The Bowery Presents
Mac DeMarco

Mac DeMarco

Amen Dunes, Juan Wauters, Tonstartssbandht

Wed, April 9, 2014

Doors: 7:30 pm / Show: 8:30 pm

Webster Hall

New York, NY

$15 advance / $17 day of show

Sold Out

This event is 16 and over

Mac DeMarco
Mac DeMarco
“As I’m getting older, chip up on my shoulder…” is the opening line from Mac DeMarco’s second full-length LP Salad Days, the follow up to 2012’s lauded Mac DeMarco 2. Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 24.

Written and recorded around a relentless touring schedule, Salad Days gives the listener a very personal insight into what it’s all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, “Passing Out Pieces,” set to huge overdriven organ chords, contains lines like “…never been reluctant to share, passing out pieces of me…” Clearly, this isn’t the same record that breezily gave us “Dreamin” and “Ode to Viceroy,” but the result of what comes from their success. “Chamber of Reflection,” a track featuring icy synth stabs and soulful crooning, wouldn’t be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac’s widening sound, whether insights into future directions or even just welcome one-off forays into new territory.

Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The crisp John Lennon/Phil Spector era homegrown lush production that could have come off Geoff Emerick’s mixing board in 1972 with that peculiar Mac touch that’s completely right now is still present. “Brother,” a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco. “Treat Her Better” is rife with Mac-isms, heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity.

We’re only in Part 2 1/2 (one EP and two LP’s in) of Mac’s career. As you read this and as you hear the album on April Fool’s Day of this year, he’ll probably be on tour, or preparing for one… or maybe already writing new music. A relentless work ethic is something to be admired in today’s indie music scene, but when it’s of the quality Mac is giving us time and time again, it starts to turn from admiration to awe.
Amen Dunes
Amen Dunes
Amen Dunes, the project of Damon McMahon, was born out of a collection of
songs made in the fall of 2006 in upstate New York. They were personal recordings not intended for release, a cathartic answer to the music, people, and life in New York City. After sharing them with a few friends, the tapes were shelved, and the following summer McMahon moved to China and all but quit making music. He would live in Beijing for the next few years, writing and recording only occasionally with no clear intention to return to New York.

While McMahon was in Beijing the tapes found their way to Locust Music in
Chicago who championed their release, and after two years of deliberation, the recordings emerged as D.I.A. in the spring of 2009. The record was met with unexpected admiration among critics in the musical underground, prompting McMahon to move home to New York that summer. He began to perform live in the US and Europe, playing with a rotating cast of musicians.

In July 2010 McMahon released his first record on Sacred Bones, the EP Murder
Dull Mind, a set of recordings tracked in his Beijing apartment. Then, in January 2011, he spent a month recording a collection of songs in New York City that would be his first proper recording in almost five years, released that August on Sacred Bones as the Through Donkey Jaw LP. Where Murder Dull Mind was sparse, acoustic and almost all first-take improvisation, Through Donkey Jaw contained more fully realized sounds and songs; its tone very much the winter to Murder Dull Mind’s summer. In the two years following Through Donkey Jaw, McMahon toured the US and Europe and self-released a few limited edition experimental recordings on his imprint Perfect Lives. The Ethio Covers 7” was a set of downer covers of Ethiopian music and the Spoiler LP was a collection of experimental pieces.

Early in 2013, McMahon turned to focus on his most ambitious project yet. Where the previous Amen Dunes records had all been largely improvisational first-take affairs, recorded in a matter of weeks at most, the forthcoming full-length, Love, is the product of close to a year and a half of continuous work. As he began to flesh out the new material, he found himself guided by the work of classic American singers and songs more strongly than on any previous Amen Dunes record. And unlike the earlier recordings of McMahon’s which were almost always a solo affair, the music on Love was performed by a variety of musicians, centered around the core trio and symbiotic interplay of McMahon, Jordi Wheeler on guitar and piano, and Parker Kindred on drums (both longstanding collaborators of Damon’s).

Eager to capture a musical feeling outside the confines of New York City,
McMahon chose to hold the main recording sessions in Montreal with Dave Bryant and Efrim Menuck of Godspeed You! Black Emperor. In addition to recording the sessions that McMahon produced, members of Godspeed also played on several of the songs, along with Colin Stetson on saxophone and several other Montreal musicians. The remainder of the recordings took place back in Brooklyn at Strange Weather and Trout Recording, and featured additional performances by a handful of musicians, including Elias Bender-Ronnenfelt of Iceage, who duets with McMahon on “Green Eyes.” Amen Dunes has always been rooted in traditional song and sound, but Love is his first work in which this so clearly shines through. The guiding influence of Astral Weeks, Sam Cooke, Tim Hardin, Marvin Gaye, Hector Lavoe, and the cosmic non-verbal mediations of Leon Thomas, all kept vigil over the songwriting of Love, and the spirit of late 60’s/early 70’s spiritual jazz of Pharaoh Sanders and Alice Coltrane channeled the sound. The result is simply the most substantial Amen Dunes record to date. These are elemental songs about time, love and memory, as much about the listener as they are about the writer: pure, open, and beautiful.
Juan Wauters
Juan Wauters
In 2000, Alberto Wauters left Uruguay to live in a basement in Queens. Two years later he called his son, Juan, to join him. Juan Wauters crossed the threshold into manhood when he arrived in New York. Working at a factory, the father and son pooled their money to bring their family to the borough of opportunity. With no friends to speak of, Juan turned to music to take control of the loneliness of his isolation. Juan was inspired by his new neighborhood of Jackson Heights and delighted to find that his library card gave him access to an abundance of new music. In his debut solo record, N.A.P. North American Poetry, Wauters dreams big; coming into his own as a singer. Building on his songwriting, popularized by The Beets, Juan presents introspective tracks, like Water and Sanity, and reflections on humans’ relationship with technology in songs like Breathing—which features Carmelle Safdie. The record is completed, as always, by the artwork of dear friend and longtime collaborator Matthew Volz, who has honed the trademark visual aesthetic of Juan’s music. This album is a selection of recordings made between the fall of 2010 and the summer of 2012 at Marlborough Farms. N.A.P. delivers a fresh sound and lyrical candor from one of Queens’ most idiosyncratic adoptive sons. Live, Juan shares the stage with a revolving cast of international musicians of the highest caliber: vocalist Carmelle Safdie (Israel), multi-instrumentalist Tall Juan Zaballa (Argentina), percussionist Chie Mori (Japan), and flutist Amanda Rodi (Mexico). Matthew Volz heightens this lively and mood-altering experience with his painted banners, personal objects and manually manipulated light show. The ensemble is not to be missed. - See more at: http://capturedtracks.com/artists/juan-wauters/#sthash.s2T0776V.dpuf
Tonstartssbandht
Tonstartssbandht
FLORIDA
BROTHERS
SINGING
BURNING
HITT
Venue Information:
Webster Hall
125 East 11th Street
New York, NY, 10003
http://www.websterhall.com/