Quilt – Tickets – Glasslands Gallery – Brooklyn, NY – November 9th, 2011

Quilt

Event Off Sale: Tickets no longer available

Quilt

Total Slacker, Lilac, DIIV (formerly DIVE) - Album Release Party! (SOLD OUT!), Royal Baths

Wed, November 9, 2011

Doors: 8:30 pm / Show: 8:30 pm

Glasslands Gallery

Brooklyn, NY

$10.00

Off Sale

This event is 21 and over

Quilt
Quilt
When the three members of Quilt arrived in New York City in April to begin the intensive recording process for their second album, the new and aptly named Held in Splendor, they stepped directly into spring. Anna Fox Rochinski, Shane Butler and John Andrews had spent much of the previous several months clutched away at “The Puritan Garage” in Boston’s Charlestown, shielding themselves from a winter of blizzards with the haven of their practice space and a set of fresh songs.

Since the release of their 2011 self-titled debut on Mexican Summer, they’d become more than kids just out of college. They’d become a bona fide hard-touring band, with stories to share from the road and experiences to distill into the narrative of new music. Though they continued to write and arrange tunes together, always an essential part of Quilt’s creative process, they brought songs to one another, too, making and modifying demo tapes for the first time. No longer rookies, Quilt began to approach their music like a lifeline. Coming to New York, then, just as the magnolia trees bloomed and the season of new life began to blossom, Quilt got to work.

“That was,” says Rochinski, “a magical time to be making a record.”

Indeed, when Butler talks about recording the kaleidoscopic Held in Splendor, he seems to speak of an ornate children’s playground. Whereas their first album was made mostly for free and mostly by friends over the course of a year of starts and stops, in sessions that captured the early and elemental and exciting efforts of a band finding its footing, Quilt entered the proper in-house studio located beneath the Mexican Summer offices in Brooklyn for this one. They’d allocated a solid month for recording, and they clocked full days, every day, with Woods member and producer Jarvis Taveniere.

The approach was wide-open: They tuned drums and recorded the same song with multiple microphone set-ups. They added bass and invited friends who added saxophone and violin, cello and steel guitar. They built this album together.

“We would go in for 10 hours a day, six days a week, and we just made sounds and jokes for the entire time. It was an incredible way to make a record,” Butler says. “We were able to flesh out the songs in crazy ways we’d never imagined: There are all these loop-based drones beneath the songs, and we used more pedals than we’d ever used before.”

Held in Splendor is is an audacious pop-rock record with cascading harmonies and billowing textures, punchy rhythms and snarled guitars, wonderful depth and resplendent peaks. “Mary Mountain” takes hazy Summer of Love memories on a mid-summer road trip in a gleaming muscle car. “Tired & Buttered” invites Booker T over for an energy-addled jam in the garage. “The Hollow” twinkles like Fleetwood Mac and Galaxie 500, with sweet singing backed by the lap steel sighs of young acoustic guitar star and longtime Quilt pal Daniel Bachman. Held in Splendor is an album of personal poetry and public questions, confessions and aspirations—really, these 13 tracks are their own playground, brimming with the sort of unapologetic energy and wonder that turns simple songs into absolute anthems.

“We’re really attracted to records where each song has its own voice. We wanted to focus on what each song had to say,” Butler explains. “Having the studio, demoing the songs and knowing each other better as musicians helped make that happen. That was a really exciting process for us.”
Total Slacker
Total Slacker has a thing for Olive Garden. It's not just a passing interest or something, next time you talk to Tucker Rountree, their towheaded, lanky frontman, ask him about never-ending pasta bowls and Zuppa Toscana and unlimited breadsticks. He'll tell you about his ongoing attempt to throw a rock 'n' roll show at a Queens Olive Garden, which culminated in a series of phonecalls made to corporate centers, demanding answers to questions like: Do you understand the sociological effect that Olive Garden has had on Western culture since the 80s? What are the conceptual underpinnings behind breadsticks?

Beyond casual American dining, Total Slacker has a thing for the 90s. But rest assured, their new record Slip Away, which comes out 02.11.14 on Black Bell Records, isn't the sort of hack revivalism that'll make you want to burn your copy of Bleach. For the album, Total Slacker dug deep into the crates, and came up with something that sounds like Hum and Skywave a bunch of other bands that'll draw blank stares from nu-gaze numbnuts. Most importantly, they retain their original ethos—to blur the lines between the genuine and the satirical, the earnest and the sarcastic... the shrimp and the scampi.

The band was incubated in New York City, after Tucker met bassist Emily Oppenheimer at a local Laundromat. The pair considered being in a band as an end goal in itself, and began their career without much direction or professionalism. The group released their lo-fi debut, Thrashin', on Marshall Teller Records in 2011, earning a reputation as a vicious live act by playing more than 350 shows—which often feature flaming guitars, smoke machines, and smashed instruments—in under three years. In the wake of the album's local success, the band was struck with tragedy following the death of their drummer, Terence Connor, who was struck by a hit-and-run in early October of 2012. They went into the studio within two months, laying down tracks that dealt with that confusion, transposing vague childhood angst into tangible, real-world issues.

Throughout the album's 11 tracks, the quartet (rounded out by guitarist David Anthony Tassy and drummer Zoë Brecher) makes a potentially futile stab at a life lived in harmony with gargantuan multinational corporations. But don't worry - recorded with care by Daniel Schlett (DIIV, the Men) at Strange Weather Studios in Brooklyn, Slip Away also features songs centered around the Kennedy assassination, ThighMasters, and fighting your babysitter's boyfriend.
Lilac
Lilac
LILAC is the lovechild of Will Ivy and Kirsten Knick.

Will and Kirsten met as a result of fate. They were drawn to each other in a love-at-first-sight fashion, became lovers, and started living together.

Will Ivy, young and relentless, already had a relentless presence in the thriving San Francisco music scene for years playing in BRIDEZ, Honey, Hunx and his Punx, and Girls. Kirsten Knick had been a model and stylist, but always had a passion for music. She found her path to pursue it in Ivy.

Dreamed out on alcohol and vicodin, Ivy & Knick began experimenting with keyboards and writing songs. Knick had a beautiful voice that she was completely unaware of, and they shared the same visions. Immediately it worked, and with the same instancy and passion that Will and Kirsten had themselves combined, LILAC was born. The excitement and chemistry was immediate and they decided that night to pursue LILAC as a reality and a band. Guitarist and close friend Chrys Nodal and drummer Jesse Short were later added to the line-up.

LILAC finds its influence primarily in the 1990’s, which they consider the last great movement in psychedelic pop, and also from such bands as Primal Scream, Echo and the Bunnymen, Stone Roses, The Vaselines, Love and Rockets, The Fall, My Bloody Valentine, and Velvet Underground.

LILAC is a pop religion for non-believers. A heavy driving acid grunge dream LILAC’s music, similar to Nirvana in spirit and intent, aspires to represent a subculture. A subculture comprised of the passionate, unusual, angsty, romantic, poor, queer, long-haired, starry-eyed, depressed, downtrodden, dirty, loud, funny, ugly, beautiful, and bright. They want the true singers and dreamers of the dream to take back culture and make it shine again. Their songs are a reach for the eternal, acts of passion in the face of death. It is about love but mostly sexual and even more, about heartbreak. It’s a flower and it is a drug.

Accomplished Bay Area producer Patrick Brown of Different Fur Studios fell in love with LILAC after seeing them live for the first time. He invited them to record this self-titled 5 song EP at Different Fur Studios.

“Take risks. Get high. Make Love. Write Songs. Live Forever.” –LILAC
DIIV (formerly DIVE) - Album Release Party! (SOLD OUT!)
DIIV (formerly DIVE) - Album Release Party! (SOLD OUT!)
DIIV is the nom-de-plume of Z. Cole Smith, musical provocateur and front-man of an atmospheric and autumnally-charged new Brooklyn four-piece.

Recently inked to the uber-reliable Captured Tracks imprint, DIIV created instant vibrations in the blog-world with their impressionistic debut Sometime; finding it’s way onto the esteemed pages of Pitchfork and Altered Zones a mere matter of weeks after the group’s formation.

Enlisting the aid of NYC indie-scene-luminary, Devin Ruben Perez, former Smith Westerns drummer Colby Hewitt, and Mr. Smith’s childhood friend Andrew Bailey, DIVE craft a sound that is at once familial and frost-bitten. Indebted to classic kraut, dreamy Creation-records psychedelia, and the primitive-crunch of late-80’s Seattle, the band walk a divisive yet perfectly fused patch of classic-underground influence.

One part THC and two parts MDMA; the first offering from DIIV chemically fuses the reminiscent with the half-remembered building a musical world out of old-air and new breeze. These are songs that remind us of love in all it’s earthly perfections and perversions.

A lot of DIIV's magnetism was birthed in the process Mr. Smith went through to discover these initial compositions. After returning from a US tour with Beach Fossils, Cole made a bold creative choice, settling into the window-facing corner of a painter’s studio in Bushwick, sans running water, holing up to craft his music.

In this AC-less wooden room, throughout the thick of the summer, Cole surrounded himself with cassettes and LP’s, the likes of Lucinda Williams, Arthur Russell, Faust, Nirvana, and Jandek; writings of N. Scott Momaday, James Welsh, Hart Crane, Marianne Moore, and James Baldwin; and dreams of aliens, affection, spirits, and the distant natural world (as he imagined it from his window facing the Morgan L train).

The resulting music is as cavernous as it is enveloping, asking you to get lost in it’s tangles in an era that demands your attention be focused into 140 characters.

“Sometime” hit stores on October 11th with a second single to follow November 29, culminating in an early March EP release.
Royal Baths
Royal Baths
If the Velvet Underground were to take a dark depressing trip down a rabbit hole, then they might end up sounding like Royal Baths. However, Royal Baths have risen from said hole and bring with it an aggressive edge that keeps their tunes from being anything but melancholy. Their recent offering, Litanies, came out on the New York Label Woodsist late last year and has been generating headlines. A lengthy listen is recommended, as it is one of those rare gems that stand heavily on not one song, nor two, but the complete set.

CHAD MITCHELL
Venue Information:
Glasslands Gallery
289 Kent Avenue
Brooklyn, NY, 11249
http://www.theglasslands.com/