Parenthetical Girls
Norwegian Arms, This is Head
Mon, March 25, 2013
Doors: 8:30 pm / Show: 8:30 pm
Glasslands Gallery
Brooklyn, NY
$10.00
Tickets Available at the Door
This event is 21 and over
http://www.popgunbooking.com/event/203905/Parenthetical Girls

Unconventional is probably the most succinct way of putting it. Obsessive, eccentric, indulgent: they’re all equally fair. If Parenthetical Girls have learned anything over the course of their bewilderingly unorthodox discography, it’s that they are—for richer or for poorer—a necessarily singular pop group. It’s a peculiarity that they’ve learned to embrace—a single-minded conviction that pours itself over every corner of their latest album, Privilege*.
Having taken pop extravagance to its logical conclusion with their critically acclaimed, orchestral pop opus Entanglements, Privilege* finds a newly emboldened Parenthetical Girls giving the orchestra their leave—a brazen reinvention as immediate as it is inspired. Returning to its core membership of vocalist/creative director
Zac Pennington and producer/arranger Jherek Bischoff (composer and collaborator with David Byrne, Amanda Palmer, Xiu Xiu, etc.), Privilege* retains the group’s signature ambitions—visceral intimacy, camp austerity, lurid eloquence—while confidently embracing the perfect pop pastiche their previous records only alluded to. Anchored by Pennington’s distinctively lilting vibrato, Privilege* is a cascade of grim particulars and gallows humor—an unflinching treatise on privilege, indiscretion, betrayal, sex and class politics, failure, and resignation. This is Parenthetical Girls in fighting trim: unbridled, unambiguous, and with a new creative candor that’s felt in both its words and music.
Originally recorded and self-released as a sequence of five self-contained, extremely limited 12” EPs (each heroically hand-numbered in the blood of the group’s members, and available only through direct mailorder) the ambitious Privilege series was a grand and unequivocally impractical achievement. Privilege* condenses the 21 recordings of the original series to a single, 12-track, remixed and remastered statement of purpose: a bold, strikingly cohesive pop clarion call that further solidifies Parenthetical Girls’ place amongst the most surprising and uncompromising pop groups at work today.
Quotes:
“With Privilege, Parenthetical Girls have forged what is arguably one of the most astonishing works of pop songwriting in this or any other year—a record that rubs shoulders with the upper echelons of pop music’s storied history, and very probably the angels themselves. Arguably.”—Britt Daniel, Spoon
“Music is pointless. Life is meaningless. Death is rushing towards us constantly. Everything is falling apart. Still, Privilege by Parenthetical Girls has emerged from the chaotic void and taken the form of a raft.”
—Phil Elverum, Mount Eerie
“Privilege is riveting… [like] a dream of walking on a foot-long fluffy cashmere carpet, or flying thru the monster size, ice cream-shaped cloud.”
—Satomi Matsuzaki, Deerhoof
“We never meant you any harm.”—Parenthetical Girls
Having taken pop extravagance to its logical conclusion with their critically acclaimed, orchestral pop opus Entanglements, Privilege* finds a newly emboldened Parenthetical Girls giving the orchestra their leave—a brazen reinvention as immediate as it is inspired. Returning to its core membership of vocalist/creative director
Zac Pennington and producer/arranger Jherek Bischoff (composer and collaborator with David Byrne, Amanda Palmer, Xiu Xiu, etc.), Privilege* retains the group’s signature ambitions—visceral intimacy, camp austerity, lurid eloquence—while confidently embracing the perfect pop pastiche their previous records only alluded to. Anchored by Pennington’s distinctively lilting vibrato, Privilege* is a cascade of grim particulars and gallows humor—an unflinching treatise on privilege, indiscretion, betrayal, sex and class politics, failure, and resignation. This is Parenthetical Girls in fighting trim: unbridled, unambiguous, and with a new creative candor that’s felt in both its words and music.
Originally recorded and self-released as a sequence of five self-contained, extremely limited 12” EPs (each heroically hand-numbered in the blood of the group’s members, and available only through direct mailorder) the ambitious Privilege series was a grand and unequivocally impractical achievement. Privilege* condenses the 21 recordings of the original series to a single, 12-track, remixed and remastered statement of purpose: a bold, strikingly cohesive pop clarion call that further solidifies Parenthetical Girls’ place amongst the most surprising and uncompromising pop groups at work today.
Quotes:
“With Privilege, Parenthetical Girls have forged what is arguably one of the most astonishing works of pop songwriting in this or any other year—a record that rubs shoulders with the upper echelons of pop music’s storied history, and very probably the angels themselves. Arguably.”—Britt Daniel, Spoon
“Music is pointless. Life is meaningless. Death is rushing towards us constantly. Everything is falling apart. Still, Privilege by Parenthetical Girls has emerged from the chaotic void and taken the form of a raft.”
—Phil Elverum, Mount Eerie
“Privilege is riveting… [like] a dream of walking on a foot-long fluffy cashmere carpet, or flying thru the monster size, ice cream-shaped cloud.”
—Satomi Matsuzaki, Deerhoof
“We never meant you any harm.”—Parenthetical Girls
Norwegian Arms

It all started with a Mandolin, a rubbermaid tub, and a batch of songs written while shuttered away during a year in a Siberia shared between two friends to birth what is now known as Norwegian Arms. With just these simple instruments, the group was able to give body and weight to their earnest, upbeat and thoughtful freak-folk. Things have changed since then, they've moved beyond the rubbermaid bin in favor of a floor tom (finding the latter more dynamic and less gimmicky) and added a wash of synthesizer, filling out their sound while maintaining their stripped down stage presence.
Although the two had been playing before mandolinist/vocalist Brendan Mulvihill was sent by the Fulbright program to Tomsk, Russia, it's easy to see that the defining moment in this young group's sound came after Mulvihill's return, when he, along with other member Eric Slick (of Dr. Dog) would rehearse in the windowless depths of the Ox, seeking to refine their minimalist sound.
People seem to find it difficult to classify the group, having said everything from 'freak folk' to 'mando punk'. But this isn't an attempt to make the music more digestible, for the group's songs are instantly memorable, well crafted, and melodically rich. These songs are deeply personal, and it shows. It's not hard to identify with the messages in their songs: a quest for self identity, adapting to new environments, questioning one's knowledge, and never being satisfied with what you know. It's Wanderlust and curiosity, distilled and neatly packaged into sonic bursts of intense energy. It's safe to say that Norwegian Arms suffers from a chronic case of the human condition.
Although the two had been playing before mandolinist/vocalist Brendan Mulvihill was sent by the Fulbright program to Tomsk, Russia, it's easy to see that the defining moment in this young group's sound came after Mulvihill's return, when he, along with other member Eric Slick (of Dr. Dog) would rehearse in the windowless depths of the Ox, seeking to refine their minimalist sound.
People seem to find it difficult to classify the group, having said everything from 'freak folk' to 'mando punk'. But this isn't an attempt to make the music more digestible, for the group's songs are instantly memorable, well crafted, and melodically rich. These songs are deeply personal, and it shows. It's not hard to identify with the messages in their songs: a quest for self identity, adapting to new environments, questioning one's knowledge, and never being satisfied with what you know. It's Wanderlust and curiosity, distilled and neatly packaged into sonic bursts of intense energy. It's safe to say that Norwegian Arms suffers from a chronic case of the human condition.
This is Head
From the first time This Is Head started playing different venues and spots around their hometown of Malmö they have assumed a natural place in the centre of all things great. Their take on kraut disco meets smart indie rock fit in perfectly from the start. Since then, they have evolved into something much greater; a confident machine that seems made for the times we live in. Yet they sound timeless. The growth seems to have been rapid, but it was all at their own pace, in their own time.
0001 sounds as much like the wet streets around Möllevången square in Malmö as they do any spacious warehouse in Brooklyn or deserted parking garage in a remote part of Düsseldorf. Their curiosity has placed them anywhere and nowhere. They are as eager to consume new and old things as any blog, club or DJ out there. They have grown without any blinders on, while at the same time honing their sound in their own studio, within their own universe. They have built their songs and their confidence in themselves without feeling any pressure. They never thought of a song with the idea of sounding like Yeasayer joining up with the drummer from Neu! in an effort to play unreleased songs by U2 just so they could be mixed by Dan Lissvik from Studio and then be released by Touch & Go. That just happened.
This Is Head never had a plan, and the goal has only been to become as good as they can get. They have had time to listen to themselves, communicate and let the organic process lead them to produce songs that are fit to resonate through the music world which they belong. Songs that are as brilliant as they are.
0001 sounds as much like the wet streets around Möllevången square in Malmö as they do any spacious warehouse in Brooklyn or deserted parking garage in a remote part of Düsseldorf. Their curiosity has placed them anywhere and nowhere. They are as eager to consume new and old things as any blog, club or DJ out there. They have grown without any blinders on, while at the same time honing their sound in their own studio, within their own universe. They have built their songs and their confidence in themselves without feeling any pressure. They never thought of a song with the idea of sounding like Yeasayer joining up with the drummer from Neu! in an effort to play unreleased songs by U2 just so they could be mixed by Dan Lissvik from Studio and then be released by Touch & Go. That just happened.
This Is Head never had a plan, and the goal has only been to become as good as they can get. They have had time to listen to themselves, communicate and let the organic process lead them to produce songs that are fit to resonate through the music world which they belong. Songs that are as brilliant as they are.

