Gates & Twilight Market open @ 05:00PM
Music begins @ 07:00PM
TV ON THE RADIO
The Brooklyn-based group TV on the Radio mix post-punk, electronic, and other atmospheric elements in such a creative way that it only makes sense that their core duo, vocalist Tunde Adebimpe and multi-instrumentalist/producer David Andrew Sitek, are both visual artists as well as musicians. Adebimpe is a graduate of NYU's film school and specializes in stop-motion animation, which his Brothers Quay-like video for the Yeah Yeah Yeahs single "Pin" amply demonstrates. He is also a painter, as is Sitek, who also produced the Yeah Yeah Yeahs' Machine EP and their full-length Fever to Tell.
Their first EP, Young Liars, which also features the Yeah Yeah Yeahs' Brian Chase and Nick Zinner, as well as the addition of guitarist/vocalist Kyp Malone to the liuneup, was released in summer 2003 to critical acclaim, coinciding with their gigs opening for the Fall. Their first full-length release, Desperate Youth, Blood Thirsty Babes, arrived in spring 2004. The band remained busy for the rest of the year, embarking on its own tours as well as dates with the Faint and the Pixies. That fall, they released the New Health Rock EP and won the 2004 Shortlist Music Prize.
In 2005, the band kept busy with touring and returned to Site's Stay Gold studio to work on its second album. TV on the Radio signed with 4AD for European distribution of their albums and moved to Interscope in the U.S. In summer 2006 they resurfaced with Return to Cookie Mountain, a more polished but still searching collection of songs that featured David Bowie on backing vocals. The band went in a sleeker direction on 2008's Dear Science, which featured cameos from Antibalas and Celebration's Katrina Ford. Following Dear Science, the band went on a self imposed hiatus to work on other creative projects but came back in early 2011 with released their fifth album, Nine Types of Light. --from Allmusic by Heather Phares.
"A lot of Confess is about sacrificing part of your life to something you love to do," says George Lewis Jr., the nom de plume of Brooklyn indie pop sensation Twin Shadow. "Love and commitment may not be part of my life at this point. So a lot of this record is about my relationships with people, and dealing with the sacrifices I've made."
Confess is the gorgeous, dynamic follow-up to Twin Shadow's 2010 breakthrough Forget. That first record, co-produced by Grizzly Bear's Chris Taylor and initially released on Taylor's Terrible Records label before getting picked up by 4AD, garnered a lot of praise from the likes of Rolling Stone ("fully-formed, haunted and haunting"), Allmusic ("lush, intricate pop"), and Pitchfork, which named it one of the best albums of 2010. Soon after its release, Lewis began amassing even more fans during a string of headlining club dates (a feat that Lewis will repeat this summer and fall on his "Ton Up" tour), while also opening for Florence and the Machine and playing a number of festivals, including Coachella, Sasquatch, Bonnaroo and Austin City Limits.
But throughout that initial rush of attention, a lot of similar adjectives were thrown around to describe Twin Shadow: Heartfelt. Honest. Nostalgic. Lewis's background was dissected - his birth in the Dominican Republic (as a twin, hence the band name), a lonely childhood in Florida, the eventual move to New York and the fashioning of his own stunning debut album, recording almost entirely on his own, in hotel rooms and in his cramped Brooklyn apartment.
The songs on Confess do feel invigorated, as well as louder, more dynamic and certainly more adventurous. "Golden Light" kicks things off in a wash of keyboards and a slowly building beat, evoking a bit of Peter Gabriel. "That first track reminds me of my travels in Europe," says Lewis. "And it's almost my world music, in a way. I think it really opens the door for the rest of the album."
Elsewhere on Confess, Lewis revs up the guitars ("You Call Me On"), engages in some sparse, soulful R&B ("Patient") and goes quiet for a few mournful ballads ("When the Movie's Over," "Run My Heart.") But even on the slower songs there's a livelier percussive presence, thanks to an interesting new sampling technique. "I grew up in Florida, so the first musical impressions I had were from local football games," he says. "So for this record, I'd go to football fields and record and sample the drums. It's a fun detour away from the drum machines I used on Forget."
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