Stereogum & PopGun CMJ Party, Dee Dee Dum Dum Girls DJ Set – Tickets – Glasslands Gallery – Brooklyn, NY – October 17th, 2012

Stereogum & PopGun CMJ Party, Dee Dee Dum Dum Girls DJ Set

Stereogum & PopGun CMJ Party

Dee Dee Dum Dum Girls DJ Set

Guards, Savages, Icona Pop (DJ Set), Port St. Willow, IO ECHO

Wed, October 17, 2012

Doors: 8:15 pm / Show: 8:15 pm

Glasslands Gallery

Brooklyn, NY

$5.00

This event is 21 and over

Dee Dee Dum Dum Girls DJ Set
Dee Dee Dum Dum Girls DJ Set
End Of Daze had for me signaled exactly that; an end to a part of my life that was confused, difficult, disastrous, and at times, redemptive. It was a marked comment to myself, for future reference, that what will be, will be, and that there is always exciting work to be done ahead. It is never that easy, though, and so was ushered in a new version of confusion, et al.
In the summer of 2012, between tours supporting End Of Daze, I locked out the world and sat down in my apartment to write a new record — clear view of the New York City sky through iron bars like a promise. Like all compulsive minds, I was waiting with bated breath (“and whispering humbleness”) to let the muse loose.
I’ve always lived an introspective life, but it is these rare moments of actively stepping outside my head, to create things tangible to others, that I find truly transcendent. Performing live offers the same rush to me, but it’s an even more elusive, haunting ghost. I was reminded of that letter Nick Cave wrote to MTV, in response to being nominated for an award. Apart from his refusal to be competitively evaluated, it was his gentle worship and protection of his own creative process, his crowned Inspiration, which resonated with me. (Do yourself a favor and read it here if you’ve never: http://www.nick-cave.com/mtv/mtv.shtml.)
I had collected various songs and half-songs over the previous months, vaguely regarding them as future releases, but had the nagging feeling they were to be tossed out on the hunt for the next sound, the next record, which was at that point almost palpable.
And so I spent the next week in a sparkling haze, seven stories closer to Heaven, and when I emerged from the frenzy to go back on tour, indeed ten new songs came with. They were bound together, not just by an overall sonic palette and new guitar pedal, but by time, intention, and fervor.
Do you hear Suede? Siouxie? Cold-wave Patti? Madonna? Cure? Velvet and Paisley Undergrounds? Stone Roses? Cuz I did.
A month later I ran away to Hollywood, and again locked myself up, and two more songs were born from drunken loneliness in room at the Chateau Marmont — points if you can discern which ones.
Still later, in November 2012, I returned to Hollywood to record among the lingering Pet Sounds at East West Studios, in pursuit of a bigger, darker, more urgent sound. Sitting in the room with my favorite team of regulars (Richard Gottehrer and Sune Rose Wagner producing, Alonzo Vargas engineering), it was easy to add some flesh to my song skeletons.
Unfortunately, karma take it or leave it, I had to confront the reality that my voice was destroyed; that the previous year of touring had reduced my once infallible instrument to a pale spectre of its former self. I was broken and when I left California, it was with the heavy burden of an unfinished album. It is a much longer and more boring story, but in short, it was devastating and demanded a severe detour from the future I’d anticipated.
Truly one of those disguised blessings though — the extra time was a gift. What initially felt like a retreat became a reawakening. These songs weren’t done at all! And so I worshipped at the tall pile of books I’d bought in Los Angeles, on topics and imagery I’d been consumed by and words that had resonated so deeply with me they felt like artistic collaborators: Rainer Maria Rilke, Anais Nin, Arthur Rimbaud, Paul Verlaine, Charles Baudelaire, Sylvia Plath; the punk poet singers Patti Smith and Lou Reed (who, like many I consider to be my spiritual parents); and finally, an admittedly unhealthy obsession with the Surrealists’ manifesto of desire.
Here it was spelled out for me: Desire as muse; Life as experiment; a miracle for every failure and vice-versa. I put pen to paper and I wrote, and then I sang. I sang into my own private microphone, in my tiny bedroom studio, with no one save my make-believe coconspirators to hear me, and no one to weight me with the looming pressure of inability. I was a woman possessed and my possession enabled me.
I write this now, many months later, on the up. I have served the songs and the songs have served me. It is never pretentious to feel and create. So much of my life has been defined, aided, and even saved by music. Here is my best attempt at joining the rock’n’roll ranks, of chasing pop into the dark, and I am as ever, humbled that you listen.
XXDD
Guards
Guards was formed in New York City when Richie James Follin returned from a European tour to a recording studio with nothing in it but a broken electric 12 string guitar and an omnichord. He wrote and recorded a few songs for his little sister to sing on, but ended up singing on the songs himself. He enlisted the help of his friends (Caroline Polachek of Chairlift, James Richardson of MGMT, Loren Shane Humphrey of Willowz) and family (Madeline Follin of Cults) to guest on some songs and they spread the word without his knowledge via twitter and the internet. Then, he decided to give the songs away for free.

Richie James Follin is 27 and he is originally from southern California. He started the Willowz (lead singer and guitarist) when he was 19 in 2002 and has released 4 records with them as well as a solo record and multiple other projects. He also plays guitar in Cults.
Savages
Savages
For SAVAGES, the intention was to create a sound, indestructible and musically solid, written for the stage, designed with enough nuances to provide a wide range of emotions. The songs aim to remind us that human beings haven’t evolved so much, that music can still be straight to the point, efficient and exciting.
Icona Pop (DJ Set)
Icona Pop (DJ Set)
Aino Jawo and Caroline Hjelt met on a Saturday night in February 2009. It was, Aino says quite reasonably, “the best thing that ever happened”.

So the day after the best thing that ever happened happened, these two girls from the Stockholm suburbs formed a electronic pop duo band, and on the Monday – when the hangovers had cleared and it still all seemed like the best thing that had ever happened – they booked their first gig – Icona Pop was born. This felt all very well, but then they realised they had four weeks until their gig, but no songs.

Autumn of 2011, Icona Pop moved from Stockholm to London, and with an album ready to go the tunes are in no short supply. Icona Pop says: “We like galloping drums, and synthesisers, but we still like the classical pop melodies. And that’s ‘what we are’. We don’t have to decide, because there’s no decision to be made. We just have to do exactly what we want.”

In the intervening years they’ve working with The Knocks (voted one of NME’s hottest production outfits of the hour), Patrik Berger (Robyn), Elof Loelv (Niki & The Dove), Fredrik Berger (The Good Natured) and Style of Eye, as well as sessions with UK producers like Starsmith (Kylie, Ellie Goulding) and Burns. Their Neon Gold-released double a-side single ‘Manners’ / ‘Top Rated’ prompted journals like NME and The Guardian say things along the lines of “effortlessly cool” and “all the makings of a 24-carat pop hit”, and the duo have perfected their live show, too – that first performance back in 2009 went rather well, all things considered, while their first London gig was impressive enough to bag them a management deal with Artist Company TEN, the team behind Niki & The Dove and Erik Hassle.

There’s plenty more of this evocative stuff right across Icona Pop’s as-yet-untitled debut album, due out in 2012. Effervescently romantic number ‘Sun Goes Down’ is a Knocks collaboration written on a trip to New York. “We both had a crush at home,” Caroline recalls, “and we were thinking about our lovely men on the other side of the ocean, singing, ‘I will be waiting for you until the sun goes down’.” The sound of it all is hard to pinpoint, but there are some unmistakeable Madonnaisms on spirited anthem ‘Beat The L’.

So that original plan for Caroline to give Aino her best night ever? Well, that night they met in 2009 has since been immortalised in song, on the vivid and joyous ‘Nights Like This’ Caroline explains, “everything that night was like magic, and the lyric ‘nights like this, you will never be alone’, is what Icona Pop is all about. It’s about being together and having fun, and inviting as many people as possible because the best nights out are the ones you want to share with everyone.”

As nights out go, Icona Pop’s first must of one of pop’s most vital, and it’s still in full effect three years later. In fact, it feels like it’s just getting going. “We’re having so much fun all the time,” Aino smiles. “It’s kind of scary.”
Port St. Willow
Port St. Willow is the music project of Nick Principe. It is currently based in Brooklyn, New York.
IO ECHO
IO ECHO
IO ECHO is Ioanna Gika and Leopold Ross. Currently putting the finishing touches on their debut album which combines grand songs with unique textures such as Japanese koto harps and Chinese violins, the band have created towering tracks with a distinctive sound early listeners have been calling "the leaders of Grunge Goth" and "New Orientalism." Their unique blend of pop melodies, dark 90′s industrial influences, and far eastern elements caught the attention of early admirers such as Florence and The Machine, TV on The Radio, and The Big Pink (for whom Leopold also plays bass) who each offered the band recent high-profile support slots on their tours. Perhaps most notably, io echo were hand picked by Trent Reznor to open for Nine Inch Nails at the band's last ever tour show. Io Echo have also recently composed the score to the Harmony Korine + James Franco film "Rebel." Their unique, genre pioneering style, both musical and visual have tastemakers proclaiming them as ones to watch. Their hometown of Los Angeles is buzzing that in time io echo could take their place next to The Cure, Garbage, Cocteau Twins, and PJ Harvey. Not bad for a band who has never released an official album.
Venue Information:
Glasslands Gallery
289 Kent Avenue
Brooklyn, NY, 11249
http://www.theglasslands.com/