Share this event:
12:00 | Steve Gunn
12:45 | Charly Bliss DJ Set
1:30 | Eli Paperboy Reed
2:15 | Madison McFerrin DJ Set
3:00 | Elijah Wolf
3:45 | DJ Sad13 (Speedy Ortiz)
4:30 | TEEN
5:15 | Chris Cohen DJ Set
6:00 | Richard Barone presents Rediscovering Ecstasy: Recording with Lou Reed
7:00 | Elia’s Indiepop Student Disco
7:45 | Cochemea
8:30 | Ian Williams (Battles) DJ Set
9:15 | Pearl Charles
10 | Blake Schwarzenback (Jawbreaker, Jets to Brazil)
10:45 - end | The Range DJ Set
10am | T Bone Burnett
4pm | Wayne Coyne
5pm | David J
Brooklyn Brewery Beer Tasting 4-7pm
For over a decade, guitarist/vocalist Steve Gunn has been one of American music’s most pivotal figures - conjuring immersive and psychedelic sonic landscapes both live and on record, releasing revered solo albums ranking high on in-the-know end of year lists, alongside exploratory collaborations with artists as diverse as Mike Cooper, Kurt Vile, and Michael Chapman (whose most recent studio album he produced). Gunn is known for telling other people's stories, but on his breakthrough fourth album, The Unseen In Between, he explores his own emotional landscapes with his most complex, fully realized songs to date. The lyrics evoke voyages, tempests (actual and emotional), and a rich cast of characters met along the way -- the work of an artist finding a place of calm in the midst of a storm. Produced by frequent collaborator James Elkington and engineered by Daniel Schlett, the immaculately recorded Unseen forces a reassessment of Gunn’s standing in the pantheon of the era’s great songwriters.
Cochemea Gasteulum is coming home to connect with his roots. After nearly 15 years of touring the world with Sharon Jones and The Dap-Kings, the saxophonist offers a deeply personal album of jazz and indigenous-influenced rhythms.
All My Relations ̧ out February 22 on Daptone Records, is 10 tracks of mesmerizing and spiritually ascendant instrumentation. “All My Relations is a way for me to explore my roots through music. Some of it is a memory that is imagined from a time and place I’ve never been (‘Sonora’) or a musical impression of ritual (‘Mitote’),” Cochemea says. “I felt compelled to add the way I feel when I go to ceremony, when I feel connected with my ancestors, to the musical narrative.”
A California native with Yaqui and Mescalero Apache Indian ancestry, Cochemea grew up surrounded by music but without knowing much about his heritage. Both his parents were musicians, and they gave their sona heavy name meaning “they were all killed asleep.” Cochemea has spent much of his diverse musical career –as a soloist, musical director, composer and ensemble player –exploring and iterating on roots music, and All My Relations is a capstone meditation on his own ancestry.
Originally conceived during Sharon Jones and The Dap-Kings’ final year of touring, Cochemea and Daptone’s Gabe Roth cast a varied but familial set of New York musicians to bringAll My Relationsto life. A large portion of the album was created through improvisation and collective writing,where its 10 musicians created a melodic, percussive conversation. “It was a beautiful experience –people would start playing and we’d work up these arrangements on the spot, then record it.
”The album begins with an invocation and plays like a story. Several songs have indigenous names and each track is an experiment in roots –from the Sanskrit prayer on which “Asatoma” is based, to the Mexican huapango rhythms in “Mescalero” and “Song of Happiness,” which is partly derived from a Navajo melody called Shii’ Naasha.’ “In a sense, this record is a prayer for unity, love and the recognition that we are all part of a web,and everything we do effects everything else,” Cochemea says. “These days there’s so many lines being drawn, I wanted to focus on what unites us.”
Cochemea has a long history of uniting multiple genres with his powerful polyrhythmic sensibilities. His roots in jazz, Latin, funk and rock led to multiple tours with funk-jazz organist Robert Walter’s 20th Congress, and connected him with SJDK for their 2005 Naturally tour. Cochemea also played tenor sax with The Budos Band and Antibalas,and Baritone sax on the Amy Winehouse sessions, before becoming a full-time Dap-King in 2009.
In between marathon tours, Cochemea recorded a critically acclaimed solo album of soul, funk, and afro-Latin jazz,The Electric Sound of Johnny Arrow, all while doing session work for the likes of Mark Ronson, Rick Rick Rubin and Quincy Jones. He’s performed alongside Archie Shepp, Beck, David Byrne, Public Enemy and The Roots. Cochemea was also a featured soloist in the award-winning Broadway play Fela!,which led to historic performances in Lagos, Nigeria.
The band TEEN came together at the turn of the decade, but its members have known each other their whole lives. Teeny, Lizzie, and Katherine Lieberson are sisters. Although they grew up in a musically vibrant Halifax home—their father was the esteemed composer Peter Lieberson—their first band jelled once they all lived in New York.
Teeny officially conceived TEEN in 2010 while on break from touring as part of renowned band Here We Go Magic. Following her self-recorded 2011 release Little Doods, she invited her sisters to join the project, transforming TEEN into a full-blown band. Carpark records caught wind of Teeny’s work, and TEEN signed to the label for its proper debut album, 2012’s In Limbo. The sisters’ unsurprising, inevitable chemistry manifests across the record’s sprawling, lo-fi psychedelia; the familial bonds that formed it gave it a strength that resulted in acclaim from publications including Rolling Stone, which claimed, “the matter-of-fact beauty of [Teeny’s] sweetly somber voice and the album’s unapologetically fat synths…proves highly evocative.”
The house on Mountain Laurel Road was a sanctuary for Elijah Wolf. He grew up there, surrounded by the bucolic tranquility of the Catskills and enraptured with the bohemian charm of Woodstock. It was a place he returned to frequently, both in body and spirit, and in moments of darkness or doubt, all he had to do was close his eyes and picture the winding road, the colorful walls, the pastoral view, and the company of his family. Wolf got word that the house was to be sold as he was losing someone close to him, though, and the double-barreled blast of bad news marked the beginning of the most tumultuous year of his life, one which now forms the bedrock of his stunning debut album, ‘On the Mtn Laurel Rd.”
Recorded primarily in Wolf’s Brooklyn bedroom, ‘On the Mtn Laurel Rd’ is an arresting synthesis of past and present, traditional and experimental, country and city. Blending organic roots and driving alt-rock with shimmering electronic elements, each track represents a specific place or moment in Wolf’s life, with scenes rendered vividly through his richly detailed lyrical portraits and evocative vocal delivery. Sometimes achingly lonely and riddled with self-doubt, sometimes warmly hopeful and resolute, the songs reflect the dizzying series of highs and lows Wolf faced as he traced his own storyline back to its roots and prepared to say goodbye to the only life he’d ever known.
When asked (about our newest album Oczy Mlody) what does your new stuff sound like..?? My current response has been that it sounds like Syd Barrett meets A$AP Rocky and they get trapped in a fairy tale from the future.. Ha.. Knowing full well that if you know who Syd Barrett is.. (original founder of classic rock/space opera group Pink Floyd) you probably DON’T know who A$AP Rocky is (current badass psychedelic rapper).. and if you know and like A$AP Rocky you probably don’t care or wouldn’t like Syd Barrett.. Ha..
So yeah.. I think, perhaps, it is only within The Flaming Lips world that these 2 (Syd and A$AP) could accidentally find themselves, like Dorothy stumbling upon the scarecrow as she wondered down the yellow brick road towards Oz.. (not sure which one is Dorothy and which one is the scarecrow in this scenario..) But somehow they have gone through a hole in the night sky and arrived in a fucked up, day glow, fairy tale world in the future.. A future where Oczy Mlody is the current cool powerful party drug of choice and sleeping is the ultimate cure for everything.. sleeping for, like, 3 months.. Yeah sleeping.. So if you want to lose weight.. Ping!! You are put to sleep for 3 months and you wake up thin.. If you are addicted to drugs.. Ping!! You sleep yourself out of withdrawals and cravings and wake up sober.. Ha.. And it all takes place inside a gated community that has been made into a replicant fantasy fairy tale city where the mega-mega rich folks live and have self indulgent psycho parties (maybe I’ve been spending too much time around Miley Cyrus) where everyone takes Oczy Mlody (the drug uses your own sub-conscious memories and transports you to your perfect childhood happy mind) and everyone has sex while riding unicorns.. There are frogs and wizards and spiders and painful emotional therapy sessions where every primal desire is allowed and encouraged. Darkness in the dark while we listen with demon eyes on our way back home to our family.. WTF..
We began, what now has become, Oczy Mlody as far back as January 2015. The opening track called Oczy Mlody (watch a video: Wayne’s Explanation of Oczy Mlody)was haphazardly conceived one night from two recording session . The descending bass and slow drum machine stuff from one night and the magical crystalline melody synth line that was recorded the next night. It was just an off the cuff little moment but it kept haunting me (in a good way).. Ha.. I would keep returning to this simple, really nothing, of a track. It (the Oczy Mlody recording) has a kind of mellow suspen- sion about it. Something sooothing and soft and science sleep experiment sounding about it. It is all vibe vibe vibey. My attempts to actually turn it into a song never worked and it remained this moody piece of wordless music and sound that compelled me. Maybe it is, or was, the type of mood or mindset I had been searching for but only knew it subconsciously. I think that must be music’s greatest power.. it somehow swirls around in your mind and touches things and opens things that you could never consciously touch or open.. It’s a motherfucker..
About five years ago I found a little paperback book in a used bookstore. (watch a video: Wayne shows the book) I liked the cover, a painting of a woman that looks like Eryka Baddu crying and sweating,and the title Blisko Domu. I didn’t know what it meant. It’s written in Polish (Blisko Domu means Almost Home).. But I didn’t care. I liked it and it is one of the books I have in the studio that I would look at all the time in between mixes and slow recording times. I would read it as a kind of meditation. Meaningless (well, meaningless to me. I don’t speak Polish) sentences and paragraphs. I would flow over the text like I was reading but It would never alight any story.. occasionally I would stumble upon cool sounding words and phrases not having any idea of their real mean- ing and I think I would allow the words to trigger something, maybe something subconscious, in my searching mind. I stumbled upon the words “Oczy Mlody”.. they struck me as sounding like Oxy (as in Oxycodone) Melody and, as my imagination ran away with it, also the name of a drug made in the future. Every time I would pick this book up I would, kind of, add to the made-up meaning that I had given to the words that I liked.. The actual meaning of “oczy mlody” is something like “eyes of the young”.. which we (Steven and Dennis and I) thought was great.. Eyes Of The Young is not really a title that appealed to us but Oczy Mlody meaning “eyes of the young “greatly appealed to us.. Ha.. Who knows why.. And so we began to realize we were starting to make a record with this kind of removed,abstract substitute meaning.. or a record that we followed what meaning the initial sounds triggered.. . Sounds of words. Sounds of music. Sounds of beats..
Acoustic Space (April 12, Verve Forecast) is the first full-length installment in The Invisible Light trilogy helmed by Grammy- and Oscar-winning producer T Bone Burnett in collaboration with Jay Bellerose and Keefus Ciancia. The albums explore the idea that society has been subject to over a century of electronic programming, a “programming pandemic,” which is causing us to lose our ability to differentiate fact from fiction. Burnett describes the trilogy as “an experimental song cycle” which consists of a single piece of poetry broken down into distinct songs.
The Invisible Light is a fusion of trance, electronic, folk, tribal and global music. At the heart of this trilogy is technology and how it has advanced significantly throughout the course of the last century, with radio, film, television and the internet serving as central parts of our lives. In acoustic space, people hear from every direction at once, the center is everywhere, and there is no border.
Multiple Grammy and Oscar winner Joseph Henry “T Bone” Burnett is a producer, musician and songwriter. Known recently for composing and producing music for the critically acclaimed HBO series True Detective, his film work includes the five-time Grammy winning soundtrack for O Brother, Where Art Thou?, The Big Lebowski, Cold Mountain, The Hunger Games, Crazy Heart and Walk The Line. He has collaborated with numerous artists including Bob Dylan, Elvis Costello, Roy Orbison and won Album of the Year and Record of the Year Grammy Awards for Robert Plant and Alison Krauss' Raising Sand.
A founder member of one of the most influential bands since The Velvet Underground; namely BAUHAUS. Bauhaus spearheaded the post-punk Alternative music scene of the early ‘80’s with a string of innovative albums and singles, including, for many, perhaps their defining moment, a song that is ranked as a classic and feasibly the pinnacle of the entire Gothic scene and beyond, the nine minute plus epic slab of industrial dub that is 'Bela Lugosi’s Dead', featuring the lyrics of David J. Check out the astonishing opening scenes of Tony Scott’s stylish Vampire flick 'The Hunger' to witness Bauhaus in all their dark glory, performing that very song whilst David Bowie and Catherine Deneuve stalk the disco for new flesh. Appearances on TV shows such as Top Of The Pops, The Old Grey Whistle Test and Riverside coupled with an electrifying live show propelled Bauhaus to the upper reaches of the UK charts before reaching their zenith in the summer of ’83 and imploding, shattering into fragments of individual talent. It was that implosion that inadvertently gave rise to David's long and varied solo career. He was the first of the four members of Bauhaus to actively make that tentative step outside of the comfort zone of his original band by forming an unusual alliance with poet / painter, Rene Halkett, an original member of the very movement from which the band took it's name, fusing poetry with music for the 'Nothing' /'Armour' single which was released on the 4AD label in 1981. A second collaboration in ‘84, with graphic novelist and highly acclaimed author Alan Moore entitled 'V For Vendetta' resulted in a now much sought after 12” E.P. A big screen adaptation of Moore’s graphic novel, adopting the same title, was one of the blockbusters of 2005. David's debut solo album, 'Etiquette of Violence' was released in 1983, and was followed two years later by 'Crocodile Tears and The Velvet Cosh'. Both albums being exemplary of his burgeoning talent asa songwriter. Next came a brief stint producing and playing bass with another underrated songwriting great, Pat Fish AKA The Jazz Butcher. This pairing producing two excellent albums. David then regrouped with two of his former Bauhaus band mates, guitarist, Daniel Ash and drummer, Kevin Haskins to form the hugely successful Love And Rockets, whose debut single hit gold status in Canada, followed by a top three US single with 'So Alive' which the band capped with a million selling album and sold out stadium tours. A self-imposed hiatus meant that David could now resume his on/off solo career. The heartfelt and intimate 'Songs From Another Season' and the sophisticated 'Urban Urbane' being the result. The former producing the first single to top the newly forged US Alternative Charts, namely, 'I'll Be You Chauffeur'. Solo endeavors were once again put on hold in ’98 when Bauhaus was gloriously resurrected, initially three dates were booked at the Hollywood Palladium in Los Angeles, such was the demand for tickets however that all three shows sold out in fifteen minutes! The success of these initial dates ultimately led a full blown world tour. 2003 saw the release of another solo album, the achingly beautiful and poignant, 'Estranged'. Then came a second rebirth of Bauhaus which resulted from a spectacular appearance at Palm Springs’ Coachella Festival in 2005 where a memorable inverted 'hanging man' stage entrance by vocalist Peter Murphy ensured their performance was not only heralded as the event of the festival but would forever be included as a stand out in it's annals . A highly acclaimed songwriter, often personal, often observational but not without flashes of influence from the dark underside of both theatre and literature – David has exquisitely captured incisive portraits of artists such as Jack Kerouac, Joe Orton, Antonin Artaud and more recently Elliot Smith, Jeff Buckley, Spalding Gray and Hank Williams. 2011’s 'Not Long For This World' album, featured a set pertaining to the subject of mortality and achieved high critical acclaim. In between his own works, guest appearances and production duties, David has also written and directed various stage productions including the spectacular multi-media staging of 'Silver For Gold' (The Odyssey Of Edie Sedgwick) which originally went up at the Met Theatre in Hollywood in 2008 and was then re-staged three years later at the celebrated REDCAT also in LA. His memoir, ‘Who Killed Mister Moonlight?’ (Bauhaus, Black Magick and Benediction) was published by Jarbone Press in 2014 to critical acclaim. That same year, David J’s last solo record, 'An Eclipse of Ships’ ( which he describes as: “. . . essentially a journal of the heart and a paean to Woman as muse.” ) was released and has become a favorite amongst fans and journalists alike. This was followed by an ambitious project in 2016 which saw J (under the pseudonym of M. C. Nightshade, collaborating with a twelve piece jazz band, The Theatre Bizarre Orchestra based in Detroit. The vinyl only album, ‘Carpe Noctem’ has been described as a truly unique and remarkable recording, imagine, if you will, a character infused with great spirit of the Weimar Republic’s Kurt Weill blended with a haunted Tom Waits having a nervous breakdown reconciling the sounds of New Orleans haunted by the gothic pitches of Northampton encased in the broken mirror dark carny mythology of Detroit’s annual interactive art exhibition known as Theatre Bizarre. ‘Vagabond Songs' is David J's ninth studio album and features a disarmingly charming and heart felt collection of acoustic songs written on the road and inspired by people and places encountered by the artist as he ventured on his ramblin' vagabond way. The double vinyl album includes the hit single, 'The Day That David Bowie Died' as well as a radical reworking of the Love and Rockets' classic, 'The Dog End of a Day Gone By'. He is set to follow up this album with another double disc in the Autumn of 2019.