Young Magic is Jakarta born Indonesian-American vocalist Melati Malay, and Sydney-born songwriter-producer Isaac Emmanuel. The pair met in New York City in 2010 and began collaborating above a speakeasy in Brooklyn. Alongside original member Michael Italia, the trio signed to Carpark Records (Toro Y Moi, Beach House, Dan Deacon) on the strength of one single (Sparkly/You With Air) and a wave of positive press. Touring in Europe and North America began after a series of limited edition 7″ releases in 2011. The following year brought new visibility, acclaim, and artistic achievement with the release of the group’s full-length album debut, Melt.
Melt was recorded in Mexico, Argentina, Brazil, U.S.A., Spain, Germany, Iceland, Australia, and the U.K. while band members travelled independently, collecting field recordings and documenting their experiences. The New York Times described the album as “lush and immersive…it summons an elusive mood of longing among the sonic wonderment.” About Melt, the BBC wrote, “like a beat poet racked by drink addiction; music that waxes and wanes, and explodes; and a great spirit which, rather than confine itself to basements and bedsits, aims its sights on the heavens. An exquisite new breed to behold.”
The band became quickly known for their percussive, cinematic style, as well as collaborations across film, music and visual arts with artists as such as Purity Ring, Leif Podhajsky, and Angus Borsos. Pared down to a duo with varying live collaborators, Young Magic toured the world in 2013 and 2014, including performances at Lowlands Festival, Iceland Airwaves, Berghain, Austin Psych Fest, and the Brooklyn Museum.
The duo’s ambitious second album, Breathing Statues, was released in 2014. Recorded in Morocco, Paris, Prague, Australia, and Iceland, the album gracefully dives headfirst into a more delicate, personal world of sound. AllMusic described Breathing Statues as “far bigger and more polished than their debut…evokes ’60s exotica and ’90s trip-hop with a hypnotic groove that feels like it could go on forever.” Q Magazine wrote: “Alternately dreamlike and arresting, they’ve discovered a formula that realizes the sonic sorcery always suggested by their name.”
In 2015, Young Magic released Remixes Vol. 1—a pay-as-you-feel charity album, with all proceeds going to the Aboriginal Benefits Foundation, an organization facilitating health and arts projects in Australian Aboriginal communities. Contributors included Roland Tings, Teebs, The Acid, Matthew David, and Basquiat’s musical partner, Nicholas Taylor of Gray.
The same year, Malay returned to her birthplace of Java, Indonesia, to begin work on a new collection of music. She rented a small shack by the water and spent her time gathering field recordings and collecting stories from her families’ history. The result is Young Magic’s most breathtaking album to date, Still Life, released on May 13, 2016.
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. Inspired by his makeshift vinyl collection of The Beatles and David Bowie, he began 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, along with 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.”
Grace/Confusion, an experimental album of far-out pop hooks and epic instrumentals, was released in Dec. 2012. In an 8 out of 10 review, Spin called the LP “warm-blooded, definite, vulnerable, exposed.” Hawk returns on March 31, 2015, with a back-to-basics approach: a quickly recorded two-song digital single, Fallout / House On Fire.
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.
Cloud Nothings was founded in a Cleveland basement, the one-man recording project of Dylan Baldi, an unassuming, then 18-year-old student of song with a breathtaking ear for melody. Prolific from the start, Baldi’s early work was rough but immediate: crudely recorded, spring-loaded spasms of Buzzcocks-informed pop that quickly found an online following among the lo-fi-inclined. When an opportunity presented itself to open a small show in Brooklyn, Baldi abandoned a still-in-progress final project to be there. The gamble paid off — he’s been touring ever since, using every available break to write and record more.
In 2010, Carpark unveiled Turning On, a retrospective introduction that combined early 7″ singles and the full-length debut (a limited release on cassette and vinyl) from which it took its name. The following year, Cloud Nothings made its proper Carpark debut with a thrilling self-titled LP that found Baldi in a studio for the first time, shedding the many layers of hiss and distortion that had once obscured (or enhanced) his every sugary hook. What followed was an unexpected breakthrough, 2012’s Attack on Memory, an album that very loudly (with the help of producer Steve Albini) announced the arrival of Cloud Nothings as the sound of more than just Baldi: Caustic and gargantuan, it marked the first time our young hero wrote with and for his longtime touring band, drummer Jayson Gerycz, bassist TJ Duke and since departed guitarist Joe Boyer. Touring intensified, rock critics slobbered, and the ceiling was raised considerably.
Enter yet another first: the highly-anticipated follow-up. Here and Nowhere Else is the sound of Baldi further realizing his potential not just as a collaborative bandleader but a singer as well. The sometimes frightening interplay that galvanized its predecessor is refined here, Baldi’s cyclonic guitar parts and Gerycz’s seismic drumwork more tightly clenched and nuanced than they’ve ever been before. It’s an album every bit as ferocious as what we’ve recently come to expect — only smarter.