With Young Magic’s recently released debut album Melt now gracing the shelves of stores throughout the world (it is set for release in Australia / New Zealand 30th March 2012) the NYC-based outfit are gearing up for a full year of touring, taking in some of the many cities the debut was recorded in.
2011 was a busy one for the ensemble, comprising of Melati Malay, Isaac Emmanuel, and Michael Italia, who assembled their debut album from various recordings created whilst traversing the four corners of the earth.
Completing the debut mid-year for Carpark Records, the band began playing live, traveling to Iceland as part of the Airwaves festival, performing at CMJ in New York, and touring as main support for Youth Lagoon nationally throughout America and Canada in November.
February 2012 saw the release of Melt with the likes of NPR, Pitchfork, XLR8R, and BBC amongst a plethora of other publications and blogs singing the album’s praises. Remixes quickly surfaced online including cuts by S. Maharba, Matthewdavid, and Albert Swarm, all offering their interpretations of various tracks that appear on Melt.
Keep an eye out for tour dates throughout America, opening for Korallreven, a heavy SxSW schedule followed by dates with Bear In Heaven before Young Magic head over the Atlantic in May for their first European tour.
Melt, the stunning debut from Young Magic, is in stores now. Get your hands on the record, featuring Leif Podhajsky’s breathtaking cover art, on either vinyl, cassette tape, compact disc, or digital download, and let the music speak for itself.
Bevan Smith was born in New Plymouth in 1974. He has been recording and releasing music as Aspen and Signer since 1998. His earliest releases were on his own label Involve, but his music he been sought after and released by many international labels. At present Signer is released on Carpark records US, home of Dan Deacon, Panda Bear, Beach House. He has toured many times throughout Europe, UK and the US. He has composed for TV, Adverts, Theatre and FIlm most notably the Bafta winning ‘Touching the Void’ in 2004.
As well as working on solo projects Bevan has also written and produced albums with several bands. He worked on two albums with Nik Brinkman as ‘Over the Atlantic’ and on three albums with Matthew Mitchell as Skallander. Skallander were signed to UK based label Type records in 2006. At present he plays in Skallander and The Ruby Suns who release on Sub Pop.
Memory Tapes is the project of musician Dayve Hawk. Growing up in New Jersey, Hawk retreated into his obsession for music at an early age. He began playing drums at the age of nine, but was inspired by his makeshift vinyl collection of the Beatles and David Bowie to begin writing songs, recording homespun guitar tunes on a toy karaoke machine. Over the next decade, he recorded hundreds of tracks alone in his parents’ basement – never going to shows, never playing in bands and rarely sharing the demos. After years of building synthesizers and recording tracks at home, while working the overnight shift at a grocery, store Hawk was convinced by fellow coworker Matt Maraldo to form the Philadelphia-based dance-punk act Hail Social in 2005. The band released two well-received albums and embarked on international tours, giving Hawk an exposure to youth culture and an expansive music scene he hadn’t experienced outside of his insular home recordings.
When the band broke up, Hawk moved back to rural New Jersey. With a newfound interest to share his music with a larger audience, he started a blog to post his new tracks, recorded under the trio of aliases Memory Cassette, Weird Tapes and Memory Tapes. The hazy electronic tracks began to circulate around the internet, as well as his buzzed-about remixes for songs by the Yeah Yeah Yeahs, Peter Bjorn & John and Britney Spears.
After releasing a Memory Cassette EP, Hawk officially adopted the Memory Tapes moniker and released his debut LP, Seek Magic, in September 2009. With the Memory Tapes project, Hawk fleshed out his vision of experimental electronic music based on field recordings, and Seek Magic was greeted with praise from critics, landing at #23 on Pitchfork’s top albums of 2009. In 2011, Hawk followed Seek Magic’s success with his second full-length Player Piano, a record that adopted a fuller band sound in its Motown inspired treatment. Memory Tapes also earned a Grammy nomination for Best Short Form Music Video for the Player Piano single “Yes I Know.”
In October 2012, Hawk announced his third release “Grace/Confusion,” which will be released on December 4, 2012.
Midwesterners often feel obligated to apologize for/complain about their landscape. Chicago’s Light Pollution does not. The contrasting feelings of wonderment and isolation evoked by the frozen Midwestern plains deeply pervade their sound.
23-year-old songwriter James Cicero grew up in the suburbs of Chicago, the son of Italian and Spanish Catholics. His grandfather was a poor trumpet player, and his father a strict military man. As a result, when Cicero bought his first guitar at the age of seventeen, his father took to locking it in the attic. Cicero left for college in Dekalb, IL, met drummer Matt Evert, obsessively wrote songs in class, and soon dropped out. Over the following years, the two honed their skills and sensibilities, eventually acquiring Nick Sherman and Jed Robertson; evolving into what is now Light Pollution.
Cicero wrote the album over the course of a long, stoned, agoraphobic winter spent isolated in a heatless warehouse west of Chicago. In a piss-poor living environment, filled with anxiety, he removed himself from the outside world and sought spirituality in seclusion. Lyrical themes developed within the warehouse walls. Various apparitions were translated into long ambient tape and synth drones. Dreams of the Virgin Mary resulted in late night sessions on an old church organ.
These strange happenings resulted in Light Pollution’s devestatingly beautiful and spiritually heavy debut album, “Apparitions.” Swirling analog synths, shimmering arpeggios, and washed out tape noise are embedded into combinations of 90’s shoegaze, chill-wave and vocal psych-pop. Thanks to a unique blend of hi-fi and lo-fi tracking and their Midwestern demeanor, they are able to create hazy, psychedelic, layered sounds that set them apart from recent waves of lo-fi pop bands.
Light Pollution released Apparitions on 6/8 via Carpark Records. The band has been on tour recently with Phantogram, A Place To Bury Strangers, and Memoryhouse, as well as various dates supporting the likes of Deerhunter, Best Coast, and Mike Snow. Light Pollution will play Forecastle Festival (featuring the Flaming Lips, Massive Attack, Spoon, Devo, etc.) as well as upcoming shows with Small Black, Glasser, and Delorean.
In 2009, Cleveland’s Dylan Baldi began writing and recording lo-fi power-pop songs in his parents’ basement, dubbing the project Cloud Nothings. His music quickly started making the Internet rounds, and fans and critics alike took note of his pithy songcraft, infectiously catchy melodies, and youthful enthusiasm. Baldi soon released a string of 7”s, a split cassette, and an EP before putting out Turning On—a compilation spanning about a year’s worth of work—on Carpark in 2010. January 2011 saw the release Cloud Nothings’ self-titled debut LP, which, put next to Turning On, found Baldi cleaning up his lo-fi aesthetic, pairing his tales of affinitive confusion with a more pristine aural clarity. In the interval since the release of Cloud Nothings, Baldi has toured widely and put a great deal of focus on his live show, a detail that heavily shapes the music of his follow-up album, Attack on Memory.
After playing the same sets nightly for months on end, Baldi saw the rigidity of his early work, and he wanted to create arrangements that would allow for more improvisation and variability when played on the road. To accomplish this desired malleability, the entire band decamped to Chicago—where the album was recorded with Steve Albini—and all lent a hand in the songwriting process. The product of these sessions is a record boasting features that, even at a glance, mark a sea change in the band’s sound: higher fidelity, a track clocking in at almost nine minutes, an instrumental, and an overall more plaintive air. The songs move along fluidly, and Baldi sounds assured as he brings his vocals up in the mix, allowing himself to hold out long notes and put some grain into his voice. Minor key melodies abound, drums emphatically contribute much more than mere timekeeping, and the guitar work is much more adventurous than that of previous releases.
For all of early Cloud Nothings’ fun and fervor, Baldi admits that it never sounded like most of the music he listens to. With Attack on Memory, he wanted to remedy this anomaly, and in setting out to do so, Baldi and co. have created an album that shows vast growth in a still very young band.