Wed September 28th, 2016
Minimum Age: 21+
Doors Open: 7:00PM
Show Time: 8:00PM
Event Ticket: $12
Day of Show: $14
**This is a general admission event at Good Room (Main Room): 98 Meserole Ave, Brooklyn, NY 11222**
Crushed Out’s songs have been featured in VICELAND’s King of the Road, MTV’s Finding Carter, web clips by Clifbar, ESPN, Big Star Jeans, and heard in skateboard videos by Thrasher Magazine, The Berrics, Element Skateboards, and Nike. They’ve toured with Shakey Graves, Band of Skulls, Jon Spencer Blues Explosion, Social Distortion and Joan Jett. They are looking forward to a European tour Spring 2017.
High Waisted is a NYC based surf band with pop sensibilities and an affliction for rock and roll. Every show is a party. Lo-fi fuzzy bass, reverb drenched guitars and radiant harmonies mesh to create the melodies of your wave-crashed daydreams. Fronted by Jessica Louise Dye, and backed by three long haired hunks, her quirky 60’s garage rock aesthetic is re-imagined from the nose of a surfboard making High Waisted feel like a summer’s dream. Still new to the scene, this group has quickly caught the attention of the blogosphere with their “incredibly solid, sunny pop songs and well-written vocal hooks. Dye sings with an easiness that disguises how technically demanding the parts are. Translation: girl can sing, and she does,” (Brooklyn Vegan).
High Waisted on Tumblr
High Waisted on Soundcloud
Caged Animals is the strangely life-affirming bedroom project of songwriter Vincent Cacchione, a New Jersey-born Italian living in Brooklyn. Known previously for the noirish folk-rock of his former band Soft Black, Cacchione carries a strongly traditional gene in his brand of glitch-friendly pop, the love of songwriting. Describing their sound as, both Underdog Pop and Existential R&B Caged Animals walk the line between artsy and accessible in an honest and attainable manner.
Their new album In The Land Of Giants was written and recorded over a two year period in Brooklyn, NY. “The idea,” according to principle songwriter Vincent Cacchione, “was to imbue computer-music with something human, to inject digital sounds with a soulful, uplifting sentiment.”
For Vin this process began as a reaction to his work with Soft Black. Sparked after the untimely death of Vin’s father, a New York-based stand up comedian, who set Vin down the creative path, Soft Black dealt heavily with issues of loss (2007′s Blue Gold), nightmares (2009′s The Earth is Black) and interpersonal demons (the yet to be released The Witching Hour).
“I had just spent three years writing a record called The Witching Hour and though I loved the work there was a huge part of me that felt guilty letting other people hear it. It all seemed to dark and I didn’t want to cloud anyone else’s life by letting them in on these feelings I had gone through.”
The writing of In The Land Of Giants was born from this reaction.
In most cases the songwriting took place very quickly. Cacchione’s principle asset remaining intuitive and direct. “I wanted to make a record that would speak to people in a simple language. Something honest that was deliberately not above anyone’s head and that would hopefully leave people in a good place.”
To allow this process to come to fruition Cacchione became meticulous about sheer recklessness.“I can easily become the type of person that will endlessly edit and craft something. I care so much about music and sometimes it’s my biggest flaw. My saving grace is that this type of thinking rarely produces any music that I love. To me it’s got to be there in that moment of pure emotional release from the beginning, otherwise you’re just working with numbers and theories.” This is clearly a similar principle that guided Caged Animals debut “Eat Their Own,” which featured 12 pop songs born entirely of recorded improvisation.
To find these songs Cacchione set about on a creative treasure-hunt, composing dozens of new ideas before unearthing what would become the album. “Most of the songs that made it to the record weren’t written by me,” explains Vin, “I almost feel like they were whispered into my ear by something entirely external.”
The production and arrangement of In The Land Of Giants was made of an opposite concept, however. Stretching out over a year-and-a-half long period, Cacchione set about on a self-immolating schedule to deliver the songs in their most idealized form. This workload would take its toll on his mental and physical health as well as his domestic and family relationships. “It was a complete obsession,” explains Vin, “I had just received my first publishing check, I knew I had some people that had faith in me and I wanted to prove them right.”
History has shown that this is an area that could easily lead to mistakes or madness, but thankfully for Vin he had some kind friends to help steer him out of the woods. The presence of Caged Animals strong live band is a welcome addition to the album in this regard. The drumming of Patrick Curry, vocals of Vin’s partner, Magali Charron, bass playing of his sister Talya, and multi-instrumentalism of Andrew Hoepfner, all added a kaleidoscopic excitement, and ultimately helped guide the album to finality.
“For me this was about delivering something classic in a modern way,” says Cacchione, ” I was after something similar to artists like Chad Van Gaalen, James Blake, Frank Ocean, or Majical Cloudz.”
Although these may have been the modern touchtones, Caged Animals musical palette stands entirely on its own. In The Land Of Giants houses a very natural feeling in this regard, most similar in some respects to the early work of John Lennon.
Thematically it deals a lot with faith, the big as seen by the small, and reaching toward a higher spiritual plane. It’s an underdog record built with old designs and new wood. As cosmic as it is rooted in the dirt, as sensitive as it is bombastic, entirely unselfconscious in its emotions.
The tracks are decorated with vibrant noise attacks, outbursts of saxophone and theremin, and the dulcet tones of celeste and vibraphone. But it’s the ghostly synthesizers, hip-twisting electronics, and intimate vocals that really cut to the core of its sound.
Cacchione’s lyrics are insightful and deserve a closer inspection. In some regards In The Land Of Giants feels like a concept record, a collection of tracks that, without any visible level of pretension, manage to inspire something quite literate.
In The Land Of Giants is ephemeral as it is visceral. Songs of spiritual yearning and idealism like“What You’re Looking For” and “Stop Hurting Each Other,” seem perfectly positioned dissolving into the disorder of “Cindy + Me’s” digital Bonnie & Clyde.
On tracks like “The Sound Of Thunder,” “We’re Playing With Fire,” “Too Much Dark” and “In The Land Of Giants,” Cacchione proves the albums point most concisely, this is a grown-up Pop record from an artist that is not afraid to risk being seen as uncool in order to deliver something genuine, a record that finds the beauty of love in the most unlikely places (“The Mute + The Mindreader,” “U + Yr Rocketship,” “A Psychic Lasso”) and plays very well at night (“Tiny Sounds”).
While Cacchione admits that this is the most spiritual record he’s ever made. This is more of a gospel record for the unidentified believer then it is anything specific. While it makes some very honest and idealistic statements the ball is left on the listener’s side of the court. Vin is just hopeful that he didn’t bum anyone out.
Prima is the rock project of singer-songwriter Rose Blanshei, who tells cinematic, emotionally exact stories in a bold, vital style. Blanshei’s voice sears with a ferocity and exactitude which recalls a young PJ Harvey or Patti Smith, while her melodies can insinuate the smokiness of torch singers past, even chanson. Helped by driving rhythms and angular guitar voicings, these songs build and churn towards terrifying heights, or hang back with a cold stare.