Parquet Courts, Purling Hiss, La Big Vic, Future Shuttle
Event on 2013-02-02 20:00:00
Little was said about Parquet Courts debut effort, American Specialties. Released exclusively on cassette tape, the quasi-album was an odd collection of 4 track recordings that left those who were paying attention wanting more. A year of woodshedding live sets passed before the Courts committed another song to tape. The band's first proper LP, Light Up Gold, is a dynamic and diverse foray into the back alleys of the American DIY underground. Bright guitars swirl serpentine over looping, groovy post-punk bass lines and drums that border on robotic precision. While the initial rawness of the band's early output remains, the songwriting has gracefully evolved. Primary wordsmiths A. Savage and Austin Brown combine for a dynamic lyrical experience, one part an erudite overflow of ideas, the other an exercise in laid-back observation. Lyrically dense, the poetry is in how it flows along with the melody, often times as locked-in as the rhythm section. "This record is for the over-socialized victims of the 1990's 'you can be anything you want', Nickelodeon-induced lethargy that ran away from home not out of any wide-eyed big city daydream, but just out of a subconscious return to America's scandalous origin," writes Savage in the album's scratched-out liner notes. Recorded over a few days in an ice-box practice space, Light Up Gold is equally indebted to Krautrock, The Fall, and a slew of contemporaries like Tyvek and Eddy Current Suppression Ring. Though made up of Texan transplants, Parquet Courts are a New York band. Throw out the countless shallow Brooklyn bands of the blase 2000's: Light Up Gold is a conscious effort to draw from the rich culture of the city – the bands like Sonic Youth, Bob Dylan, and the Velvet Underground that are not from New York, but of it. A panoramic landscape of dilapidated corner-stores and crowded apartments is superimposed over bare-bones Americana, leaving little room for romance or sentiment. It's punk, it's American, it's New York … it's the color of something you were looking for.
Purling Hiss' Mike Polizze has put in much time in the fried Philly blooze overdrive of the group Birds Of Maya, but in his own vehicle he's expanded his grotty guitar wailing further into the cosmos, still shredding speakers aplenty. Revealing themselves as not only purveyors of Rallizes Denudes/Vermonster-style guitar jams, Purling Hiss also embrace a serious 90's grunge/pop ethic not too far removed from bits of Bleach-era Nirvana. They were hand-picked by Jeff Tweedy to play Wilco's Solid Sound Festival at MASS MoCA last June. The trio recently wrapped up national tours with The War on Drugs and Dr Dog. Latest EP Lounge Lizards is out now on Mexican Summer, planning to release their new full-length this fall.
La Big Vic
Actually from Brooklyn's La Big Vic. LBV's lead guitarist, Toshio Masuda, performed in a major label J-Pop boy band in his youth in Japan. He produced hip hop songs, commercials, and soundtracks before coming to America to become an inspirational R&B musician. Peter Pearson, the group's synthesist, is an apprentice to Pink Floyd's live sound producer Jeff Blenkinsopp at Expert Audio Repairs & Servicing (EARS) Inc. One of Jeff's last interns was Gavin Russom. La Big Vic's lead singer and violinist is Emilie Friedland, founder of Visitation Rites. She inspired us to start chatting with people about music. La Big Vic is a kosmische, trip-hop, genre buster. Actually is hook rich, atmospheric, and full of lurking positivity.
If Future Shuttle was what we were actually broadcasting into space, our galactic neighbors would either cower in fear or zone out into a hallucinogenic haze. The quartet distills sounds into pure droney resonances, at times punctuated with sparse quasi-rhythms.
at Baby Castles
Brooklyn, United States