The Bowery Presents
Jukebox the Ghost

Jukebox the Ghost

Matt Pond PA, The Lighthouse And The Whaler

Fri, February 8, 2013

Doors: 6:00 pm / Show: 7:00 pm

Webster Hall

New York, NY

This event is 16 and over

Jukebox the Ghost
Jukebox the Ghost
Jukebox the Ghost is a band of musical survivors, a decade-strong trio that has carefully considered how to make a lasting statement while grinding out more than 150 shows a year. With their new self-titled album, Jukebox the Ghost unmistakably makes that statement… in the form of a big, lovable pop record. Jukebox the Ghost may be the tortoise in the race, but they’ve slowly, steadily made their way to the top.

Ben Thornewill, Tommy Siegel and Jesse Kristin had tossed around a few names for the album title between themselves but none expressed the confidence they had in the new material as much "Jukebox the Ghost". Everything is clicking on "Jukebox the Ghost," out Oct. 21 on Yep Roc: the intricate rock arrangements are juxtaposed with juicy sing-along choruses, and the whip-smart, searingly honest lyrics are delivered with beaming confidence and irresistible warmth. By looking at themselves in the mirror -- Thornewill calls the album a "self-evaluation," while Siegel describes it as a "reinvention" -- Jukebox the Ghost has come up with its strongest album to date, and easily its most accessible.

"After the work and care we put into the songs, in choosing them and arranging them, by the time it was finished, we all came around to feeling like this record is who we are," says pianist-vocalist Thornewill.

Instead of hurrying through the follow-up to 2012's "Safe Travels," the trio took its time piecing the track list of "Jukebox the Ghost" together, coming up with 50 demos over a 10-month period. There was only one goal, and it was uncompromising: to mine the best songs of the group's career.

“Even after the song selection was done, we really took a closer eye at the arrangements than ever," Siegel says “As a result, the instrumentation is a pretty big departure from anything we’ve done before. We tried to step outside of the guitar-drums-piano box and do whatever textures seemed to fit for each individual song.”

"Jukebox the Ghost” is the band's fourth album, its second produced by Dan Romer (A Great Big World, Ingrid Michaelson), and its first with additional production by Andrew Dawson (Kanye West, fun.). Unleashing more catchy melodies in its first six tracks than one might expect to hear from a career pop artist's entire catalogue, there is ample proof on "Jukebox the Ghost" of how fierce the paired songwriting powerhouse that is Ben Thornewill and Tommy Siegel, combined with Jesse Kristin's razor-tight and musical drumming, has become after years of road and studio experience. Trading multi-song suites and theatrical turns commonly featured on previous Jukebox records for the song format it knows best, Jukebox the Ghost's self-titled album is curated as an unapologetic pop record start to finish. Yet, one hears the band taking bold risk and adventure.

While lead single "The Great Unknown" soars with anthemic rock adrenaline that stays close to the band's long-honed piano-rock sound and has seen the band's highest success at alternative radio, the songs "Made For Ending", "Sound of a Broken Heart", and "Postcard" all take a different direction and combine the band's power-pop composition with R&B and hip-hop flair. Punchy drum samples and rhythmic synthesizers cast glitter upon Jukebox the Ghost's ever-strong songwriting core on "Jukebox the Ghost," making it the band's most modern-sounding and ambitious work. On "Girl" singer-pianist Thornewill showcases his soulful vocal ability, powerful as ever, crooning over a steady mid-tempo number flush with snaps, a bass groove, and little else. The track "Postcard", produced by Andrew Dawson, throws Thornewill's confident vocals and punchy piano performance against a backdrop of lush synths and hip-hop-inspired grooves to create something truly new for the band. Uncharted territory doesn't stop there.

The nostalgic acoustic anthem "Long Way Home", features guitarist-vocalist Tommy Siegel and Thornewill trading lead vocals, an alternating-lead-vocal style used for the first time on a Jukebox the Ghost record. If that isn't enough new ground, for the first time, drummer Jesse Kristin provides lead vocals on "Hollywood" over a lounge-jazz piano prelude that quickly descends into punchy pop distinctive of the band’s past, but through a considerably new lens. Amidst so much studio experimentation, one of the most groundbreaking and exciting steps for the band while making this record, was (somewhat counterintuitively) playing less. Sparseness reigns supreme on the haunting vocal-and-Rhodes showcase "Undeniable You" and on the crushing album-closer "Show Me Where It Hurts", the latter of which features just Siegel's vocals, Thornewill's piano, and a heartbreaking string arrangement by producer Dan Romer reminiscent of his score for the Oscar-nominated film "Beasts of the Southern Wild".

"Jukebox the Ghost" arrives after years of accruing a diehard following while remaining one of the hardest-working live acts in music. The group's quirky songwriting and breathtaking performance skills have led the trio to share stages with Ben Folds, Jack's Mannequin, Motion City Soundtrack and Guster, while being one of Yep Roc's lynchpin artists since signing to the label in 2010. Jukebox the Ghost has dazzled on big stages, such as when the group rocked "The Late Show with David Letterman,” showcasing the vibrant pop-rock workout "Schizophrenia" on late-night TV.

After nearly a decade of incessant touring, recording, and hard work to establish a passionately devoted fanbase, Jukebox the Ghost has finally given its ghost logo, sketched during the first hours of the band’s existence, the album cover of it's proudest effort yet.
Matt Pond PA
Matt Pond PA
Matt Pond has already accomplished what fewrarely do. A career musician with a die-hard following that continues to grow with each album, and a resume that includes the title song for a motion picture soundtrack, a long running Starbucks holiday commercial with a hook that's always stuck in our heads, selling over 100,000 albums to date; his success is matched only by his prolific outpouring of talent. But Matt takes those things with a grain of salt, in 'Lives' he shows us what's really important.

With the new album, The Lives Inside the Lines in Your Hands, MattPond is stepping forward with striking honesty and humbling optimism and delivers his strongest work to date. And with this transformative record comes some distinct changes- removing the 'PA' that has accompanied his name for nearly a decade, his first official 'solo' release, and partnering with newlabel and longtime publishing partner, BMG Rights Management.

Matt Pond is able to slough off the dead skin, radiantly revealinghimself in his purest form- a feat many artists strive for, but rarely accomplish. The change symbolizes more than just coming out as an official solo act, it is also perhaps a symbol of letting go. Letting go of the places he's called home; he no longer belongs to Pennsylvania, or Brooklyn, or even thecabin in Bearsville, he is distinctly free from any earthly chains and whatremains is just Matt Pond. His final frontier is to "run wild within our clear blue minds" ('Human Beings'). The graceful departure gives Matt Pond both the freedom from, and acceptance of the limitations of being alive. The result is 'The Lives Inside the Lines in your Hands'.

'Lives' is an upbeat antidote to the pessimistic shift in the collective consciousness. It's an ode to the bittersweet reality that we are human, we are finite, and we are flawed. But in each song on this album, Matt Pond sources the beauty in all of it, even when it's not pretty, and delivers an indie rock album that's brimming with authenticity; Pond captures the sentiment perfectly in "Starlet": 'I know I know there's so much I don't know'. The album's first single "Love to Get Used", is a notably playful departure from what we've seen before. "Let's hang on to abandon and hope we lose control" Pond insists in the uptempo indie-pop track, "to be out in the open baby and let go of the ropes".

…And let go, he does. In a free-fall of spirit, Matt gets to the core of his own humanity, and we can't help but listen intently to see what he finds, because after all, it can sometimes be a frightening journey, a risk many of us aren't willing to take. "Hole in My Heart" strips down the frivolities and formalities that water down most songs about heartbreak, leaving us with a chillingly accurate, almost childlike description of the pain it causes, and a glimpse into the places he's stumbled in his own journey, when, as he puts it, "with eyes closed we dove into unknown". In the end, "The Lives Inside the Lines in your Hands" is a triumph against the paltry conditions we've all been forced to reckon with as a society. When times are tough though, art flourishes, and 'Lives' is ademonstration in how Pond is transcended by his art. "Someday I'll stop breathing," he says, "but I'll never stop singing."
The Lighthouse And The Whaler
The Lighthouse And The Whaler
The Lighthouse and the Whaler is a band from Cleveland, Ohio, though its name alludes to the waters off the coast of Massachusetts. Inspired by a theme from Moby Dick, the band's name alone is enough to make underpaid Literature teachers beam with pride.

It all started with two musicians -- Michael LoPresti and Aaron Smith -- who decided to collaborate in a field one sunny afternoon because that seemed nicer than playing in a basement. By the end of the day they had written their first song. They gave it a profound name: "The Field Song." When it was selected for a Paste Sampler CD, Aaron and Michael decided to make a proper run at it.

The Lighthouse and the Whaler released a four-song EP in 2008 and a self-titled/produced/released album in 2009. Two songs from that album -- "White Days" and "Under Mountain, Under Ground" -- found their way to TV and radio. With more fans to play for, The Lighthouse and the Whaler hit the road and toured across America. Somewhere between Boston and Seattle, the band picked up three new members -- Matthew, Mark and Steve – thereafter, fulfilling the prophesy that was to be five young men stuffed in a forest green Chevy Venture, searching for open ears and loyal hearts.

The Lighthouse and the Whaler plays indie-pop and does not believe that genre labels tell you anything you need to know about a band. It has nevertheless caught the attention of MTV, Paste, FILTER, Spinner, Under the Radar, Daytrotter, KEXP and other media outlets that cater to indie-pop music fans.

The Lighthouse and the Whaler has performed at venues and festivals like The Rock'n' Roll Hall of Fame, SXSW, House of Blues, Pop Montreal, Shubas and Rockwood Music Hall, though its favorite show to date took place in the attic of an old bookstore. The band has shared stages with Sufjan Stevens, The Temper Trap, and The Dodos, and shared blankets while sleeping in its donated mini-van, inappropriately named Rihanna.

John Richards of KEXP called The Lighthouse and the Whaler his new favorite band. He may be the smartest man on the planet.
Venue Information:
Webster Hall
125 East 11th Street
New York, NY, 10003
http://www.websterhall.com/