Fond memories of seeing Dave Brubeck at Berklee, Scullers, Newport, receiving his honorary degree at Manhattan School of Music, and, best of all, going with my brother Tyler Carey to the Iron Horse in Northampton, Massachusetts to hear him. Tyler encouraged me to go backstage and get an autograph. When Dave heard that I was a composer, he had me sit down and talk to with him about classical music for a good while. A very kind soul and talented pianist, composer, and group leader.
On Wednesday, I talked to Chris Thile about recently being awarded a MacArthur Fellowship. Thile is currently on tour with Punch Brothers. Look for the article here later this week. In the meantime, here are Punch Brothers covering Radiohead!
Ostensibly, composer/pianist Rebecca Brandt has already released her album Number & Shapes. But with material as charming as the cinematic indie art songs found on this CD, this Friday’s release show at Galapagos in Brooklyn is well worth the wait (details here). At turns mathy & motoric and alluring & lush, Numbers and Shapes encompasses both the laptop electronica aesthetic and out chamber pop. You can purchase the release via BandCamp or, better yet, if you’re in town, pick up a CD in person at Galapagos on Friday (doors open at 7; show starts at 8).
The group that helped to start the indie rock plus classical crossover genre, Clogs, doesn’t often make it out to Brooklyn. But, if Monday’s show at Galapagos is any indication, when they visit the borough, the group goes all out.
In addition to selections from Clogs’ previous studio recordings, the concert features “Shady Gully,” a new group of songs written by Padma Newsome. Those in attendance will also get a sneak preview of “2 Moon Shine,” his forthcoming opera project.
Also on the bill is Clogs member Thomas Kozumplik’s project Loop 2.4.3. I’ve been greatly enjoying their latest full length recording American Dreamland (out now via Music Starts from Silence). Kozumplik, joined by Lorne Watson, have created a percussion heavy and somewhat jaundice eyed view of the American dream, referencing everything from Edgar Allen Poe to Easy Rider to urban blight along the way. While the album’s subject matter could easily become a colossal bummer, Loop 2.4.3 creates supple beats and several fetching tunes (the radio ready single “So Strong” noteworthy among them) that make even a dystopian post industrial landscape sound like far better a destination than its likely to be!
A small caveat for fans of the National: guitarist Bryce Dessner is not playing the Galapagos show. Ben Cassoria will take over his duties for the evening (no mean substitute!).
On her latest recording, vocalist Neneh Cherry joins forces with Scandinavian avant jazz outfit The Thing. Cherry Thing (Smalltown Supersound) features originals, jazz tunes by Don Cherry and Ornette Coleman, and covers of songs such as Suicide’s “Dream Baby Dream” and Martina Topley-Bird’s “Too Tough to Die.” Check out Four Tet’s remix of the Suicide cover in the video below.
Our friends at Ghostly are releasing Ancient Future, a collaboration by Christopher Willits and Ryuichi Sakamoto on July 30. Available only through the imprint is a limited pressing (300 units) of the release on clear vinyl.
Below is an embed of “Completion,” a track from the release shared via SoundCloud.
This month, Gyan Riley is curating for New York venue the Stone. One of the San Francisco residents that he’s invited to visit the Big Apple for a gig is avant-cabaret artist Amy X. Neuburg, who performs there tonight (details below).
Neuburg eschews the usual instrumentation of a cabaret performer, instead using an electronic drumset. But the music isn’t isolated to percussive utterances; rather the synth drums serve as a control surface with which she can trigger live recording and overdubs. Thus, a drum hit might ‘sound’ like drums, or it might just as easily trigger backing vocals or synth patches.
Using this setup, Neuburg often creates multiple loops, each with its own place in the sound field. Her set at the Stone (her first appearance there) will introduce some new works, but also revisits her back catalog, updating several pieces to accommodate this ”spatialized” aesthetic.