Alpine – Tickets – Glasslands Gallery – Brooklyn, NY – March 8th, 2013

Alpine

Alpine

MØ, White Prism

Fri, March 8, 2013

Doors: 8:00 pm / Show: 8:00 pm (event ends at 11:30 pm)

Glasslands Gallery

Brooklyn, NY

$10.00

Tickets Available at the Door

This event is 21 and over

Alpine
Alpine
“Floaty vocals and sparkly-sounding pop compositions that are…a real breath of fresh air.”—NYLON

A Is For Alpine, the debut album from the lauded Australian outfit Alpine, will be released stateside May 21 on
Votiv. The new release follows Alpine’s 2010 Zurich EP which earned critical praise with The Guardian describing
the group as “hands down the best Aussie band we’ve heard all year.” A Is For Alpine’s first single “Hands” has
already garnered critical acclaim from Pitchfork, with The Fader calling it “boredly erotic.” The new video for the
track “Seeing Red” sees the six piece literally launch themselves into space, and can be streamed/shared at http://
noisey.vice.com/music-video-premieres/alpine-seeing-red. Full track listing below. The band, who recently won the
prestigious Age EG award for “Album of The Year,” are set to embark on a U.S. tour in early 2013. See below for
details.

Alpine is Phoebe Baker and Lou James (dual vocals), Christian O’Brien (guitar), Ryan Lamb (bass), Tim Royall
(keys) and Phil Tucker (drums). The new album was recorded in Melbourne with producer Dann Hume who helped
the band experiment with sounds and textures. Of the record Lamb notes, “We wanted to represent the different
sides of our music, so there’s some sad moments, some dancey moments, some rocking out and lots of harmonies.”
No strangers to the benefits of shared ideas and the collaborative process, Alpine’s own methods for song writing
reflect the strong and respectful working relationship they had with Hume. Baker describes the new album as the
band’s “innocent and not so innocent explorations through our twenty-something emotions.”

Since forming, Alpine have toured extensively with the likes of Kimbra, Sia, Cloud Control, The Jezabels, The
Naked And Famous and Matt Corby. Additionally, they’ve appeared at festivals worldwide including SXSW,
Splendour In The Grass, Southbound and Falls Festival.
MÃ
Hotly tipped Danish songstress MØ aka. Karen Marie Ørsted is stirring up a buzz throughout the global blogosphere these days. Tastemaker media such as Pitchfork, The Guardian and NME wrote about her and she just returned home from CMJ in New York after playing some widely praised shows.

With no albums out and only 2 online tracks the 23-year- old MØ recently faced a bidding war, which ultimately led to signing with Sony for the Scandinavian territory. Now MØ is being pursued by some of the most respectable labels in the UK and US. Scandinavia, it seems, has done it again!

MØ is spending the fall in the studio, wrapping up her highly anticipated debut album with Ronni Vindahl of Danish producer entity No Wav.

Listeners can expect a lush, warm and soulful production, however MØ brings the Scandinavian cold/cool and a street vibe edge to the songs, which makes for a sonic juxtaposition.

Her unique mix of indie, pop, hip-hop, electro and soul is hella fresh sounding and it genuinely sounds like MØ is fighting a battle of mixed emotions inside of herself.

The Guardian named MØ ’band of the day’ and hailed her as ’the next Grimes’ and having played alongside acts such as Purity Ring and MS MR, it seems like MØ might just be the next indie act to break through to the mainstream masses.

There is not much info out there on MØ who tends to let her music do the talking, but her facebook biography reveals a glimpse of her current state of mind:

”The snow nation is eating your brain and your young heart – dark as the apocalypse. So just go perish in the snøw. mø mø mø MØ MØ MØ”
White Prism
White Prism
Australian-born, Hungarian-bred, Brooklyn-based Johanna Cranitch of White Prism was born into music. Her Hungarian jazz pianist grandfather declared on the day she was born: “This one will be musical.” And so it began.

Her mother enrolled her in the Kodaly school of early childhood music education and her Irish/Australian father brought his love of Gregorian chant and ecclesiastical music to the table, guiding Johanna toward the stage. At nine years old she was singing St Matthew’s Passion at the Sydney Opera House.

She joined Opera Australia’s Childrens’ Chorus and thus began her career in music. Opera first, pop second. From Fleetwood Mac to Kate Bush to Loreena McKennitt to Wham, Johanna’s parents played records that would influence her dreamy pop leanings in the future.

First a more formal study of music. After attending a performance arts high school, Johanna enrolled in a jazz degree program at the Australian Institute of Music, where she graduated with honors. There she developed a love for the vocal stylings of Ella Fitzgerald and Joni Mitchell. She performed across Australia as a jazz vocalist before moving to NYC.

Once in New York, she convinced the head of prestigious Nola Recording Studios to let her intern and she was soon on her way to engineering full time for the likes of Liza Minelli, Hank Jones and Bette Midler. But that was not all she was doing. Over a period of four years at Nola, Johanna had been writing and recording her own songs behind the scenes, after hours. She was always the first one in and the last one out. One day she decided it was time to make her own album and so the cat was out of the bag. Johanna was on her way to becoming an artist in her own right.

She began by singing backup for various projects in NYC and touring extensively with the band Wheatus. By the time she sat down to put together her own debut, she had over three hundred demos to sift through. “Funnily enough, once I decided to make a record, I couldn’t stop writing new songs. I’d been traveling all year, moving around from Europe to Australia to the United States, driving from NY to LA and back again. I was searching for something in my nomadic state and I found it in these songs. I shelved the old demos to make room for the new, so they sit growing cobwebs to this day.”

Wherever those songs might be, the songs that made the final release were well worth the sacrifice. It shimmers and moves between moods of passion, desire, and cooly calculated regret. Here and there allusions to Kate Bush, Bjork and Bat for Lashes give way to the jazz upbringing that started it all for Johanna. Whatever comparisons may be drawn, Northern Lights shines brightly in its own unique atmosphere.
Venue Information:
Glasslands Gallery
289 Kent Avenue
Brooklyn, NY, 11249
http://www.theglasslands.com/