4 Artists 1 Cause: A Benefit Concert for Sandy Relief Efforts with Sleigh Bells, Grizzly Bear, The Antlers, Cults
Fri, December 14, 2012
Doors: 7:00 pm / Show: 8:00 pm
Terminal 5
New York, NY
$40
Sold Out
This event is all ages
All proceeds go to the Mayor's Fund to Advance New York City in support of hurricane relief efforts.
http://www.terminal5nyc.com/event/191891/
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Sleigh Bells
Based in Brooklyn, NY, Sleigh Bells is the musical collaboration of Derek E. Miller (songwriter, guitarist, producer) and Alexis Krauss (vocals). The two met and formed in 2008, when Miller was waiting tables on Alexis and her mother at a neighborhood Brazilian restaurant. When Miller mentioned that he was looking for a female vocalist for a new musical project, Krauss's mother immediately volunteered her daughter.
Sleigh Bells' unique sound is likely the result of Miller and Krauss's contrasting musical backgrounds; Miller was formerly the guitarist for the post-hardcore band Poison the Well and Krauss was a member of the teen pop group RubyBlue as a teenager. After steadily gaining popularity throughout 2009, Sleigh Bells signed to M.I.A.'s label N.E.E.T. in Spring 2010.
In 2010, Sleigh Bells released their debut full-length album entitled Treats. The album's immediate popularity and the band's reputation as an energetic live act have helped solidify the duo's widespread popularity. Amidst blown-out drum beats, fuzzed guitars and synth-pop sensibilities, Krauss balances each song with a voice that is both forceful and elegant. After playing Pitchfork's summer music festival, Sleigh Bells set out on their North American tour in July 2010.
Sleigh Bells' unique sound is likely the result of Miller and Krauss's contrasting musical backgrounds; Miller was formerly the guitarist for the post-hardcore band Poison the Well and Krauss was a member of the teen pop group RubyBlue as a teenager. After steadily gaining popularity throughout 2009, Sleigh Bells signed to M.I.A.'s label N.E.E.T. in Spring 2010.
In 2010, Sleigh Bells released their debut full-length album entitled Treats. The album's immediate popularity and the band's reputation as an energetic live act have helped solidify the duo's widespread popularity. Amidst blown-out drum beats, fuzzed guitars and synth-pop sensibilities, Krauss balances each song with a voice that is both forceful and elegant. After playing Pitchfork's summer music festival, Sleigh Bells set out on their North American tour in July 2010.
Grizzly Bear
Grizzly Bear will release their first album in three years on September 18th?via Warp Records. Recorded over the better part of a year, the album represents the band's most charged and concise collection of music to date and follows 2009's critical and commercial breakthrough, 'Veckatimest.' The album title and other details will be revealed soon. Hear a new track here
Grizzly Bear will also kick off an international tour September 16, including their biggest hometown show to date September 24 at Radio City Music Hall in NYC.
'Veckatimest' debuted at #8 on the Billboard 200 and #1 on the Billboard Indie chart in 2009, and was one of the year's most lauded releases. It ranked #1 on the NPR Listener's Poll and Top 10 on year-end lists in The New York Times, Time Magazine, Pitchfork, SPIN, The Village Voice's Pazz & Jop Poll, and many more. In March 2012, The Wall Street Journal's Jim Fusilli declared it "one of the best rock discs of this century so far."
Grizzly Bear will also kick off an international tour September 16, including their biggest hometown show to date September 24 at Radio City Music Hall in NYC.
'Veckatimest' debuted at #8 on the Billboard 200 and #1 on the Billboard Indie chart in 2009, and was one of the year's most lauded releases. It ranked #1 on the NPR Listener's Poll and Top 10 on year-end lists in The New York Times, Time Magazine, Pitchfork, SPIN, The Village Voice's Pazz & Jop Poll, and many more. In March 2012, The Wall Street Journal's Jim Fusilli declared it "one of the best rock discs of this century so far."
The Antlers
“It’s a record about moving forward,” says Peter Silberman. “Hospice was kind of all-encompassing for a while and Burst Apart feels like us moving on from it. Not to abandon it, but to keep it in its place and figure out what’s next.”
Recording began in September 2010 and then continued over a five-month span at the Brooklyn-based band’s studio in Bushwick. Rather than bring in an outside collaborator, singer/guitarist Peter Silberman, drummer Michael Lerner, and keyboardist/multi-instrumentalist Darby Cicci decided to pool their considerable skills and produce the record entirely on their own.
“We realized that we didn’t need an outside producer or engineer to sound the way we wanted — we could produce and engineer it ourselves”,” says Cicci. “We took a five-year lease on a studio and pretty much treated it like a job for five months. We went to the studio in the morning and worked every day for 8 or 12 hours, just piecing it together.”
Two years spent touring behind Hospice had left its mark on The Antlers. In addition to bonding the trio as friends and colleagues, all three had developed an increased interest in electronic music, what Silberman refers to as “music that keeps moving and is kind of entrancing and expansive at the same time. Headphone music, music that keeps you going while you’re driving for 20 hours.” The band’s goal was to draw upon those sounds while still employing classic songwriting structures, synthesizing ostensibly artificial qualities into an organic pop template to evoke a full panoply of feeling.
“A lot of electronic music prides itself on its anti-human quality,” says Cicci, “where it chooses to pull emotion out rather than add emotion in. In that way, this record is definitely way far from being an electronic record.”
To that end, The Antlers avoided excessive programming, instead endeavoring to capture the symbiotic sound of a band that simply happens to employ synthesizers and other electronic instrumentation.
“There wasn’t a lot of looping or things like that,” Cicci says. “It felt like we recorded it live. We know how to make the sounds immediately, without so much processing or effects layered on everything. We can pretty much pull the sounds out of the equipment we already use.”
Though Silberman had previously released two solo works under the moniker of The Antlers, 2009’s Hospice represented the full-length debut of the trio as it currently stands. An elaborate song cycle dealing with life, death, and all the in-between, the album earned rapturous praise while also striking a deep chord in a generation of listeners. But in crafting its follow-up, The Antlers were anxious to avoid being branded by their previous album’s mournful content.
“It began to feel like we were being pigeonholed as a ‘sad band,’” Silberman says, “but we’re not particularly sad people. We have a lot of different feelings about things. There’s a whole spectrum of emotion to explore and I think that’s what we were trying to do on this record.”
“We wanted to make an honest record that we all felt we were putting our real selves into,” Lerner says. “It doesn’t have to be pure sorrow or unadulterated joy. If you’re feeling something, then we’re doing something right.”
Where Hospice was marked by its fixed narrative structure, Burst Apart is decidedly more elliptical and less lyrically baroque, in part to allow Silberman’s plaintive vocals to coalesce as but another element of the overall aural picture. He describes the album as simply “a collection of songs,” noting that “even though they all belong together and they’re all related, there wasn’t a kind of unifying concept.” None of which is to say Burst Apart is without cohesive thematic content.
“I think, in a weird way, it’s a record about trying to understand happiness,” Silberman says. “It’s also about change – making different decisions in your life and trying to understand yourself better, understanding things like confidence and self-destructive qualities. I think growing up would be the blanket idea.”
“It’s like a journey,” Cicci says. “Of going back home and finding what’s real in the world. The arc of the record follows the idea that contentment is only temporary, a fleeting emotion that will eventually bring you back home to something real.”
Imbued with seductive guitars, taut rhythms, and hypnagogic melodies, Burst Apart is simultaneously introspective and animated. “Parentheses” is constructed upon clattering beats and vertiginous dub tension, highlighted by Silberman’s keening falsetto, while “Every Night My Teeth Are Falling Out” soars and swings, its joyous pop sensibility belying an undercurrent of Cronenbergian angst. In the end, the album arrives at a devastating and definitive crescendo with the stunning soul throwback, “Putting The Dog To Sleep.”
“I think that song really encapsulates what we were doing with this record,” Lerner says. “Soul music has a real purity, an honesty, a gut-wrenching quality.”
While The Antlers’ ardent passion for musical exploration resonates throughout the album, it expertly sustains a careful balance between the cerebral and the visceral. Epic in aspiration yet intimate at its core, Burst Apart is an astonishingly affective collection that offers an exhilarating glimpse into The Antlers’ incandescent heart.
“I think people will be sucked in,” Cicci says. “We want to draw people into the world of the record.”
“Our goal was a kind of hand-holding,” says Silberman. “To bring people with us as we navigate different waters of sound. To invite people into this world that we were working on as a group of three people enjoying what we were discovering about music and about songwriting and about making a record.”
Recording began in September 2010 and then continued over a five-month span at the Brooklyn-based band’s studio in Bushwick. Rather than bring in an outside collaborator, singer/guitarist Peter Silberman, drummer Michael Lerner, and keyboardist/multi-instrumentalist Darby Cicci decided to pool their considerable skills and produce the record entirely on their own.
“We realized that we didn’t need an outside producer or engineer to sound the way we wanted — we could produce and engineer it ourselves”,” says Cicci. “We took a five-year lease on a studio and pretty much treated it like a job for five months. We went to the studio in the morning and worked every day for 8 or 12 hours, just piecing it together.”
Two years spent touring behind Hospice had left its mark on The Antlers. In addition to bonding the trio as friends and colleagues, all three had developed an increased interest in electronic music, what Silberman refers to as “music that keeps moving and is kind of entrancing and expansive at the same time. Headphone music, music that keeps you going while you’re driving for 20 hours.” The band’s goal was to draw upon those sounds while still employing classic songwriting structures, synthesizing ostensibly artificial qualities into an organic pop template to evoke a full panoply of feeling.
“A lot of electronic music prides itself on its anti-human quality,” says Cicci, “where it chooses to pull emotion out rather than add emotion in. In that way, this record is definitely way far from being an electronic record.”
To that end, The Antlers avoided excessive programming, instead endeavoring to capture the symbiotic sound of a band that simply happens to employ synthesizers and other electronic instrumentation.
“There wasn’t a lot of looping or things like that,” Cicci says. “It felt like we recorded it live. We know how to make the sounds immediately, without so much processing or effects layered on everything. We can pretty much pull the sounds out of the equipment we already use.”
Though Silberman had previously released two solo works under the moniker of The Antlers, 2009’s Hospice represented the full-length debut of the trio as it currently stands. An elaborate song cycle dealing with life, death, and all the in-between, the album earned rapturous praise while also striking a deep chord in a generation of listeners. But in crafting its follow-up, The Antlers were anxious to avoid being branded by their previous album’s mournful content.
“It began to feel like we were being pigeonholed as a ‘sad band,’” Silberman says, “but we’re not particularly sad people. We have a lot of different feelings about things. There’s a whole spectrum of emotion to explore and I think that’s what we were trying to do on this record.”
“We wanted to make an honest record that we all felt we were putting our real selves into,” Lerner says. “It doesn’t have to be pure sorrow or unadulterated joy. If you’re feeling something, then we’re doing something right.”
Where Hospice was marked by its fixed narrative structure, Burst Apart is decidedly more elliptical and less lyrically baroque, in part to allow Silberman’s plaintive vocals to coalesce as but another element of the overall aural picture. He describes the album as simply “a collection of songs,” noting that “even though they all belong together and they’re all related, there wasn’t a kind of unifying concept.” None of which is to say Burst Apart is without cohesive thematic content.
“I think, in a weird way, it’s a record about trying to understand happiness,” Silberman says. “It’s also about change – making different decisions in your life and trying to understand yourself better, understanding things like confidence and self-destructive qualities. I think growing up would be the blanket idea.”
“It’s like a journey,” Cicci says. “Of going back home and finding what’s real in the world. The arc of the record follows the idea that contentment is only temporary, a fleeting emotion that will eventually bring you back home to something real.”
Imbued with seductive guitars, taut rhythms, and hypnagogic melodies, Burst Apart is simultaneously introspective and animated. “Parentheses” is constructed upon clattering beats and vertiginous dub tension, highlighted by Silberman’s keening falsetto, while “Every Night My Teeth Are Falling Out” soars and swings, its joyous pop sensibility belying an undercurrent of Cronenbergian angst. In the end, the album arrives at a devastating and definitive crescendo with the stunning soul throwback, “Putting The Dog To Sleep.”
“I think that song really encapsulates what we were doing with this record,” Lerner says. “Soul music has a real purity, an honesty, a gut-wrenching quality.”
While The Antlers’ ardent passion for musical exploration resonates throughout the album, it expertly sustains a careful balance between the cerebral and the visceral. Epic in aspiration yet intimate at its core, Burst Apart is an astonishingly affective collection that offers an exhilarating glimpse into The Antlers’ incandescent heart.
“I think people will be sucked in,” Cicci says. “We want to draw people into the world of the record.”
“Our goal was a kind of hand-holding,” says Silberman. “To bring people with us as we navigate different waters of sound. To invite people into this world that we were working on as a group of three people enjoying what we were discovering about music and about songwriting and about making a record.”
Cults
Cults is an indie pop duo from New York City, best known for their first single, “Go Outside,” which was named Best New Music by Pitchfork. According to Pitchfork, “‘Go Outside’ has the innocent and balmy feel that brings to mind Swedish indie pop, with a tinkling glockenspiel cutting through humidity, an appealingly lazy bassline and joyous sing-along vocals.” Released as a limited-edition 7" on bright yellow vinyl, the single (b/w "Most Wanted") sold out at the pre-order stage.
