Brooklyn Bowl Presents
#STANDWITHSTANDINGROCK Benefit Concert feat. Immortal Technique, Kyp Malone (TV on the Radio), The Skins, Holly Miranda, St. Lucia (DJ Set) + more!
Monday, December 12th, 2016
Doors: 6:00 pm / Show: 6:30 pmBrooklyn Bowl
This event is 21 and over
Tickets available at the door $35 cash only. This event is 21+
All proceeds from the benefit concert will directly support THE SEEDING SOVEREIGNTY PROJECT which empowers Indigenous youth and the ONONDAGAN NATION'S CAMP which is part of Haudenosaunee Confederacy and hosting a large amount of tribes and water protectors from the NY region. Three of our organizers stayed at this camp in November 2016 and consider the members of this Nation family.
Full Lineup includes:
- Immortal Technique
- Kyp Malone (TV on the Radio)
- The Skins
- City of the Sun
- Holly Miranda
- Constant Flow
- Cole Ramstad
- Diane Birch
- Indigenous Speakers + Performers: Redhawk Dancers, Pua Ali'ilima o Nuioka, Shinnecock Youth Council, Youngblood Singers, Ori Manaea, Robert Borrero, Kalpulli Hueheutlahtolli Aztec, Standing Rock International Indigenous Youth Councilhttps://www.brooklynbowl.com/event/1391317/
Concerned that he was being pigeonholed as a one-trick pony, Tech set about writing complete tracks, finding beats to accompany them, and eventually releasing his debut, Revolutionary, Vol. 1, in 2001 (an album that was later re-released by his own company, Viper Records, in 2004 and Babygrande in 2005). The record, plus his indefatigable work ethic, earned him local recognition and a spot as The Source's "unsigned hype" in November 2002, and the following year he issued his second album, Revolutionary, Vol. 2. Although he promised his third release would see the light of day in 2005, it wasn't until the summer of 2007 that -- besides a few singles and mixtapes -- fans got any new material from Immortal Technique, coming in the form of the full-length The Middle Passage." - Marisa Brown, AllMusicGuide
Their self-titled EP, The Skins, has been receiving rave reviews since its release in January 2012, creating buzz from countless blogs, radiostations and magazines. Their first in-studio music video recorded by Wreckroom Records (Brainchild of actor Adrian Grenier) received over 10,000 views in its first week on youtube VIA http://wreckroom.tv/. In late May they finished recording and filming their second Wreckroom in-studio music video which can be found on their youtube page along with footage from live shows, and personal updates on what the band is up to. If you are fortunate enough to catch a live performance by the Skins then get ready to be blown away and save your ticket so you can prove that you saw them before they were big.
“The title of this album comes from Tegan Quinn saying I could take any song and ‘ make it sad’ she said it was my ‘ Party Trick’” Miranda, who takes the opportunity on the EP to cover Morphine, Lhasa De Sela, Drake and others, says. “Some of these are covers are new, but others I’ ve done throughout the years. It’ s just what I do for fun. Doing covers is such a great way to learn the way someone else constructs a song, if you can break that down and find your own voice in it it can be something really interesting.” And whatever joy she takes in making the songs, listening to them is just as exciting.
Party Trick comes just a year after her return to the spotlight in 2015 with her sophomore self-titled release, co-produced by Miranda with Florent Barbier. Tracks like "Desert Call" and "Everlasting," show off straightforward songwriting, soulful delivery and a lighters-in-the-air orchestration that places Miranda alongside the pantheon of songwriters who can make heartache sound beautiful.
"This is the most honest thing I've ever made; it's very raw and is a contrast to what I've done in the past," she says. After writing in Joshua Tree, she headed to Brooklyn, New York in the winter of 2012 to record most of the album, enlisting the help of bandmates Timmy Mislock, Maria Eisen and David Jack Daniels, while taking turns herself on piano, drums, guitar and bass. "There's a Motown vibe to some of the songs," she notes of the recordings. "I wanted it to feel like the band was playing the songs live. There's also a few that are more electronic and ethereal," like the song "Come On." She recorded that track in Los Angeles with David Andrew Sitek, producer of her 2010 release The Magicians Private Library.
Making the year's OUT 100 and finding coverage from the likes of Huffington Post, Buzzfeed, SPIN and more, Holly is already tearing up 2016 with a slew of well received appearances and now a new music video for one of the most engaging singles on the record. The clip for "Come On" is directed by Natalie Morales of The Grinder (Rob Lowe, Fred Savage) who has been directing a wide array of visual projects recently.
“I was still really young at that point, so I don’t think that I fully understood the gravity of it,” remembers Grobler, who got his first taste of touring internationally with the mixed-race choir. “We had just come out of apartheid and the mood of the country was still frayed, but somehow Mandela understood this World Cup would be an opportunity to bring the country together, and this almost impossible dream of South Africa becoming a rainbow nation seemed possible for the first time. It was such an emotional moment.”
Emotional moments are Grobler’s specialty. Under the name St. Lucia, he crafts the kind of high-energy, artful pop that tugs at the heartstrings as it pulls you onto the dance floor, and in four short years, he’s amassed a lifetime of highlights: signing with Columbia Records; selling out multiple nights at Terminal 5 in his adopted hometown of NYC; performing at major festivals from Lollapalooza to the main stage at Coachella; touring with stars like Ellie Goulding and Two Door Cinema Club; landing his songs in national campaigns from Victoria’s Secret to Taco Bell; producing the debut LP for friends and label-mates HAERTS; and collaborating on remixes for peers like Passion Pit, Charli XCX, and Foster The People.
It’s all been remarkable, but it’s also only been the prelude to Matter, St. Lucia’s second full-length release and most exhilarating collection yet. The record finds a more sophisticated and bold Grobler grappling with themes of getting older, battling with insecurity and self-doubt while balancing maturity and ambition. It’s a St. Lucia record though, so even the darkest moments are bristling with infectious vitality and hook-fueled charisma. Writing the songs, however, required Grobler to change up his process from 2013’s ‘When The Night,’ the debut album he built from the ground up playing nearly every instrument himself in his Brooklyn studio.
“As St. Lucia started taking off and we were touring more and more, I discovered that having more success doesn’t mean you get more ideal recording situations,” he explains. “I realized that if I didn’t start to embrace the fact that I couldn’t spend all day in the studio with my instruments, and if I didn’t learn to write on my laptop on the road, it was going to take me five years to write the album.”
Instead of watching movies or sleeping in the van, Grobler would program beats and synths on the computer as he criss-crossed the country on endless tours, discovering that the new limitations forced him to be more concise and decisive in his arrangements, a quality that carried over into the recording sessions with producer Chris Zane (Passion Pit, The Walkmen). For six months, the two laid down all the ideas Grobler had collected for the new songs—with Zane contributing much of the percussion and the St. Lucia live band members (Ross Clark, Nick Paul, Dustin Kaufman, and Patti Beranek) making appearances throughout—before whittling down the arrangements to their most direct, essential cores.
“We didn’t hold back during the recording process. Almost every song ended up having at least 200 audio tracks, and we weren’t mixing as we went along. So, when it came time to actually mix the album, it was this process of elimination with all the instruments, and it felt refreshing to not have everything playing at the same time, to have a lot more space,” says Grobler. “On the last record, I was trying to fit every instrument on every track, layering all these lush sounds. If the last album sounded like the tropics, this album is the desert.”
St. Lucia’s version of the desert is still an inviting place, though, one inspired by blending Grobler’s love of 80’s pop, R&B, and alternative rock influences into an instantly captivating concoction. Lead single “Dancing On Glass,” which was co-written with Tim Pagnotta (Walk The Moon) on a west coast writing trip, bubbles over with contagious vivacity as Grobler sings about having the faith to chase what makes you happy, even if logic and practicality tell you it’s bound to fall apart. On the heart pounding “Physical,” he taps into primal lust, while “Help Me Run Away,” co-written with Jack Antonoff (fun./Bleachers), serves as a ode to Grobler’s adopted homeland of America. The album isn’t without its progressive side, though, revealed in songs like “Rescue Me” and “Home”, whose synth lines propels the tunes through countless electronic twists and turns.
The seeds of St. Lucia’s sound lay in the years after Grobler left South Africa, first moving to Liverpool, where he spent three years at music school and met Patti Beranek, who would become his best friend, his sounding board, his collaborator, and ultimately, his wife. Little outside of the most mainstream artists from Western pop ever reached his radar in South Africa, so Grobler found music school to be an eye-opening experience, introducing him to decades of more obscure music and artists from around the world. After graduating, the couple moved to New York, where Grobler found work as a jingle writer and decided to launch St. Lucia, melding his newfound, artier, underground influences with those mainstream pop records he had originally fallen in love with growing up in Johannesburg.
“At the jingle house, one day we’d have to write an R&B track, and one day we’d have to do an orchestral piece, and one day an Americana song,” he remembers. “At the time, I knew nothing about synths, but there were a couple lying around the office and I started messing with them, and I fell in love with all these genres that I’d been feeling kind of resistant to. It really helped me develop our signature sound.”
Though synth-pop has been an easy and reductive label used to categorize St. Lucia, most of the songs on Matter feature as much electric guitar, explosive percussion and complex brass arrangements as synthesizers. Nearly every track on the album contains horns and multi-part vocal arrangements, their sophistication reflective of Grobler’s lifetime of music study. But there’s nothing academic about a St. Lucia concert. Grobler and his cohorts are first and foremost a live band, with their reputation for dazzling, immersive shows fueling their rapid growth and status as global festival favorites.
That said, the days of word-of-mouth growth and being able to introduce your friends to the music of St. Lucia for the first time appear to be numbered, as Grobler prepares to hit the biggest stages of his career with his best album to date. He may have been a part of history as a child, but now Grobler’s all grown up and ready to write his own.
In Nous, Birch channels Ambrosian hymns, moody soul, Debussy and RnB, all brought together with an unflagging attention to classic pop songwriting and the intricate possibilities of the piano. Lyrically, Nous explores questions of love, power, gender, and loss, along with Birch’s recurring odes to the concept of a "higher self.” Indeed, the album’s title doesn’t only mean “ we” in French. Nous is an ancient Greek term for “ awareness.”
Working primarily alone with her piano, Birch has crafted a sonic landscape both timeless and contemporary. Saxophone by Stuart Matthewman of Sade and drums by Max Weissenfeldt of Polyversal Souls contribute to Nous’s layered, intelligent instrumentation, fusing touches of her live-band sound from previous albums with delicate forays into programming, sampling, and electronic production.
With two previous critically acclaimed albums on her discography (Bible Belt and Speak A Little Louder), Birch has earned herself a dedicated fan base across the globe, together with respect from a wide range of musicians from Prince, Mark Ronson, Daryl Hall and Stevie Wonder.
Nous marks a turning point for Diane Birch, who has both reclaimed creative control of her music and expanded her territory, crafting an album of intimate resonance and deep, reaching, soul.
They pioneered the coveted weekly show "Happy Monday" at Apotheke Bar in 2009, which still continues today, although he recently left the show, after 5 years, to focus on writing and recording his forthcoming EP.
Cole and Chinatown bring a sexy, soulful vibe to the stage, captivating crowds in intimate and dance driven performances, and has galvanized a strong and energetic following that turn any venue into a beautiful party.
Currently, he curates and DJ's every Monday night at one of New York city's hottest and newest downtown institutions, The Blond.
Since then, City of the Sun has headlined and sold out NYC venues like the Gramercy Theater and Brooklyn Bowl; they played SXSW, Firefly, CMJ and CBGB music festivals, among others. The band supported Charles Bradley and Gregg Allman, and have long-standing collaborations with Sofar Sounds and Godin Guitars. "The C Word" documentary, directed by Meghan O'Hara and narrated by Morgan Freeman, featured a score worked on by John, Avi, and Zach.
City of the Sun signed with Chesky Records in 2016 and released their LP 'To the Sun and All the Cities in Between,' which debuted at #12 on the Billboard Jazz Albums chart. Lead Track "Everything" hit #2 on Spotify's US Viral 50 chart and #5 on Global Viral with over one million plays in two months.
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