<-- Venues

  The Bowery Ballroom
Address: 6 Delancey Street
City: New York
State: NY
Date Time Event Description
Apr-24-19 08:00 PM Julia Jacklin with Black Belt Eagle Scout
The second full-length album from Australian singer/songwriter Julia Jacklin, Crushing embodiesevery possible meaning of its title word. Its an album formed from sheer intensity of feeling, anin-the-moment narrative of heartbreak and infatuation. And with her storytelling centered on bodiesand crossed boundaries and smothering closeness, Crushing reveals how our physical experience ofthe world shapes and sometimes distorts our inner lives.This album came from spending two years touring and being in a relationship, and feeling like Inever had any space of my own, says the Melbourne-based artist. For a long time I felt like myhead was full of fear and my body was just this functional thing that carried me from point A to B,and writing these songs was like rejoining the two.The follow-up to her 2016 debut Dont Let the Kids Win , Crushing finds Jacklin continuallyacknowledging whats expected of her, then gracefully rejecting those expectations. As a result, thealbum invites self-examination and a possible shift in the listeners way of getting around theworldan effect that has everything to do with Jacklins openness about her own experience.I used to be so worried about seeming demanding that Id put up with anything, which I think iscommonyou want to be chill and cool, but it ends up taking so much of your emotional energy,says Jacklin. Now Ive gotten used to calling out things Im not okay with, instead of just buryingmy feelings to make it easier on everyone. Ive realized that in order to keep the peace, you have tospeak up for yourself and say what you really want.Produced by Burke Reid (Courtney Barnett, The Drones) and recorded at The Grove Studios (abushland hideaway built by INXS Garry Gary Beers), Crushing sets Jacklins understated defianceagainst a raw yet luminous sonic backdrop. In all the songs, you can hear every sound from everyinstrument; you can hear my throat and hear me breathing, she says. It was really important to methat you can hear everything for the whole record, without any studio tricks getting in the way.On the album-opening lead single Body, Jacklin proves the power of that approach, turning out amesmerizing vocal performance even as she slips into the slightest murmur. A starkly composedportrait of a breakup, the song bears an often-bracing intimacy, a sense that youre right in the roomwith Jacklin as she lays her heart out. And as Body wanders and drifts, Jacklin establishes Crushingas an album that exists entirely on its own time, a work thats willfully unhurried.From there, Crushing shifts into the slow-building urgency of Head Alone, a pointed andelectrifying anthem of refusal (sample lyric: I dont want to be touched all the time/I raised mybody up to be mine). As a woman, in my case as a touring musician, the way youre touched isdifferent from your male bandmatesby strangers and by those close to you, notes Jacklin. On thefull-tilt, harmony-spiked Pressure to Party, she pushes toward another form of emotionalfreedom. When you come out of a relationship, theres so much pressure to act a certain way, saysJacklin. First its like, Oh, youve gotta take some time for yourselfbut then if you take toomuch time its, Youve gotta get back out there! That song is just my three-minute scream, sayingIm going to do what I need to do, when I need to do it. Crushing also shows Jacklins autonomy onsongs like Convention, an eye-rolling dismissal of unsolicited advice, presented in elegantlysardonic lyrics (I can tell you wont sleep well, if you dont teach me how to do it right).Elsewhere on Crushing , Jacklin brings her exacting reflection to songs on loss. With its transportiveharmonies and slow-burning guitar solo, Dont Know How to Keep Loving You ponders theheartache in fading affection ( I want your mother to stay friends with mine/I want this feeling topass in time). Meanwhile, on Turn Me Downan idiosyncratically arranged track embeddedwith hypnotic guitar tonesJacklin gives an exquisitely painful glimpse at unrequited devotion (Hetook my hand, said I see a bright future/Im just not sure that youre in it). That song destroyedme in the studio, says Jacklin of Turn Me Down, whose middle section contains a particularlydevastating vocal performance. I remember lying on the floor in a total state between what felt likeendless takes, and if you listen it kind of sounds like Im losing my mind. And on When theFamily Flies In, Jacklin shares her first ever piano-driven piece, a beautifully muted elegy for thesame friend to whom she dedicated Dont Let the Kids Win. There are really no words to do justiceto what it feels like to lose a friend, says Jacklin. It felt a bit cheap to even try to write a songabout it, but this one came out on tour and it finally felt okay to record.Despite its complexity, Crushing unfolds with an ease that echoes Jacklins newfound self-reliance asan artist. Originally from the Blue Mountains, she grew up on her parents Billy Bragg and DorisDay records and sang in musicals as a child, then started writing her own songs in her early 20s.With the first album I was so nervous and didnt quite see myself as a musician yet, but aftertouring for two years, Ive come to feel like I deserve to be in that space, she says.Throughout Crushing , that sense of confidence manifests in one of the most essential elements of thealbum: the captivating strength of Jacklins lyrics. Not only proof of her ingenuity and artisticgenerosity, Jacklins uncompromising specificity and infinitely unpredictable turns of phraseultimately spring from a certain self-possession in the songwriting process.As I was making this album there was sort of a slow loosening of pressure on myself, Jacklin says.Thereve been some big life changes for me over the last few years, and I just found it too tiring totry to cover things up with a lot of metaphors and word trickery. I just wanted to lay it all out thereand trust that, especially at such a tense moment in time, other people might want to hear a littlevulnerability.
Apr-25-19 07:00 PM Girlpool with Hatchie, Gemma
The music Cleo Tucker and Harmony Tividad release as Girlpool occupies a transient space. Their constant evolution makes it perfectly impossible to articulate exactly where their project falls within the contemporary musical canon; this is one of the many reasons Girlpools music is so captivating.Never before has a groups maturation been so transparently attached to the maturation of its members. This is due in large part to the fact that Girlpool came into existence exactly when Girlpool was supposed to come into existence: at the most prolific stage of the digital revolution. Both online and in the flesh, Tividad and Tucker practice radical openness to the point where it may even engender discomfort; this is exactly the point where it becomes clear why theirs is such a special project: they accept the possibility of discomfortChaosand show you how to figure out why you might feel it. This is achieved through their ability to empathize as best friends and partners in creation, with the intention of making music that provokes. They met in November of 2013, and released their self-titled EP just 3 months later. Both were playing in multiple bands at the time. Harmony was 18. Cleo was 17.The growth they have fostered in one another over the years explains the projects disparate discography; each record is a photograph of Girlpool, growing over time. Their roots are a certain shade of punkorganized chaos dressed as earworms. Where You Sink, one of the first singles off their upcoming record, What Chaos Is Imaginary, gives you an idea of how much things have changed since 2014.Its not all good.I was experiencing a lot of mental health issues, says Tividad of the title. That song comes from a place of being disconnected from reality. The world is so complicated. It's hard to believe in magic, or that anything exists. Notice the order: magic, then the principle existence of things. A peak into Harmony.Though it is the 3rd track on Girlpools newest record, Where You Sink was written at a time when the two were living in different states on the East Coast. It proved to be a period of immense change for the both of them; each focusedmore than they ever had beforeon their solo music.Before, we would build our songs together with four hands, from the ground up, says Tucker, referring to the songwriting process that produced the debut EP and 2015s critically acclaimed follow-up, Before The World Was Big. Our songs used to be intertwined in a different way. We brought our separate experiences to the songs that we crafted together, we valued understanding that they were multidimensional.Their solo work consistently breathes new life into Girlpool. The two have since become comfortable with the process being more independent, more fluid. They both take part in the production and arrangement of the music, but theyve strayed from beginning hand in hand in every instance. They connect somewhere along the way, working together when it feels right. Discussing the new process, Harmony says, Its helped me find validity in parts of my writing I found to be unapproachable. I thought my stream-of-consciousness was unsophisticated. Theres probably a great pun available re: shedding self-consciousness to release a more sophisticated stream-of-consciousness. In any case, What Chaos is Imaginarythe record and the songis what the stream looks like when self-consciousness is shed.Where Harmony embraces chaos, Cleo organizes it. Its hard for me to feel completion without achieving a vision that I have. Ill imagine the kind of climate I want to create inside a song, says Cleo of his process. Once I fall in love with the direction, its getting there that can take time. Finishing a song may take time and even prove to be difficult for him at times, but the product is invariably polished. Considering the near-perfect balance in the songs on What Chaos is Imaginary, their dynamic makes sense. It took a really long time to record this record. It feels like a photograph of a very transitional time.What Chaos is Imaginary is a collection of songs unlike any Girlpool songs youve ever heard, exactly what Powerplant was to Before The World Was Big. For the first time, it is clear who wrote what song. 2019 will see drum machines and synthesizers and beautiful/new harmonies and huge guitars and at least one orchestral breakdown by a string octet.It was invigorating playing stripped down and raw when Girlpool began. As we change, what gets us there is going to change too.Its hard to imagine what might follow What Chaos is Imaginary. Girlpools growth has a steady momentum forward, towards something greater with every stride that they take. By the time the record comes out, theyll be far from here, wherever here is.
Apr-26-19 08:00 PM Lolo Zoua with Jean Deaux, Chloe Lilac
The Paris-born, San Francisco-raised singer-songwriter released her breakout single, "High Highs to Low Lows," at the end of 2017, which received millions of plays across streaming platforms -- and was selected as the number one track of Spotify's Fresh Finds Best of 2017 playlist.Lolo Zoua followed up the success of "High Highs to Low Lows" with her latest single, "Blue," released Jan. 17th, 2018. In its first week, "Blue" has over 200,000 streams across all streaming platforms.In 2017, Lolo received the Songwriters Hall of Fame Abe Olman Award for excellence in songwriting and landed her first major writing placement on H.E.R. Vol.2 with the song "Still Down." She was also selected by Milk Studios as 2018's Most Likely to Make a Name for Herself.Lolo Zoua is 100% independent, and has been working with a small creative team from KidSuper Studios as she finishes her debut EP -- due out later this year.
Apr-27-19 08:00 PM The Murlocs with Moonwalks
Five fellas with roots firmly placed in their own blown-out, distorted demented dance party brand of soulful RnB. Formed in the end of November 2010 and originally from the coastal town of Ocean Grove the group has since gone on to play such music festivals as Meredith, Queenscliffe, Boogie and Falls. As well as supporting such acts as Gary Clarke Junior, Mac Demarco, Ty Segall, Thee Oh Sees, The Pixies, Earthless, Stephen Malkmus and The Jicks, Wavves and King Gizzard and the Lizard Wizard.
Apr-28-19 08:00 PM Deerhoof with CUP, Blank Spell
Satomi Matsuzaki plays bass and sings, Greg Saunier plays drums, John Dieterich and Ed Rodriguez play guitars. But what is Deerhoof really? Hell if we know. Pitchfork went so far as to label Deerhoof as "the best band in the world. From their humble beginnings as an obscure San Francisco noise act, they've become one of indie music's most influential bands with their ecstatic and unruly take on pop.
Apr-29-19 08:00 PM AJR
Apr-29-19 08:00 PM AJR Tickets (16+ Event)
Apr-30-19 07:00 PM Missio
May-01-19 08:00 PM Bea Miller
May-02-19 07:30 PM The Bright Light Social Hour with Walker Lukens
From great tragedy comes great art. Or, at least, thats the hope. In creating their new albums, Jude Vol. Iand Jude Vol. II, The Bright Light Social Hour found making music to be a healing, cathartic process after the band was deeply shaken by grief. In 2015, around the release of the Austin groups second album Space Is Still The Place, Jackies brother Alex, the bands manager of four years, was deep in the delusional throes of severe andsudden bipolar 1 disorder. It was a time of immense stress and intensity for the musicians, who began writing songs for a new album in their home studio on LakeTravisas Alex spiraled. The songs took a turn when Alex took his own lifeon the shore of the lake, witnessed in its aftermath by Jackie. It was a terrible thing, but it was also the most beautiful thing Ive ever experienced and probably will ever experience, Jackie says. This was all happening as we started the record. Not all the songs are about Alex, but I think even the ones that arent all have a bittersweet mix of overwhelming beauty and terrible loss. The music deals with theripplesit causedin all of our lives, especially in our relationships, with an underlying theme of trying to wrap our heads around all of this.The contiguous albums, titled after Alexs middle name, areabout what it means to lose someone and then be left to pick up the pieces. Theyreabout relationships and politics and confronting your own emotions head on. Because of these intense thematic cores, the musicians searched for a more streamlined way to express themselves in song. WhereSpace Is Still The Placeis cloudyand filled with distortion, Jude Vol. Iand Jude Vol. IIseek clarity and clean, boldlinesamidst the haze. There are elements of shoegaze, drawn from bands like My Bloody Valentine and Slowdive, as well as Krautrock and New Wave, resulting in dreamy textures with distinctarticulations of emotion right beneath the surface. In November of 2017, the band droveto Los Angeles, armed with 18 songs that confronted their feelings of grief and loss, and spent several months recording in Sunset Sound with producer Chris Coady (Beach House, Slowdive, Yeah Yeah Yeahs).There they narrowed the tracks down to 14 and found inspiration in the historic studio. Being in such an iconic space really made us rise to the occasion, Jackie notes. Itfelt like wehad to make something that might be smiled upon by all the spirits of the amazing artists like Prince and The Doors who have recordedthere over the years.It was the smoothest recording process I think weve ever had, Curtis adds. Its not usually particularly fractious, but weve done a lot of our past recordings ourselves and were constantly second guessing ourselves and our work. Having Chris as a producer and an engineer and helping us guide the project really enhanced the teamwork aspect of making the record. We really trusted and leaned on each other, but alsoallowed everyone a lot of space to do our things. It felt like all four of us were really dialed in to the band and trying to push ourselves in new ways. The session yielded two separate albums, each with seven tracks. The first volume faces the immediate violence of Alexs death and attempts to understand the resulting emotions, while the second volumeaccepts and appreciates the beauty of it all, eventually finding gratitude. The final two songs on Jude Vol. Iare the center-point of everything, beginning with the melancholy haze of My Boy and flowing into the buoyant shimmer of Swimming Out. My Boy detailswaking up every day and trying to deal with the idea that this person is no longer here, Jackie explains. We relied on him so much for guidance and now were trying to carry on without his guidance. Swimming Outis an answer to that, imaging Alex in the afterlife. He had no problem holding back his thoughts, especially when he saw something that wasnt right, so its this idea of him being in this peaceful afterlife and having suggestions for how it could be better.The rest of thesongs on Jude Vol. I, which follows the bands recent EP Missing Something, take on related, but less direct responses to Alexs death. She Wanna Love You, which layers vibrant synthesizers over each other, confrontsthe challenges of submitting to apartners love (If you can just accept it, then it will set you free, Jackie notes), whileLie To Me examines the ease of accepting outrageous lies told by the powers that be. It was the latter that really set the aesthetic tone for the rest of the album. It has these very clean and modern lines, Curtis says. Theres less work to do to go in and find the emotions. This song really set a good precedent for developing the rest of the songs.For The Bright Light Social Hour, who have evolved significantly since they started as an art rock collective in college in 2004, these songsbring clarity to the chaos of emotions that can come after a loss or a heartbreak or a tragedy. The band, who have toured extensively, including festival stops at Austin City Limits and Lollapalooza, found a way out of their grief in the years that followed Alexs death by focusing on the music. Listening to the heartfelt, evocative songs on Jude Vol. Iand Jude Vol. IImay be able to do the same for those who hear them. I hope that this album can help untangle these feelings of grief for others, Jackie says. You can have feelings of fear and great relief and despair and anger all mixed in. These songs hopefully encapsulate that plethora of emotions in facing death head on, which is something thats so intense and painful. But when you go through it, you learn that without death there is no life. In the end, its not a scary thing we should be afraid of.