New York-based experimental pop troupe Dirty Projectors just released a new track, “Buckle Up,” that will be released as a tour-only 7″ single. The band will be giving copies away at their shows this summer, and is asking fans to follow it on Twitter, where it will tweet a password an hour before doors for each concert. The band plays Philadelphia on September 1 for the Made in America festival, and you can hear the new song below.
Lucy Stone is a 20-year-old Drexel Music Industry program sophomore who has recorded with Rusted Root, opened for Dirty Projectors and played with numerous Philadelphia area bands since she was 14 years old. Now she and her band are opening for Gold Motel tonight at the North Star Bar where they will be selling a limited number of copies of their new EP, Small Treasures. We recently talked to the local songstress to get the details on how she got into playing music, what is was like cutting her teeth in the Philly music scene as a teenager, her various musical collaborations, recording the new EP, what to expect from her band’s show tonight, and what’s next for Lucy Stone. Continue reading
In just a few words, Swing Lo Magellan (out today on Domino Records), is an exceptional, brilliant album. From the stark rock mind of David Longstreth, Dirty Projectors‘ seventh studio album brings out uncontrollable energy and fizzing tunes that explore a variety of musical outlets. Opening with monotone humming in “Offspring Are Blank” the song develops into a spring of sweet, delicious “oohs,” followed by something reminiscent of a rock opera. For an experimental band, Dirty Projectors unexpectedly emerge with infectious songs. Their previous album, Bitte Orca showed bits of Eastern influence like the song “No Intention” with mystical finger picking on the acoustic guitar and soft, calm “ahh”s from background singers Amber Coffman and Angel Deradoorian. It was also subtle and folk-y at times, whereas Swing Lo Magellan is much more of a playful, instrumental record and even crosses into the boundaries of electronic rock. The song, “Just From Chevron” definitely reminds me of Minus the Bear and its bountiful use of electronic bips and beats. Other songs such as “Dance for You” recall the likes of The Beatles with perfect, low-toned harmonies from Longstreth, but with a string section solo in the middle. Each piece on this album is different from the next, which can usually serve as a good or a bad thing. In the case of this album, it evokes a metropolis of love, intrigue, and desperation – a fresh outlook of music in the modern world. You can stream the album for free on the The Guardian and purchase the album here. Dirty Projectors are part of the Made in America Festival from September 1-3 along with Jay-Z, Passion Pit, Skrillex, Pearl Jam, and many others. You can buy your tickets to the festival here.
Take a look at the music video for the first single off the album, “Gun Has No Trigger”. The presence of David, Angel, and Amber emerge as silhouettes with sparks of realistic imagery.
Nat Baldwin’s music career has been as varied as it has been successful. He was a student of legendary composer Anthony Braxton. He’s been the bassist for The Dirty Projectors since 2005. He’s also released a handful of solo albums, including the new People Changes (due on May 24th on Western Vinyl). But how does the fact that he was the MVP of the New England Class C basketball tournament when he was in middle school fit in with all of that? Well, that award was on the front cover of his previous album, Most Valuable Player. Likewise, the video for his newest single, “Weights,” was shot on a Brooklyn basketball court. As it turns out, Baldwin loves the game as much as he loves music, and he sees the two as linked. Prior to tonight’s show at First Unitarian Church—and while he was driving from Charlottesville, VA, to Annapolis, MD, for a Cinco De Mayo cookout—The Key spoke with Baldwin about the connection between music and sports, the indie-music basketball scene, and the playoff struggles of his beloved Boston Celtics.
The Key: The Celtics are down 2-0 to The Miami Heat. Any thoughts or predictions?
Nat Baldwin: They’re looking kind of beat up right now. But I’m excited that they’re going back home on Saturday. Yeah, I’m hoping they can get it back—but the Heat are looking tough.
TK: You think the Celtics have a shot?
NB: I’m a little nervous about it.
TK: Wow. You always sound so confident about them in interviews.
NB: Regardless of how loyal and dedicated a fan I am, I think—when you’re looking at any team with as much experience as the Celtics—you can never rule them out. A lot of people are saying they’re done, but the Heat just protected their home court, which is what they’re supposed to do. Hopefully the Celtics will be able to do the same, and we’ll be able to steal one in Miami. We’ll see. I’m definitely not ruling them out. It was a tough couple of games.
TK: You have any thoughts on the Sixers?
NB: I like the Sixers. They have a cool young team. I like Doug Collins a lot as a coach. I like [Andre] Iguodala. He was actually on my fantasy team for a little while.
TK: Are you a big fantasy sports player? How did you do this year?
NB: I didn’t do that great. I wasn’t terrible. This was my first year doing it. I really liked it. It kind of took over my life. [Laughs.] But it’s fun.
TK: The album cover for the new record, People Changes, is a picture of you shirtless and holding a basketball. Was that contrived, or were you really walking around shirtless, with a basketball, in an overgrown court?
NB: It was contrived. [Laughs.] I wanted to do some kind of portrait shot and I was in Chicago with my friend David Sampson, who’s an awesome musician and photographer. We were walking around and we found that weird little field in Chicago. We snuck through a fence to get in there and just started taking some photos. And we actually found the basketball in the field. So that was just a sign. That had to be included in the photo. And of course we did a bunch of different kinds of ones. The idea wasn’t for it to be a shirtless photo. We had a bunch of different options. That one seemed to work the best. It just sort of made it weirder and that’s why we chose that one. It was fun to do.
How much can you learn from several rows’ worth of bobbing heads in front of the stage during a Dirty Projectors show? More than you’d think. (For starters, avant-pop is surprisingly popular among the backward-baseball-cap-wearing crowd.) But perhaps the biggest lesson learned during Wednesday night’s performance at The Trocadero was that—despite Dave Longstreth’s impressive ability to combine noisy guitar skronk and high-minded musical concepts with more conventional songwriting techniques—Dirty Projectors’ blend of experimental indie-pop doesn’t lend itself to the kind of “oh-man-ARE-YOU-FEELING THIS” live experience many show-goers were apparently looking for.
The fact that tracks such as “Cannibal Resource” (from last year’s Bitte Orca)—with all their stop-and-start lurches and other rhythmic shifts—aren’t of the toe-tapping, head-bopping variety is hardly a revelation. But, when the band began playing that very song early into Wednesday night’s set, damned if those in attendance didn’t try to force it anyway. The result was reminiscent of, say, the scene at any given math-rock show in the mid-’90s: members of the crowd initially moving with the beat, getting lost, clumsily nodding out of step with the song, then standing still for a moment while trying to find the rhythm once again. Repeat that process during “Temecula Sunrise” and “No Intention”—two other big crowd-pleasers of the night—all the way through the rest of the band’s 80-minute set, and you get the idea.
The funny thing is—unlike the aforementioned math-rock bands of yesteryear—it’s not as if Longstreth is intentionally trying to trip his audience up for the sole sake of showcasing his considerable technical prowess. It’s more that Dirty Projectors’ music works as both intellectually challenging art-rock and crowd-friendly pop at the same time—simultaneously satisfying both the brain and the the body in two very separate ways, and creating an irreconcilable disconnect between the two. Yeah, we know that sounds like a bunch of bullshit, but seriously: The next time you see Dirty Projectors live, try telling the rest of your body to stop awkwardly moving on its own when “Stillness Is The Move” makes the jarring transition from the main riff to the bridge, and let us know how that works out for you. It didn’t go so well for the audience at The Troc two nights ago.
Photo courtesy of DHDesign
PLAYLIST: Happy Birthday, P!ink “P!ink—the biggest pop star ever to come out of Doylestown, PA, bigger even than Justin Guarini! (although we’re certain that if James Michener had tried his hand at songwriting he would’ve scored a #1 hit)–turns 31 today. Here’s a few memorable P!ink moments to celebrate the day” (Make Major Moves)
Q&A With Dirty Projectors’ Singer/Guitarist Dave Longstreth “Brooklyn indie-rock sextet Dirty Projectors, led by singer/guitarist Dave Longstreth’s eclectic, knotty songwriting—noisy skronk, skewed folk, straight-up pop/R&B, and proggy pseudo-funk sometimes occur all in the same tune—and the band’s absolutely heavenly three-part female vocal harmonies come to town in support of both this year’s Mount Wittenberg Orca EP (their collaboration with Björk) and last year’s critically acclaimed LP Bitte Orca. We caught up with Longstreth for a quick chat.” (Philly Weekly)
Breaking: City quietly cracking down on block parties “A little while ago, I was contacted by David Adams, block captain of the 900 block of S. 49th Street in West Philadelphia, who wanted to know why his permit application for a block party was denied this year by the city. Adams and others say the annual block party is a 45-year tradition, and that this is the first time anyone can remember that their permit request was denied.” (Philadelphia City Paper)
Four New FREE Songs Coming From Dr. Dog This Month “Dr. Dog—still touring behind this year’s acclaimed Shame, Shame—just found the time to record and mix four brand-new songs (none of the titles have been revealed yet) for your listening pleasure. We’re told that the band will be issuing them for FREE download via their Facebook page this month, although the first tune was supposed to be available yesterday but ‘technical difficulties’ have so far prevented that from happening.” (Make Major Moves)
Green Fest Philly This Sunday, September 12 “Green Fest is a free, one-day street fair that takes place at 2nd and South Streets and is dedicated to raising awareness of all things sustainable…The festival includes tasty vegetarian food, live music, activities for the kids, valet bike parking, free yoga and composting and recycling demonstrations. This year, the theme is fashion and so you’ll also see an Eco Exchange Fashion Show and Clothing Swap.” (Uwishunu)
Because nine tracks of the most challenging, impossible-to-pigeonhole music to recently fall under the general description of “indie rock” just isn’t enough, Domino announced last month that it will release an expanded two-disc edition of Dirty Projectors‘ critically acclaimed 2009 album Bitte Orca. The reissue (which drops on September 27) will feature live acoustic performances, B-sides, and a cover of Bob Dylan’s “As I Went Out One Morning.” In anticipation of the release—and in continued support of the band’s seven-song, digital-only Mount Wittenberg Orca EP (released earlier this summer)—the sextet is back on the road, including a stop at The Trocadero tonight; in an interview with Philadelphia Weekly‘s Michael Alan Goldberg, Dirty Projectors ringleader Dave Longstreth mentioned that tonight’s performance will include “a lot of Wittenberg stuff, Bitte stuff.” Good news for anyone who can’t wait a few weeks for the reissue to become available. Dirty Projectors perform with Owen Pallett at 7:30 p.m. at The Trocadero; tickets to the all-ages show are $15–$17.
Post-rock’s time in the big-indie spotlight may be but a distant memory, but Tortoise—one of the primary progenitors of the genre—still manages to keep itself relevant. The band’s most recent album, 2009′s (appropriately titled) Beacons Of Ancestorship, showcases John McEntire and Co.’s continued mastery of post-rock, while proving that there’s still plenty of new terrain for band to explore in the late ’00s and beyond. Tortoise performs with Grimace Federation, Greg Davis, and Ben Vida at 8 p.m. at World Cafe Live; tickets to show are $22–$35.