Catfish and The Bottlemen, Faces On Film, James Apollo, Frances Cone, Jack & the Bear, Jessica Hernandez and The Deltas, Mikaela Davis, Desert Noises, Mideau, Isaiah Gage, Casey Black, Michael Daves' Wax Lion, Jus Post Bellum, Siiga
196 Allen St.
New York, NY, 10002
Doors 6:30 PM / Show 7:00 PM
This event is 21 and over
Communion is a monthly residency showcasing the best new music from local, national and international acts. Founded by Ben Lovett (Mumford and Sons), Kevin Jones (Bear’s Den) and producer Ian Grimble in 2006, Communion provided the first independent platform for the freshest artists in London to break out and is now fast becoming a musical launching pad for new talent across the country. Communion encourages musical communities to grow and flourish between artists and their respective audiences and provides a platform for music fans to discover new artists in a live environment. Past artists that have played Communion Club Nights include Ben Howard, James Bay, Sam Smith, Walk The Moon, Mumford And Sons, Hozier, Trampled By Turtles, Daughter, Chet Faker, Sarah Jarosz, Foxes, George Ezra, Bear's Den, Catfish And The Bottlemen, Gotye & Many More. For more information on Communion, visit www.communionmusic.com
Faces On Film
Mike Fiore dreams big.
It's not just as a result of having his first Faces On Film release, The Troubles, receive such high praise from the Boston music press. Surely, having critic James Reed of the Boston Globe refer to your record as one of the top albums of 2008, saying it "sounds like a private affair straight from the heart," allows for sound sleep. It was dreams of a different sort, however, that fueled his expansive and evolved second release, Some Weather.
"I was having these dreams and they were all similar and they all happened around the same time, within a week or a week and a half or something," recalls the winner of 2009's Boston Phoenix award for "Best Singer/Songwriter. "It seemed like I was having these dreams every night."
Those dreams, with their recurring themes of physical movement and personal exploration as well as the ramifications of both, inspire the rootsy fragility of Some Weather. Fiore's vocals find a warm home drenched in reverb as his latest co-conspirators (guitarist, Dave Hinckley; and organist/percussionist, Elio DeLuca;) flesh out the singer's guitar playing and moody lyrical musings with suitably subtle touches.
"It would have been hard to not write a song about these things," he says of the nocturnal journeys that were the impetus for an eloquent examination of self. "It was the last thing I thought of before I went to sleep and the first thing I'd think of when I woke up, It was hard to shake."
The result is a ten song lyrical collection of studies on the pro's and cons of subconscious hitchhiking set to the same musical sensibilities that had previously earned Fiore tours alongside The Veils, Foreign Born, and Freelance Whales as well as slots on stages with the likes of Blitzen Trapper, Akron/Family, and A.A. Bondy. While Fiore's themes of the road less traveled and the obstacles encountered on that route are seemingly timeless, it too often feels like an eternity since they were delivered in such an intelligent manner.
The journey kicks off with, "Knot In The Vine," a young person's first steps outside the comfort zone that Fiore explains, "Is about anything that's preventing the natural course, whether it's imposed by your self or somebody else." From this impressive jumping off point it is full speed ahead, with the understated yet upbeat, "Harlem Roses," offering the first glance at familiarity.
"That feeling when you're young and sort of shaping your identity," he says of the song. "You're a participant in creating your own identity and it's sort of unique to when you're young. It's being reminded of that feeling without going back to it."
It is perhaps on, "Great Move North," the album's structural centerpiece, that the importance of surmounting those bumps in the road, even those one is personally responsible for, is most successfully recounted. Fiore readily reports that the the song is based in feelings of "growth, seeing the path, feeling invigorated by what you're encountering. But also feeling mortal, and aware of the magnitude of everything."
Whatever solace might have been achieved in the "Great Move North" proves short-lived however as the following, "Make Nice," finds our hero questioning how many of the important people in his life have been left covered in ash by the bridges he's burned. Before the end of the trip both, "Under Newry," and, "Bride," investigate the dangers of temporary comfort to a traveler whose journey is yet to be completed. Which, of course, begs the question, 'Does this journey have a defined conclusion?'
"I have never been terribly attracted to things with a thesis statement or some kind of tangible morale. It's just not what I find interesting," Fiore states without hesitation before candidly admitting. "I don't know that I am very aware of being impacted by something in the moment but for me these things all ended up making sense. I just know the result."
Even in his youth, Fiore had an early inkling these were the sort of results he would strive to achieve. "Even before I had a guitar, I'd draw pictures of stages and equipment," he remembers of his childhood in Rochester, N.Y. "It's been all I've cared about for as long as I can remember."
"When I got to be 16, I got a guitar, and started playing with a friend who had been playing for a while," he recounts of his musical coming-of-age. "That summer there was a neighborhood where I was spending a lot of time because I was dating a girl who lived there, and had two or three friends on the same street. One of those friends' dad played guitar, and would always have people around his house playing and singing songs. It was all older guys, there would be five or six of them around every night, all summer. And my first introduction to playing music with a group of people was with them, learning and playing these songs. I still play with a few of them when I go home."
With a busy year supporting, "Some Weather," assembling itself by the hour, Fiore will likely not be sleeping very many nights back in Rochester, or consecutively in the same place. Yet the inspiration of slumber is not one he's entirely abandoned.
"Even before this dream thing happened to me, I was always drawn to that moment between being awake and falling asleep," he admits with a smile. "You're not asleep but you're almost there and everything is sort of swirling together, trying to get underneath that first layer."
bandleader. woe and adventure.
dark delights with a ghoulish air of danger.
instrinsically beautiful, quietly epic.
FRANCES CONE is a Brooklyn-based indie-pop band fronted by Christina Cone (keyboards/vocals) with Jeff Malinowski (guitar/vocals) and Andrew Doherty (bass/vocals). Their lush three-part harmonies and intimate understanding of each other as players and people belie the fact that they all just met within the past year in the borough in which they live and perform. The band has already landed on year-end "Best Of" lists from the likes of Daytrotter and Vanity Fair and performed at marquee New York venues such as Bowery Ballroom and Music Hall of Williamsburg. At once their sound is both enormous and intimate, huge yet familiar. Frances Cone is currently on tour in support of their new self-titled EP due early spring 2014.
Jack & the Bear
In the midst of what could be the largest movement in folk-rock music since the 1960's, revolutionary sounds from bands such as The Avett Brothers, Deer Tick, Arcade Fire, The Felice Brothers, and Mumford & Sons open new doors. With a similar sound and an admirable aspiration, Jack & the Bear were birthed in the downriver town of Monroe, Michigan in the summer of 2010.
Named after an inspirational figure in lead singer Brandon James' life along with the initials of the founding members of the group, the five-piece band hit the ground running with the writing of their first self-titled EP, which received a self-distributed release in the spring of 2011.
With the core of the group being made of two sets of brothers, an outlier family friend and a sister collaborating comes comfortably and naturally to the band. Writers Brandon James and Reginald (Ryan) Servis provide a unique blend of two musical backgrounds; traditional guitar styling's of artists such as Bruce Springsteen and Glen Hansard meet new-wave cascading instrumentals found in songs of Fleet Foxes and Beirut. The use of four part harmony and instruments such as banjo, mandolin, trumpet, and accordion in many of their songs set the group aside from many others.
More recently the group just set foot with their second EP release "The Stranger Amongst the Loyal" which was produced/engineered entirely by the bands drummer Adam Schreiber. Adam recently opened up his own studio which goes by the name of "White Wagon" and is starting to take on new projects along with handling all of the Jack & the Bear releases.
Jack & the Bear started off attempting to form a sound like many folk rockers around today but ended up walking into a new sound all their own. They have been compared to artists such as The Waterboys, Springsteen, and even Tom Waits. Their live show is a whole other story which cannot be explained in a short summary…you'll just have to see for yourself. They have done licensing with MTV and have shared the stage with acts such as Deer Tick, Hayes Carll, Nicole Atkins, Dr. Dog, The White Rabbits, Langhorne Slim, Ha Ha Tonka, The Felice Brothers, Soja, Jessica Lea Mayfield, Railroad Earth, Deep Dark Woods and the list goes on.
The group set off on their first tour of the East Coast in the summer of 2012 to reach out to new fans and returned back home with lots of inspiration, new songs, new friends, new fans and loads of success.
Now consisting of 5 members (and a Jake Nielsen) the band has matured and carried on to a whole new level. Jack & the Bear is now looking toward recording their first full-length album at Prairie Sun Studios with Grammy Award Winning producer Oz Fritz. Fritz has produced a number of albums with the legendary Tom Waits, including 1999's critically acclaimed "Mule Variations." Jack & the Bear plan to release their debut full-length album by the end of this Summer.
Jessica Hernandez and The Deltas
Life has a way of letting us know what we're supposed to do and when we're supposed to do it. We can distract ourselves, but life is persistent. Jessica Hernandez knows that. She knows that no matter what gets in the way, time won't stop for anyone. Be it struggles or triumphs, Hernandez is ready for whatever, whenever.
This malleability expresses itself in so many facets of Jessica's life. The first-generation American grew up in and around Detroit. There are few regions more impressing as the nitty-gritty of Rock City and it left its mark on the 25-year-old artist. Her voice is instantly recognizable. Its strength and soul are matched by an honest vulnerability. Whether she is singing heartfelt words about someone that has left this world too early, or belting out a danceable tune through a big smile, Hernandez is unforgettable… especially with the ultra-talented Deltas behind her.
Never one to adhere to norms or outside pressures, Jessica Hernandez & the Deltas have learned lesson after lesson along their rise as one of Detroit's favorite bands. They've honed their craft in sell-out shows and tours than span the nation. It's easiest to classify Hernandez by seeing the people that come to every show. All races, all ages, all fans of good music.
Mikaela Davis is an indie harpist/singer-songwriter from Rochester, New York, known for her amazing YouTube covers of Sufjan Stevens' "Casimir Pulaski Day," which has received over 115,000 hits, and her cover of Elliott Smith's "Twilight," which has received close to 40,000 hits. Mikaela tours solo or as a trio, where she is joined by Alex Coté on drums and percussion, and Cian McCarthy on guitar and sitar. To date, she has had the pleasure of sharing the stage with indie rock artists My Brightest Diamond, Jukebox the Ghost, Filligar, and Indians, and was recently invited to perform at the 2013 Lilac Festival.
In 2012, Mikaela recorded, mixed, and mastered her self-titled debut album at Red Booth Recordings with owner and audio engineer Brian Moore, who describes her as "harp and voice with an eclectic instrument mix whipped into a melancholy lo-fi sound; an intricate balance of fluttering vocal folds and fingers on strings that blend effortlessly." Recently, Mikaela released the single, "Feels Like Forever," in support of her summer touring and will be returning to the studio this fall to work on a new EP with Brian Moore.
"I'll just close my eyes/Live in my dream" "Out of My Head"
The name Desert Noises—like many of the band's songs on their debut full-length 27 Ways—came out of a dream that popped into front-man Kyle Henderson's head while sleeping. "I just woke up and wrote it down on a piece of paper," says the 24-year-old, who used it for the band he'd first formed with his brother and a friend in the Provo/Orem, Utah, area, after leaving his promising job as a
business analyst for a multi-million-dollar skin care company, and a wife, behind.
Joined by fellow twenty-something cohorts in bassist Tyler Osmond (yes, those Osmonds), guitar-shredder Patrick Boyer and drummer Brennan Allen, the foursome set out in a van three years ago and haven't stopped since. 27 Ways is being released on L.A-based indie label SQE Music.
Recorded in the magical Sonic Ranch Studios in El Paso, Texas, on the banks of the Rio Grande with producer Nick Jodoin [Black Rebel Motorcycle Club], the album turns those experiences into songs which detail 27 Ways of breaking away from Mormon family and friends to undergo their own mission —touring in a rock 'n' roll band.
"We've distanced ourselves from the religion," explains Henderson, "but not the people, nor the community. That's basically our families and everyone we know."
Ironically, considering the band's name, the album opens with the sound of waves crashing on the ocean, incorporating influences in beat-oriented soul and R&B as well as classic psychedelic rock (Led Zeppelin is a big touchstone), often in the same song. Check out the choppy rhythms in the opener, "Grandma Looks," which shares a name with Tyler's Tumblr blog, morphing into a lilting Grateful
Dead jam. There are also nods to Mumford & Sons-style folk in the marital strife of "Mice in the Kitchen," as well as acoustic delta blues in Boyer's slide guitar stylings on the album- (and often live set-) closing gospel plaint, "Dime in My Pocket." The album sports a pair of set-piece anthems in "Keys on the Table" and the wide-screen "Angels," with its telling lyric, "I feel the weight of the world
in change." Brendan Allen's tribal percussion plays a huge role in "Follow You Out," Osmond's undulating bass underlines the burning sexual desire of "Shiver," while Boyer's rumbling guitars and a big bottom characterize "Run Through the Woods." With its grinding, acid-rock feel, "Elephant's Bed" channels both the current (Aussie band Tame Impala) and the past (Neil Young's Buffalo Springfield
stint), with "What the World Made," a song about hitting rock-bottom, sporting a loping, country-rock vibe not that far removed from Tom Petty and the Heartbreakers.
Henderson, whose mom was a piano teacher, didn't pick up the guitar until he was a high school senior, but he soon made up for lost time, taking off from listening to Zeppelin, Modest Mouse and Bob Dylan to writing and playing his own songs.
"Older music is all we really listen to," says Henderson. "Those melodies are so simple, but profound, soulful and timeless. And that's what our music aspires to…to never get old."
Osmond, who had been performing with his famous family since the age of two, got his first bass at 12, explains that the songs for the new album were all written and road-tested live while the band was on tour.
"This is what we always wanted to do," Tyler explains. "Find four other dudes willing to work as hard as one another toward the same goal. That's rare in and of itself, especially when you have to sit in a van together 12 hours a day. But we're all brothers now."
"I don't know how we found each other," says Henderson of his fellow bandmates. "We knew each other from playing around the area, and then it kind of got out of control from there. We didn't really choose to be in this band. The band chose us."
Indeed, there's a sense of fate and destiny in Desert Noises that comes across in the band's commitment to keep the flame burning.
"We don't think too much about the future," says Henderson about the group's long-range goals. "You don't want to disappoint yourself by setting goals you can't achieve. I think it's better to just let it flow and take its course."
The constant roadwork, including high-visibility gigs at the Austin City Limits Festival and LouFest in St.Louis, have led the band to learn more about the outside world, and at the same time appreciate where they came from.
"It gave us great faith in humanity," says Tyler. "Growing up in Utah, everyone has the same mentality. Seeing how many good people there really are out there has been eye-opening. We sleep on the floors of fans we met that night."
At the same time, Henderson has learned to co-exist in his own world, returning to his wife, while still being able to follow those dreams that keep coming to him.
"Yeah, there are '27 Ways' to get out of town today," he jokes. "The hardest part is choosing one of them. There are so many things you can do to get out of bed in the morning…but there are times you just want to stay under the covers all day."
With the way Desert Noises' career is progressing, that doesn't seem to be an option.
"I'd like to be doing this until I'm in my 80s," laughs Tyler. "To my grave. We all see the potential. It's fun and it's good."
"I want to know what it's like/to light this thing on fire," sings Henderson in "Mice in the Kitchen."
Sure sounds like Desert Noises have done just that on 27 Ways.
Casey Black was born and raised in Nashville, where his father, Charlie Black, is an NSAI Hall of Fame songwriter and writer of many #1 country hits. Endowed there with a dark lyrical particularity, as well as a respect and knack for craft, Casey moved out to Los Angeles at 21, where he recorded two records, 'Vacations' and 'The Glass is Half,' both of which are available on iTunes, and include songs featured on such shows as Army Wives and Greek. Trisha Halloran (of Los Angeles' KCRW), who put Vacations in her top 10 Records of 2004 said of Casey that he restored her faith in the "art of damn fine songwriting." After seven years in Los Angeles Casey moved to New York to complete a degree in Creative Writing at Columbia University. Now an educated man, Casey Black is establishing himself in a rich musical scene in Brooklyn, and has released his third record, It Shapes Me As It Goes, to much acclaim. Michael Carr of Cork, Ireland's 96FM says that Casey is "one of the most engaging and intelligent songwriters to play live on The Green Room in years. His album 'It Shapes Me As It Goes' is one of our albums of 2011." And the video for the first single off that record, 'The Sarge, recently placed second in the Astoria/Long Island Film Festival. Casey's lyrics are direct and dark, and his music is melodious and conversational. He is widely recognized as the greatest songwriter in the world.
Michael Daves' Wax Lion
Michael was born in 1977 in the southern empire of Atlanta, Georgia. Soon after, he began to make loud noises, so his loving parents put music instruments in front of him. It was a good plan. He grew up in that grand tradition of staying up late & singing real loud. Although he's since moved north, the humid south remains in heart and sinus cavities.
Jus Post Bellum
Jus Post Bellum is an Indie-Folk band, based out of Brooklyn, New York. They play music influenced by blues, country and American Roots music. Many of their songs are inspired by events of the American Civil War and more broadly American History. They play frequently around New York City and Brooklyn and have toured nationally through the south and midwest. Jus Post Bellum at times fits squarely amidst the contemporary folk revival championed by the likes of The Fleet Foxes, The Lumineers or Mumford and Sons, with choruses that catch the ear and melodically moving verses. But their songs tend towards the complex, darker side of American songwriting with an intense focus on lyricism and content. Their shows are often markedly hushed affairs with audience members moved to silence during sparse, intimate ballads between the lead singers, only to be revived by classic, kneeslapping country twinged tunes about love, loss and all that falls between. Jus Post Bellum is Geoffrey Wilson on Vocals/Guitar, Hannah Jensen on vocals, Daniel Bieber on Bass, and Zach Dunham on Drums. Their sophomore album "Oh July" was released this past October to great reviews from fans and critics nationally.
Growing from the haunting landscapes and enchanting seas of surrounding islands, Siiga slowly emerged from the darkness of winter on the Isle of Skye.
Working alone in his home within the remote Scottish Hebrides of the north Atlantic, recording through the night in a cupboard full of old coats, Richard Macintyre’s captivating, atmospheric song-writing, delicate artwork and transcendental videos burst Siiga to life.
From the painstakingly handmade, ethereal silhouette animation “Hollow Bones,” through “Fall Apart,” created from dreamy home-made reels of sailing trips set amongst layers of weaving porpoises, to the airy and enchanting “John’s A Ghost,” Macintyre’s emotive world of Siiga comes alive through the ten songs that compose The Sea and the Mirror.
Heralded by Scotland’s radio and blogging community as “…Under the skin beauty,” … “Stunning in it’s emotion,” … “Has me feeling breathless,” … and “Spellbinding,” The Sea and the Mirror is a celestial experience, carrying listeners to those same shores that bore it and beyond.
$11.00 - $15.00
Rockwood Music Hall Stage 2
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