Hi Tide Presents ~+ Babes All Rock 2017

Combo Chimbita

Rooted in Colombia and based in New York, Combo Chimbita lives in the future. After playing together for years, these first-generation New Yorkers—powerhouse vocalist Carolina Oliveros, synth and bassist Prince of Queens, guitarist Niño Lento, and drummer Dilemastronauta—began experimenting with different traditional musical styles during their late night residencies at Barbès in Brooklyn. Exploring the connections between visual identity and improvisational long-form trips, Combo Chimbita came together as a four-piece band after they started encouraging more vocals by Carolina Oliveros, who tightens the rhythm with her guacharaca. “Her voice is so powerful that it leads us in that direction,” says Prince of Queens. Their thunderous first EP, El Corredor del Jaguar, was released in October 2016 on Names You Can Trust and recorded in Combo Chimbita’s DIY studio, El Bunker.

Inspired by Sun Ra’s Afrofuturism, Combo Chimbita champions Tropical Futurism, “the idea that the future doesn’t necessarily have to be this super white Western high-tech Star Wars stuff; that the indigenous ideas and culture of people of color, people of Latin America, can also represent a magical and substantial future. It’s a vision that maybe a lot of people don’t necessarily think about often. The old and deep knowledge that indigenous people have of the land has been neglected for many years as part of capitalism and colonization.”

On the first day of summer, June 21, 2017, Figure & Ground releases Abya Yala, a full-length sonic journey through Tropical Futurism comprised of eight original tracks by Combo Chimbita. Produced by Lily Wen, the band recorded the album live in the same room downstairs at Shahzad Ismaily’s new studio in Brooklyn. Limited to 500 vinyl copies, the 12-inch LP release features a hand-drawn insert with the Abya Yala story and a download card. It is available for pre-order at fgrecords.com.

PRIMA is a Brooklyn-based rock project. Drawing from post-punk, post-hardcore, and experimental noise rock, PRIMA's sound is a mixture of driving rhythm and vivid guitar angularity. Their songs are dynamic, building dramatic landscapes that support singer Rose Blanshei's earnest lyrics, which strike with emotional accuracy and passion. They are intuitive, visceral, confrontational, and not without a (dark) sense of humor.

Marisa Cerio
Chris Matheson
Peter Smith

As with a lot of great bands, when you really listen to Big Quiet, you understand the depth of its
attendant members’ music fanship. These three know their source material, whether it’s Athens, GA in
1982, Scotland in 1988, or New York right now. The Brooklyn trio's knowledge of jangle rock and
post-punk history is real, and they’ll talk your ear off about it if you ever ask. But what Big Quiet plays
isn’t just some kind of stoic record-collector rock. In a live setting, you’re struck by their sheer viscerality
and volume. Marisa Cerio’s Rickenbacker can scorch faces, dousing her rapid-fire strumming in treble
and reverb. She belts out a song so emphatically; you’d think she’s trying to sing to the next room over.
Chris Matheson’s steady, propulsive bass erupts in a gnarl at just the moments. Stephen Perry’s drum
beats are all manic, percolating, tom-thumping bounce. You don’t take bathroom breaks during Big
Quiet’s set. They’ll be onto the next song and the next idea before you get back.
Big Quiet’s debut, self titled full-length takes the melodic, post-punk power-trio impact of the band’s live
set and expands into a rewarding “headphone experience.” Aided by legendary producer Mitch Easter
(R.E.M., Let’s Active, Pavement, Ex Hex, The dBs) the band folded into the record some subtle but
compelling flourishes, extra layers of vocal and instrumental melody and harmony. In the context of the
record, Big Quiet’s pop chops are clear — the sound is ever so slightly sweetened

$20.00 - $25.00

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