Tag: CMJ 2013

Photo Set: AF X CMJ @ Spike Hill

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Photos by Kate Branom for AudioFemme.

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LIVE REVIEW: Julia Easterlin @ Rockwood

JuliaE2There is this beyond pleasant girl walking in with a harp twice her size, resting on her back. I notice a harmonious, peaceful aura surrounding her as she effortlessly sets up her at Rockwood Music Hall’s Stage 1. This is Georgia’s finest peach–Julia Easterlin, far from an immigrant to the New York scene. She has a bona fide fan base. Brooklyn loves her. YouTube loves her. Ironically, beforehand I noticed her manager was briefly stressed, anxious she might not make her CMJ slot. Followed by a relieving “She’s here!” tranquility is restored. Her music isn’t noisy or boisterous but she keeps you on your toes. Opening with her matchless, “Vestiges,” instant marvel is flowing through the room. She snaps her fingers, and makes little rings and echos with her throat then loops to create a stupendous sound. No one is pushing through the crowd to get a drink at the bar and even the cocktail waitress is having trouble braiding between guests. Everyone’s eyes are solely on Julia. She proceeds by giving Black Francis a run for his money with an electrifying “Hold My Bones” cover. Again, she uses her unique vocal loops to create her own musical anatomy. The party’s admired “Whiskey Song” and “Eyes On the Prize” follow. No matter how intimate her performance was, there was an explosive tension of people just wanting to capture a piece of Julia. Not an isolated soul was sipping on a straw, rather we were vibrating with her and her loop station. If you missed her CMJ performance, please don’t torment yourself or helplessly watch her videos on repeat. Julia Easterlin is bunking for the fall and will be around for three more performances including Brooklyn’s psychotropic finest, The Glasslands Gallery.

Listen to Julia Easterlin’s “Unison”, here via Soundcloud:
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LIVE REVIEW: Belle Mare @ Rockwood Music Hall

Belle Mare“We can wait for love”, but we can’t wait for Belle Mare. Rockwood Music Hall’s three-stage architecture makes it beyond strenuous to commit to a single artist/band. Upon hearing her debut to CMJ, yearning to see this London beaut is an understatement. To find a classic sound, not too dry or drawn-out, is a difficult find. However, Amelia Bushell does it right, along with her four band members and fellow song-writer, Thomas Servidone. Right here in our garden of Brooklyn, the fans are sprouting by the minute; and I can see why. Bushell is something special, with a shadowy but far from faint voice.
At first the room is half empty, but as she picks up her tambourine, like a trigger, bodies are padding up the room. Her vintage sound is beyond awe. Surprise, surprise! She plays for us a new song. Is Belle Mare coming out with a new EP just in time for the holidays? Their tour dates in Brooklyn in the spring give me some optimism. Since last year’s debut The Boat of the Fragile Mind, the duo have taken that sail into the realm of open mics and now venues and shows. Her presence suggested a bit of shyness, looking mostly into the mic and her guitar picking. Like their own “Charade,” as her voice kindles the room-trust me- you are going to see this wondrous daydreaming pop pair more often.

Listen to Belle Mare’s “All This Time” Here, via Soundcloud:

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LIVE REVIEW: Balcony TV + Time Out New York showcase @ The Studio at Webster Hall

The first day of the CMJ Music Marathon serves as a kicking-off of a week packed with artists from all over the world, brought together to one city to do what they love. This excitement and nervousness was palpable at the Balcony TV + Time Out New York showcase Tuesday, which featured several up-and-coming artists. Each brought a different style with them that filled the small studio tucked underneath Webster Hall.

 

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The Ugly Club
The Ugly Club

The Ugly Club, despite the self-deprecating name, brought an awesome, punchy pop to the stage.  Hailing from New Jersey, the band has already reached some level of acclaim in its two-year existence. Paste Magazine, Filter Magazine and MTV have all taken note of this rising talent. It’s easy to see why: the guys perform a cool set and clearly love being onstage. Their songs are upbeat and infectious, and they possess the looks that will likely catapult them.

 

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Seasick Mama
Seasick Mama

Next up, Seasick Mama took the small stage to perform an interesting set. Singer Marial Maher showcased her killer voice and catchy songs, including “Man Overboard.” What was off-putting, however, was the performance itself. Maher sauntered around the stage, wriggling her body around, widening her eyes and at one point humping the microphone stand. Although her voice and the music itself were impressive, the stage performance that accompanied was too much and took away from the music. Listening to the band’s tracks without the mental images of the live performance produces much better results. Maher emerged on the stage with hair pulled into 10 or so separate braids throughout her head, which gave off the impression that she was looking to evoke a reaction from the crowd. At one point, she asked, “Are you scared yet?” likely referring to her behavior. She defines herself as an artist who is unrefined who cannot be contained, but this message seems to take away from her actual musical talent, which is a shame.

 

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Stone Cold Fox
Stone Cold Fox

Stone Cold Fox showed up for a short but sweet set of their indie-rocker tracks. Only a year old, the New York-based band is sure to gain some traction in the next several years due to their catchy melodies and relatable lyrics. Songs such as “American” and “Pictures” feature vocalist Kevin Olken’s wonderful crooning and are destined to be hits. “Pictures” is reminiscent of Young the Giant’s hit “Apartment,” and will likely be as well received. The band also plays well together onstage, making them an unstoppable force. Although they’ve released only one EP — The Young — expect to see more of these rockers.

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LIVE REVIEW: French Horn Rebellion @ Cameo Gallery

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French Horn Rebellion at Cameo Gallery
French Horn Rebellion at Cameo Gallery

It’s rare for an electro-pop band to sound better live than they do on their recordings, but such was the case for French Horn Rebellion’s packed performance on Saturday night for the Wild Honey Pie’s CMJ showcase at Cameo Gallery. The night started out with an actual, smooth french horn solo from one half of the band’s founding duo, Robert Perlick-Molinari, and from there it picked up into an all-out dance party.

The french horn made several appearances throughout the night, which added an unexpected element when paired with keyboardist David Perlick-Molinari’s synthy beats. Early on in the show, the two leading brothers dueled over which was the “better” instrument—keyboard or the french horn—but by the end of the night, it was clear that both were inextricably essential for band’s sound.

Joining the Rebellion on stage was the exuberant Ellie Liu, who sang lead on the spunky “Girls” and spiked some energy into the show with every swing of her bubble gum pink ponytail. The band also welcomed NYC pop duo Ghost Beach to the stage to perform their recent collaboration, “Caaalifornia,” a super sunny and funky number, as well as Brooklyn duo Savoir Adore for an ’80s-tinged rendition of their single, “Dreamers.” The guests made for a wholly dynamic set and were undoubtedly a highlight of the show.

Another high point of the performance was the band’s cover of The Human League’s 1981 hit “Don’t You Want Me,” which got the entire crowd singing along. And for the set closer, Ghost Beach and Savoir Adore reappeared to help on a lyrically stripped-down but raucous version of the hit “Love is Dangerous” in which the only line sung was, of course, “love is dangerous.” Everyone was invited to belt the words out in unison and the crowd happily complied, wrapping up the show on a high note.

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LIVE REVIEW: Cults @ Brooklyn Bowl

 

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Cults
Cults

If someone had predicted Madeline Follin and Brian Oblivion of Cults were a one-hit-wonder, or perhaps a one-album-wonder, then the pair’s second album disproves this prediction. Cults is back, and I have to say they’re even better than before. The sophomore album, Static, released Oct. 15, continues the hard-rocking, synth-and-guitar-heavy ballads featured on the New York based band’s debut album, but kicked up a notch.

Following their album release earlier that day, the band took to Brooklyn Bowl for the Conflict of Interest showcase. There, they debuted many of their new songs for the first time live. Many times when a band first debuts new songs, the focus of the crowd is on only the old songs, to which they can sing along. Despite the newness of the album, however, the crowd was eager to hear new songs along with the old. And Follin and Oblivion delivered, giving attendees a high-power performance of a good chunk of their discography, complete with hits from their debut album such as “Go Outside,” “You Know What I Mean” and “Abducted,” mixed with new hits like “I Can Hardly Make You Mine,” “High Road,” “Always Forever” and “Were Before.”

Keeping with the theme of the new album’s title, Static, TV static was projected onto a huge, white ball floating behind the band, as well as the band itself. This image paired nicely with the feel of Static — not that the songs or performance were shaky in any way, but that there was an air of dreamy melancholy or the feeling of getting lost in the static of a TV.

The songs themselves do not require an extravagant performance, but are rather driven by the passion behind them — something that is evident in the band’s approach. They don’t need to run around the stage or do anything crazy, their music is enough to keep everyone happy.

Listen to “High Road”, off Static, Here:

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Follin
Follin
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LIVE REVIEW: Eternal Summers @ Cameo Gallery

 

Eternal SummersIt can be nearly impossible for a three-piece band to put on a good show in a sparsely populated room, but Eternal Summers beat the odds with their short set for Carpark/Mexican Summer/Kanine Records’ CMJ showcase this past Wednesday. The headcount may have been low in Cameo’s back room that night, but the self-described “power trio” permeated and filled the space with their shoegaze-y pop.

The set list relied primarily on material from their third and most recent album, Correct Behavior, but the songs take on a new persona when played live—they feel much more substantial. Nicole Yun carried the show with her ardent falsetto and super distorted guitar, which, at some moments, became indistinguishable from one another. Noise levels were so high that the band began sounding much like My Bloody Valentine might if they were on an intense sugar high. “You Kill” and “Wonder” were standouts, with Yun’s vocals sounding particularly on point and drummer Daniel Cundiff and bassist Johnathan Woods rocking out with equal finesse. The upbeat and poppier “I Love You” closed the set with a frenzied energy and left audience members in high spirits.

The Virginia natives only played from 11pm to about 11:30pm but they were a highlight in a showcase that also included Bleeding Rainbow, Quilt, Mood Rings, Happy Jawbone and TEEN.

AF X CMJ 2013 ARTIST PROFILE: Kings

To get you as pumped as we are for our CMJ 2013 showcases, we’re introducing each band to you by asking them five unique questions. Kings is playing Sidewalk Cafe, 94 Ave. A in Manhattan on Wednesday, October 16th at 10PM.  You can RSVP on facebook or DoNYC.

kingskingskings

Kings are a three-piece country band composed of Brooklynites Emily Bielagus, Steph Bishop, and Robert Maril. Together, their exquisite harmonies, pedal steel and bright banjo weave together stories along the lines of traditional country, bluegrass, and folk, but the band has a deeper agenda, too. As activists in the queer community, they’ve made their music a reflection of that identity, composing narratives around the LGBQT experience.

AF: You describe Kings as queercore alt-county and perform with a very powerful mission in mind – in your own words, “to open up a space for queer people inside traditional country music”. What’s been the most difficult part of fulfilling that mission, and what’s been your most triumphant moment?

KINGS: We know that we’ll never be on Top-40 Country Radio, and that’s OK with us. Really, our goal is to reach some queer kid living in Bumblefuck, Oklahoma/New Hampshire/Poughkeepsie who loves country music, but is currently stuck listening to mainstream heteronormative bullshit music about drinking beers out of red solo cups and riding dirtbikes. Don’t get us wrong, those things are fun, but we want that kid to know that they can enjoy country music AND still feel queer pride. It’s been hard to accomplish that yet because we’re still so unknown outside the Brooklyn music scene. But hopefully not for long?? One of our best moments so far was when a music writer mentioned Chely Wright in one of our music reviews. We were like, “Yes, EXACTLY.” That’s exactly the movement we’re championing.

AF: Though Kings’ music evokes the sensibilities of the Western plains and other wide-open rural spaces, you’re based in Brooklyn. Is it ever difficult to cultivate and maintain a country sound in such a huge, urban city?

KINGS: Nice Dixie Chicks reference! [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][Eds. Note: It actually wasn’t, but having grown up on country music I guess it seeped in to me a bit, too.] No, it’s been easy. It’s the kind of music we all listen to on the regular, and it’s a timeless sound. Americana/Folk/Country music is having its trendy moment these days (it’s also maybe a part of this somewhat insufferable trend – the Brooklyn handmade knit-bomb moustache homebrew ball jar suspenders thing) but I’m glad people are into it. The three of us grew up in rural places, and it’s the music that’s just a part of who we are. It’s almost like we cling to it and create it because we live here – we maintain this sound for our big-city survival.

AF: How do you collaborate when writing songs? We’re dying to know how you develop those breath-taking harmonies!

KINGS: We generally come in to rehearsal with a few songs already written, or a few song “nuggets” that we flesh out together. The songs that stick around are the songs that lend themselves to our 3-part harmony and, honestly? That harmony just kind of happens. It’s sort of magical, and it’s how we first realized we were on to something when we first got together. We sang a couple lines of harmony and we were like “oh shit! That sounds good.”

AF: You just finished recording your gorgeous debut EP, Bones. Do you like recording or playing live shows better?

KINGS: Yikes – that’s like a choice between the best and the other best! Oh man, being in the studio is the best best best, though. We joke that we could spend all day every day in the studio, but actually, it’s not really a joke. We loved our Bones studio days and we can’t wait to go back and record more. However, we’re theater-kid performance-junkies at heart, so the live shows keep us going. They also inform our songs. You can write a song and rehearse a song for hours but you don’t really know what the song’s personality is until you sing it live.

AF: If you could hear any classic country singer cover a Kings song, which one would you want to hear and who would you want to sing it?

KINGS: I think all three of us would lay down and die if Dolly Parton covered “Western Sky.” I would absolutely never recover.

[bandcamp width=100% height=120 album=2525770694 size=medium bgcol=ffffff linkcol=0687f5]

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AF X CMJ 2013 ARTIST PROFILE: Diamond Bones

To get you as pumped as we are for our CMJ 2013 showcases, we’re introducing each band to you by asking them five unique questions.  We love Diamond Bones so much that we invited them to play both of our showcases!  The first is at Sidewalk Cafe, 94 Ave. A in Manhattan on Wednesday, October 16th at 10PM.  You can RSVP on facebook or DoNYC.  And if you can’t make it to LES, you get a second chance to see DB at Spike Hill, 186 Bedford Ave. in Williamsburg, BK on Thursday, October 17th at 1PM.  You can RSVP on facebook or DoNYC.

diamondbonessporty

Influenced by dreams of past and future, Diamond Bones creates something in between psychedelic electro & shoegaze pop music, rooted in raw emotion. Their songs invite you in with hypnotic rhythms and gripping melodies, and charm you with haunting lyrics that convey unfeigned experience. Their sound, once described as “dark disco” has evolved over the year they have been together into something along the lines of “tribal dream pop.”

AF: Tell us about the music scene in Montreal!

DB: There are (and have been) a lot of great bands from the Montreal music scene and it’s known as a kind of music haven but we think it has a great community vibe and lots of opportunity to be creative. There are tons of great venues, festivals and events put on by different organizations year-round and the musicians seem to be really supportive of each other from coming to see each other’s shows to lending gear around, etc. It’s definitely a scene we’re proud to be part of.

AF: How did the three of you meet and what made you decide to play music together?

DB: Isabelle and Lana met on the first day of college and soon started playing music together in Lana’s garage. A few bands and a few years later, Lana’s high-school friend Michelle moved home from Toronto and came to a jam session. The chemistry was aces! and without being too cheesy here, the three of us knew we were doing the right thing. Diamond Bones was born just a couple of short months later.

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AF: We just can’t wait for the new album! What was the process of recording it like?

DB: Dream come true, yo! We were lucky enough to record at Montreal’s esteemed Breakglass studio amid an array of beautiful equipment and a killer vibe. We’re hoping that comes through in the finished product! The three of us got pretty goofy after the first few days, There were lots of late nights filled with corner-store wine, chocolate bars and home-cookin’. It was amazing though- such a great environment for creativity and collaboration- It was one of our favourite experiences (as a band) to date- we loved not having to be anywhere or do anything else while we were in studio. We’re super excited to get the finished product out there!

AF: Has anything embarrassing ever happened to you on stage?

DB: Lana frequently hits herself in the head with drumsticks. Actually, she’s frequently injuring herself on stage. Isabelle once played a whole song on the bass without realizing the amp wasn’t on. Michelle once just stopped playing in the middle of a song. We’re a little awkward in general so we put time aside during rehearsals to practice our stage banter. That’s fairly embarrassing, no?

AF: Are there any other bands playing CMJ who you’re particularly excited to see?

DB: Half Moon Run (Montreal sweethearts), CTZNSHP (another home-brew), we’re hearing a lot of hype about Haerts so we’re definitely going to check them out. Alpine, Human Human, many more I’m, sure. We’re just excited in general!

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AF X CMJ 2013 ARTIST PROFILE: Dark North

To get you as pumped as we are for our CMJ 2013 showcases, we’re introducing each band to you by asking them five unique questions.  Dark North is playing Spike Hill, 186 Bedford Ave. in Williamsburg, BK on Thursday, October 17th at 1PM.  You can RSVP on facebook or DoNYC.

dark northFull disclosure: Emily and Glenn Forsythe are friends of mine from back in the day when we all used to live in Ohio.  But it wasn’t until the siblings moved to Boston that I got an invite to the then fledgling band’s MySpace page (this pre-dated facebook, of course).  I remember clicking the link, listening, and practically tearing up, partly because what I was hearing was so beautiful, and partly because I had no clue that Emily could sing like that.  The band has gone through some major growth since that time – morphing from “Forsythe” to “St. Claire” before finally settling on Dark North just a few months ago; taking on new members and saying goodbye to old ones; moving from Boston to Brooklyn and traveling the world in between.  Their sound has grown too, from winsome, heartfelt folk into wise, intricate story-telling.

AF: You’ve performed for years as St. Claire but recently changed your name to Dark North. What was the impetus behind the name change? Was it scary to shed your old identity?

DN: Dark North just felt right. I love the name for hardly any reason. I wrote a song called “Dark North” and it just felt like how I feel right now. There’s a lot in there that I think fits the band the way it is at this time and I’m really excited about it. That said, yes it’s hard to change. But soon I have faith that people who liked St. Claire will know it’s still us– but better– and embrace it.

AF: What was the first song you remember hearing that made you want to start a band?

DN: Wow. Hard one. I have to say listening to Neil Young when I was really young just made me feel like I could and should sing. He had so much to give and I wanted to do the same. I guess I always really knew that’s what I wanted to do!

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AF: You’re from Ohio, have traveled all over the world, and finally settled in Brooklyn after living in Boston for a while. How has exposure to such varied music scenes influenced you?

DN: I have seen a lot of how where you are influences you– and doesn’t. A lot of people value where they are and think that defines them. And it does have a big effect… but you can’t rely on that making you who you are. There are amazing, talented, brilliant, and kind people everywhere. I love knowing that that’s true no matter where you go– be it New York, Paris, or small towns in Ohio. I think what you have to give is more important that what scene you’re a part of.

AF: Being siblings, is it ever difficult for the two of you to work together?

DN: Ha. That’s easy. No, it’s not hard. It’s a blessing. Glenn got the heart and the brains and I got the heart and the wanderlust. We are a great team and it’s only ever fun to discover new ways to connect and make things happen.

AF: You’ve been booking bands for a series of house shows in Crown Heights called Prospect Parlor. How did that get started? Can you talk about that process and about some of the bands you’ve hosted?

DN: We love putting on shows there. It’s our home and sharing it with tons of strangers is the best. We grew up going to shows in Columbus that were really raw– in basements and squats and warehouses… There’s just nothing like the way that felt. The goal is to bring that kind of spirit to a space where people can feel that they are really a part of the music. I think that’s the way music should really be experienced. Come to our CMJ show on Saturday! There will be 6 bands all day long!

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AF X CMJ 2013 ARTIST PROFILE: And The Kids

To get you as pumped as we are for our CMJ 2013 showcases, we’re introducing each band to you by asking them five unique questions.  And The Kids is playing Spike Hill, 186 Bedford Ave. in Williamsburg, BK on Thursday, October 17th at 1PM.  You can RSVP on facebook or DoNYC.

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And the Kids is made up of Hannah Mohan (lead vocals, electric ukulele and guitar), Rebecca Lasaponaro (vocals, drums, bells) and Megan Miller (vocals, synth, glockenspiel, woodblock).  Playing what they call accessible unconscious existential indie folk rock glitter popsicle crisis music, they have been packing the sidewalks and clubs from Northampton to Boston to New York City with their fierce infectious harmonies, tight and unique grooves and songwriting that has the ability to reach down and tug at the truths of their generation and beyond.  Hannah and Rebecca met in their grade 7 music class and have been collaborating ever since.  Megan Miller direct from Canada met Hannah and Rebecca at the Institute for the Musical Arts (IMA) in Goshen, MA at a women’s recording and sound engineering program and together the trio is on a mission to inspire the hearts of all living beings of light and laughter one stage at a time.

AF: Hannah and Rebecca – you met in 7th grade music class. What are some of the songs you remember singing as kids?

ATK: The first song we sang together is Tom Sawyer (that irresponsible child…)

AF: During the filming of your “Cats Were Born” video you were living in a tent and practicing in an electrified portable storage pod. What made you decide to do that? Can you tell us more about the experience?

ATK: It’s really hard to find a place when you have two dogs, you wanna play really loud music all the time, and you have no money. Eventually the place was condemned so we had to leave. Overall, it rocked.

AF: There’s some unexpected twerking toward the end of that video. What do you think about all the controversy surrounding twerking these days?

ATK: We don’t think of the controversy – our twerking was hilariously spontaneous.

AF: For a while you were running an underground studio space and performance venue called JamPony – it sounds rad! How did you start it and what ended up happening to the space?

ATK: Long story short, Hannah and Rebecca rented a commercial practice space in Holyoke and it came with a bar and pool table so they had shows there. Then Hannah slept there for a while because she was without home. We found out during the end of our lease that a lot of our equipment was being stolen (from the manager’s coke-head son…seriously). So Hannah and Rebecca peaced when the lease was up.

AF: You stated that you’ve mostly built a fan base by busking in and around Northampton – is that true? When you’re in the streets vying for the attention of passersby are you performing as And The Kids or doing something else altogether? What was the strangest reaction you ever got from someone?

ATK: Yes, we busk as an acoustic version of And The Kids. Funny you should ask, one time a listener waited until our song was done to talk to us and we knew the whole song that they really wanted to talk to us. They offered us free drugs, a hair tie and a pig roast for our birthday party. Just kidding, nothing really strange happens except for the occasional asshole who tells us to stop playing.

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AF X CMJ 2013 ARTIST PROFILE: Time and Temperature

To get you as pumped as we are for our CMJ 2013 showcases, we’re introducing each band to you by asking them five unique questions  Time and Temperature is playing Sidewalk Cafe, 94 Ave. A in Manhattan on Wednesday, October 16th at 10PM.  You can RSVP on facebook or DoNYC.

t&tvalVal Glenn began Time & Temperature as 4-track recording project in 2005.  Though T&T occasionally expands to include other musicians, Glenn performs and records mostly solo, her soulful croon relating stories mournful and beautiful.  The music has a timeless, folk-noir feel; one gets the sense that these songs are beings of their own accord, birthed by magic into the air.  Her guitarwork is deliberate but takes its time, weaving through Glenn’s intimate narratives with confident ease.

AF: You recently relocated from Columbus, OH to Minneapolis. What has that process been like as a musician? Has it inspired any new songs

T&T: Well…I moved to Minneapolis because I wanted to be closer to a music community that I felt better understood in. I have some really good long term creative friendships there that I wanted to be closer to. But, I was thrown a curve ball when one of my dear friends was killed on her bike 2 weeks after I got there. It’s been a real tragedy and basically immediately changed everything in the community I’m involved in. Friendships changed, motivations changed. Also, a lot of great venues in Minneapolis have closed or stopped doing shows recently so it’s hard in a way for people not to have the ending of things on their mind a lot right now. The process has been more challenging, actually. In terms of my inspiration, I still think it’s been good. Having more time to think and feel and challenge the way I do things is still as good for my creative process as doing the rock star thing where I’m just going out being awesome with other awesome people all the time. It’s like a rebirth. Or something. 

AF: Where did you learn to play guitar? What artists inspired you to pursue a music for yourself?

T&T: Well, I started playing guitar when I was 11. My parents didn’t want to buy me a guitar because I was super shy as a kid and everyone at school thought I was a geek so they thought that maybe it was best to keep me away from things that would have me interact with society. I took lessons for a year but I’m mostly self-taught. My teacher wanted me to learn theory and I was like, jesus christ. A lot of people are like me and learn the basics and then just play along with their favorite records.

I actually listened to a lot of metal as a youth and a lot of classical, but I think initially I was inspired by early indie rock bands and proto-punk bands because it seemed like they were conceptually compelling but not like, prodigal musicians at all. Like hardly even good. I figured I could at least do that.

AF: Some time ago, you were planning to release a follow-up to Cream of the Low Tide but only released one single from those sessions. What are your plans for that material?

T&T: Yeah! I just self-released a tape of that material for this tour that I’m on right now. I also have a full length record coming out in a few months but I wanted to keep doing short run releases before that record comes out.

AF: Your songs seem so personal and yet you deliver them unflinchingly. Do you ever get nervous sharing your work in intimate spaces? Does it make you more nervous to play for strangers or for people you know? 

T&T: I initially thought this said “does it make you more nervous to play for stranglers”.

I totally get nervous. It always depends, it depends on the crowd. Nerves are always good for me. I get more worried when I’m not nervous. It means my head is not in what I’m doing.

AF: What kind of bird makes the worst sound?

T&T: Lovebirds, definitely. The bird kind and the human kind.

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AF X CMJ 2013 ARTIST PROFILE: Trabajo

To get you as pumped as we are for our CMJ 2013 showcases, we’re introducing each band to you by asking them five unique questions  Trabajo is playing Sidewalk Cafe, 94 Ave. A in Manhattan on Wednesday, October 16th at 10PM.  You can RSVP on facebook or DoNYC.

TrabajoBrooklyn electronic duo Trabajo is Yuchen Lin & TJ Richards. Their sound explores traditional and popular regional music from across the globe, refracting each style thru an experimental framework of samples, loops, and avant noise-scapes. From lush ambient drones to bursts of high energy postpunk, Trabajo is a constant diversity of sonic investigation and stylistic celebration.

AF: How did the two of you meet and when did you decide to form the band?

Trabajo: We met at a Rubulad dance party in Brooklyn 3 years ago this week! We shared a love of wild and world music so we started jamming. After a few months we got serious and then played our first show in August 2011.

AF: Trabajo performs, in my mind, world music interpreted through a Brooklyn lens. One of your records, for instance, focuses primarily on Indonesian gamelan samples. How do you source those types of elements and build them into your songs?

Trabajo: We sampled from the Nonesuch Explorer Series and performances on youtube. Composing this way is a little like doing a puzzle – you start with a few core samples and then fit beats, melodies and other samples around or against those central themes.

AF: What’s the best and worst thing anyone’s ever said about your music?

Trabajo: Somebody told us we look like we’re worshiping the music in performance which was a really keen, affirmative observation. Dunno about the worst thing, tho… in certain contexts not commenting is probably the worst, right?

AF: What’s your favorite venue to play in Brooklyn?

Trabajo: Probably no single favorite venue but our pal Gabe curates shows with multi-channel quadrophonic mixing which elevates the live music experience at any venue.

AF: Can you make up a color?

Trabajo: I’ve always wanted to play our music for someone that experiences chromesthesia and have them describe what they’re seeing…

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