store.
Sety's years behind the curtain didn't curtail his activity behind the decks, however. His vision and his versatility have confirmed Sety as a promising artists in a new generation of house musicians. He holds a residency at Paris' Rex Club, where the Circus Company family comes together, and also plays at some of the world's most celebrated clubs—Berlin's Panorama Bar, San Francisco's Kontrol, London's Fabric, São Paulo's D-Edge… If you've ever caught him at any of those places, or perhaps at a party with no name in a building with no address, on a night where you lost your phone and have nothing to prove that it even ever happened, you'll know the feeling that Sety brings. As with Circus Company's records, it's a vision of house music that folds its history into something familiar and strange all at once: mercurial, pulsing, unpredictable, sensual, and unforgettable.
The Deep is a DJ collective and party, consisting of Luka Son Of Wolf, Mr. JPatt, David Kiss, Will Buck, NSR, Free Radicals, and Salinger.
$15.00 - $25.00
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