Divine Fits
Sean Bones
Sun, September 9, 2012
Doors: 8:00 pm / Show: 9:00 pm
Music Hall of Williamsburg
Brooklyn, NY
$22.50 advance / $23 day of show
Sold Out
This event is 18 and over
http://www.musichallofwilliamsburg.com/event/149115/Divine Fits

For starters, the "supergroup" concept is usually a very bad idea. Arcadia, Hagar Schon Aaronson Shrieve, the Miami Heat*, Junkyard. Sure, they all look great on paper, but the results are usually disappointing. So with that history firmly in mind, I'll admit I was intrigued when the good folks at Nasty Little Man
offered me $30 for my thoughts concerning Divine Fits, a trio comprising Spoon's Britt Daniel, Wolf Parade's Dan Boeckner and Sam Brown of Columbus, OH's New Bomb Turks. The Turks I'm familiar with, the other two fellas, much less so
(though I'm told they've earned a fair bit of praise in secular music circles.)
As such, it's hard for me to offer an informed opinion on how much their debut album, 'A Thing Called Divine Fits' does or doesn't resemble their prior projects, but I hope we can agree that would be a flimsy excuse for musical analysis. Great artists aren't content with staying in one place. Would Phillip Seymour Hoffman routinely play brooding, lumpy characters with questionable social skills? Would some percentage of those parts be offered to Paul Giamatti if Hoffman was unavailable and/or the timing wasn't right? Seriously, how incredibly cynical would it be to interrogate a collection of 11 songs rather than
simply listen to it?
OF COURSE there are echoes of what these guys have done before. But I'm here to praise the trio and producer Nick Launay, not bury them (though you'd have to admit, that would be a rather unique approach for a press release); 'A Thing Called Divine Fits' crackles with the sort of daring and electricity few of
their contemporaries can muster. There's tremendous songcraft to spare (the Joe Meek-on-PEDs "Would That Not Be Nice" is so good, had that been the first MP3, Nasty Little Man wouldn't have needed to resort to Kickstarter to raise my $30), but there's also a keen confidence shining through that you'd usually mistake for a totally new band. Which, I suppose, is exactly what these guys are. And if we're really lucky, they'll make this a regular thing.
Gerard Cosloy, Austin, TX, June 22
* - never mind
offered me $30 for my thoughts concerning Divine Fits, a trio comprising Spoon's Britt Daniel, Wolf Parade's Dan Boeckner and Sam Brown of Columbus, OH's New Bomb Turks. The Turks I'm familiar with, the other two fellas, much less so
(though I'm told they've earned a fair bit of praise in secular music circles.)
As such, it's hard for me to offer an informed opinion on how much their debut album, 'A Thing Called Divine Fits' does or doesn't resemble their prior projects, but I hope we can agree that would be a flimsy excuse for musical analysis. Great artists aren't content with staying in one place. Would Phillip Seymour Hoffman routinely play brooding, lumpy characters with questionable social skills? Would some percentage of those parts be offered to Paul Giamatti if Hoffman was unavailable and/or the timing wasn't right? Seriously, how incredibly cynical would it be to interrogate a collection of 11 songs rather than
simply listen to it?
OF COURSE there are echoes of what these guys have done before. But I'm here to praise the trio and producer Nick Launay, not bury them (though you'd have to admit, that would be a rather unique approach for a press release); 'A Thing Called Divine Fits' crackles with the sort of daring and electricity few of
their contemporaries can muster. There's tremendous songcraft to spare (the Joe Meek-on-PEDs "Would That Not Be Nice" is so good, had that been the first MP3, Nasty Little Man wouldn't have needed to resort to Kickstarter to raise my $30), but there's also a keen confidence shining through that you'd usually mistake for a totally new band. Which, I suppose, is exactly what these guys are. And if we're really lucky, they'll make this a regular thing.
Gerard Cosloy, Austin, TX, June 22
* - never mind
Sean Bones

Sean Bones' Buzzards Boy is one of an evolving artist setting out to test new waters only to find himself weathering a stylistic and emotional sea change. As with most second records, there's much to prove, but in the case of Buzzards Boy, Sean Bones transcends a varied stylistic past to reveal himself as an intriguing songwriter capable of truth and sonic spells.
On Buzzards Boy, Sean and his bandmates hooked up with a producer for the first time. Shane Stoneback was sought out for his uncanny recording methods (oil cans, toys amps) and his enthusiasm for the demos he was absorbing between his other name-brand projects (Fucked Up, Sleigh Bells, Cults) The sessions were brief and at some point during the week Bones resolved to taking on the rest of the project alone. Traveling between rehearsal spaces, bedrooms and eventually to the West Coast, he built an awesome second record from the foundation laid through this partnership.
The island he's trawling this time is darker and more lush. Tracks are swathed in reverby surf guitars and loose percussion. Its easy to imagine hearing this album out doors, at night. A full listen reveals a wide range of influences digested into something wholly Bones' own. "Tell Me Again" is a folky harmonium piece played over what sounds like the Miami Sound Machine. "Four Dub" explores open space and urgency. The sublime "Black Gold" starts with a scruffy hip hop beat until giving way to another one of those swoony boy-girl ballads that he's good at.
At the heart of Buzzards Boy is a romantic young man, worried about the world and checking himself for imagined damage. Somewhere in the storm came a renewed sense of purpose. Fittingly, the exuberant lead single "Here Now" was written last. Backed by Fool's Gold's Garrett Ray and Lewis Pesacov, the song brims with energy as an ecstatic Bones proclaims, "I'm here now, hold it down!." Whether he's here to remind himself or the rest of us doesn't matter - he track is his most confident and inspiring to date.
Bones will be releasing a limited number of physical, handmade vinyl copies of "Here Now" 7 inch records in February 2012, and a run of Buzzards Boy LPs the following May. Tours are slated for the Spring that'll see him play both with a band and on his own where he chops up his own music, lets us in on the process and basically hosts an off kilter dance party. There's also talk of another record in the can too. Considering his propensity for change and changing medias, it'll be interesting to watch this story play out.
On Buzzards Boy, Sean and his bandmates hooked up with a producer for the first time. Shane Stoneback was sought out for his uncanny recording methods (oil cans, toys amps) and his enthusiasm for the demos he was absorbing between his other name-brand projects (Fucked Up, Sleigh Bells, Cults) The sessions were brief and at some point during the week Bones resolved to taking on the rest of the project alone. Traveling between rehearsal spaces, bedrooms and eventually to the West Coast, he built an awesome second record from the foundation laid through this partnership.
The island he's trawling this time is darker and more lush. Tracks are swathed in reverby surf guitars and loose percussion. Its easy to imagine hearing this album out doors, at night. A full listen reveals a wide range of influences digested into something wholly Bones' own. "Tell Me Again" is a folky harmonium piece played over what sounds like the Miami Sound Machine. "Four Dub" explores open space and urgency. The sublime "Black Gold" starts with a scruffy hip hop beat until giving way to another one of those swoony boy-girl ballads that he's good at.
At the heart of Buzzards Boy is a romantic young man, worried about the world and checking himself for imagined damage. Somewhere in the storm came a renewed sense of purpose. Fittingly, the exuberant lead single "Here Now" was written last. Backed by Fool's Gold's Garrett Ray and Lewis Pesacov, the song brims with energy as an ecstatic Bones proclaims, "I'm here now, hold it down!." Whether he's here to remind himself or the rest of us doesn't matter - he track is his most confident and inspiring to date.
Bones will be releasing a limited number of physical, handmade vinyl copies of "Here Now" 7 inch records in February 2012, and a run of Buzzards Boy LPs the following May. Tours are slated for the Spring that'll see him play both with a band and on his own where he chops up his own music, lets us in on the process and basically hosts an off kilter dance party. There's also talk of another record in the can too. Considering his propensity for change and changing medias, it'll be interesting to watch this story play out.
Venue Information:
Music Hall of Williamsburg
66 North 6th St
Brooklyn, NY, 11211
http://www.musichallofwilliamsburg.com/
Music Hall of Williamsburg
66 North 6th St
Brooklyn, NY, 11211
http://www.musichallofwilliamsburg.com/




