In 2014, Brooklyn watched some of its most recognizable cultural mainstays drop one by one.
The first to go, in January, was 285 Kent, which I booked for and ran alongside the AdHoc team. For the bulk of that time, this consisted of editors Matt Sullivan, Brad Stabler, and Mike Sugarman, as well as future editors Beth Tolmach and Joe Bucciero. After running it with John Jacobson for several months, Sullivan used to run a bunch of shows with me until we got Kaitlin Browne to take over. Brad worked the door a lot. Beth tended bar sometimes and so did Joe (ladies loved Joe), and Mike would play there a lot under Sugarm. Emilie, who co-founded AdHoc with me, played there often with her band La Big Vic and worked behind the bar regularly until she got her gig at The FADER. Everyone was always putting forward ideas for shows to throw and artists to invite.
285 and AdHoc were two separate legal entities, but the site and the people who ran it were very much at the heart of the venue. It was our chance to interact with and contribute to the community around us, beyond the web. We'd set up two or three wrecked folding tables in the middle of the venue’s sticky floor, and that was our office.
We closed 285 Kent for a lot of reasons. Over the course of the preceding year or so, the venue had gotten several thousands of dollars worth of fines and summons for things that we simply didn’t have the resources to obtain. We even got busted by cops on my birthday in 2013, and I had spent the night in jail after another similar raid. That felt kind of badass for a second, but that feeling goes away pretty quickly when you’re in a jail cell and you can hear the puckering of someone taking a shit two feet away from you.
DJ Rashad dropped a brand new four-track EP called We On 1 out of nowhere yesterday via Houston DJ Wheez-ie's new label, Southern Belle Recordings. No word on who else SBR'll be releasing yet, but this EP sees some great collaborations with Teklifers DJ Manny, Gant-Man, and of course DJ Spinn.
The vinyl edition of We On 1 drops April 28th, with digital downloads going live May 13th. Stream it below until then.
Ad Hoc seeks editorial interns to work in our Brooklyn office. All candidates must live in the New York area, be enrolled as undergraduate students, and be available 12-20 hours per week, beginning immediately.
Tasks include, but are not limited to, assisting with copy editing and fact-checking, social media management, managing music submissions, and, after some training, writing contribution. You should have excellent research skills, a laptop, and familiarity with the music we cover. This includes anything underground, under-represented, or just plain weird: grassroots DIY, punk, noise, electronic, hip hop, indie rock, etc. The ability to gain school credit for the internship is strongly preferred but not required.
Please submit a résumé, cover letter, 2 writing samples, and a list of your top 5 albums and tracks of 2013 in an email (no attachments, please) to firstname.lastname@example.org with the subject line “SPRING INTERNSHIP 2014″ by Wednesday, February 5.
While I'm a fan of bad puns, the name Salvia Plath usually makes others cringe. But upon learning that the project is the latest from Michael Collins, grimaces end up getting swapped for curious brows. Two years ago as Run DMT, Collins self-released Dreams-- a loosely conceptual cassette of short, '60s-inspired pop songs woven with interludes of ambient synth and spoken word samples from first-time Dimethyltryptamine users sharing their drug experiences. His playful approach to psychedelia was met with acclaim, leading to the creation of his own label, Culture Dealer, and-- despite Salvia Plath's shallow word play, a release on Domino's Weird World imprint. But what's in a name, really?
Ad Hoc: Where does the name Salvia Plath come from?
Michael Collins: It comes from a deep connection to two experiences while smoking salvia, which are equally integral in opening up my perception on reality as I knew it... A lot of people, when they hear a band name that has a pun in it or is funny automatically feel like the music is coming from an insincere place. It gives people different thoughts, who focus a lot on things like band names or clothes that you wear, or whatever the fuck, you know?
Part of the reason why I don’t really give a shit about keeping it light and breezy and funny with things like a name is just that the people who like my music probably would have a sense of humor about that kind of thing. If they don’t, and they’re critical about it, they probably won’t really like the songs, and that’s just a-ok with me... Comedy is really important to what I do, and also not over-thinking anything. There’s room for real shit to happen, and I think the more funny you are, the more fun you have in your life and more to get deep with people and with yourself and with your art.
In Dean Blunt's typical what-the-fuck fashion, the guy decided to drop an entire free and downloadable new album today called Stone Island with no notice via Russian news outlet Афиша. Never heard of it?? Neither had we. To our delight, the album continues in the orchestral, MacBook Pro pop direction Blunt left off with on The Redeemer, and can be grabbed here. "King James," dubbed "3" on the download, is streaming below. (via No Fear of Pop)
And for those who were curious about how his movie "The Rhinestone Bezel" is coming along, you can see two monologues from a casting call below. The film is set to hit cinemas in Winter 2013, as previously reported.
Read crowd-sourced reviews of "Despicable Me 2" in Russian here.
Dan Lopatin impresses once again with a new track off his Warp debut, R Plus Seven. "Problem Areas" is the first track to drop from the release, and it doesn't come alone-- those who mosey on to pointnever.com will find that artist Takeshi Murata created a piece to accompany the song. The visual accompaniment's simulated, surrealist style makes quite an impact, leaving its defenseless surveyors questioning reality and the very existence of material things upon first sight of the animation.
“I wanted to characterize a linear world with cracks in its edifice,” reflects Lopatin. “One with a veneer of being breakable, but that instead just bends and stretches endlessly like rubber, preventing you from ever understanding its true properties. The proverbial ‘endless vista,' but with an end.” And man when the song starts, you think that these could be the sickest arpeggios you've ever heard and you just want them to last forever. But then BAM-- they disappear. And while you marvel in Lopatin's genius and savor in the self-prophesized defeat you've yearned for, you come to the realization that your mind has just been blown. And then BAM-- those synthetic yet acoustic arpeggios return and you don't even know what to think anymore. It should, however, be noted that this is just the tip of the iceberg as far as what R Plus Seven has to offer-- just wait until you find yourself in "Chrome Country" crossing paths with the "Zebra."
Worshippers can preorder R Plus Seven from Warp Records and see the man live in action on some of his announced US and EU tourdates (shoutout Berghain!!).
Copenhagen punks Iceage have announced on their blog that their second album will be out February 19th in 2013, and that it'll be released by Matador stateside and by Escho at home. No details on the forthcoming effort as of yet, but in the meantime you can take a trip back to last year and stream the title track from their very excellent first album, New Brigade, below.
A year after Ridgewood-based DIY venue Silent Barn was burglarized and busted by cops, the arts collective announced that they've signed a 10-year lease on a three-story, 10,000-square foot property at 603 Bushwick Avenue in Brooklyn. The new mixed use, legally occupiable space will have events on a nightly basis and house dozens of artist's studios, as well as residents. While the Barn isn't planning to host shows for another two months, applicants for potential studio spaces or residencies are encouraged to reach out now.
Take a tour of the new building in its construction stages here, and check out this video of Dirty Projectors playing in the kitchen of the old Barn back in 2007 below.
Whie we've heard Scott & Charlene's Wedding off-beat humor from tracks like "Gammy Leg" and "I Wanna Die" from their recent split on Night People, we've yet to see it with our own eyes until now. The Australia-via-Brooklyn indie rockers unearthed a year-old music video for "Rejected" in which frontman Craig Dermody humps his bassist, who just sits there and takes it with a bike strobe, for about three minutes.
"Rejected" is from their second full-length, Para Vista Social Club, which is being re-issued by London label Critical Heights on November 27th.
More than two decades after releasing their shoegaze masterpiece Loveless, My Bloody Valentine announced that their follow-up to the genre-defining album will be out by the end of 2012. Kevin Shields says that "based on the very, very few people who've heard stuff-- some engineers, the band, and that's about it-- some people think it's stranger than Loveless. I don't."
The new full-length will be released on Shields' web site, and will be followed by an EP of new material in 2013. (via NME)