Music Hall of Williamsburg
Parquet Courts

EP Release Show!

Parquet Courts

The Beets, Yuppies, Future Punx

Wed, October 2, 2013

Doors: 7:30 pm / Show: 8:30 pm

Music Hall of Williamsburg

Brooklyn, NY

$12 advance / $14 day of show

This event is 16 and over

Parquet Courts
Parquet Courts
No one can make an instant classic. Nothing is immediately legendary. People may try to get you to believe that something in the now is going to be around forever and ever, even though you and the person trying to persuade you otherwise both know how quickly our culture scans over every piece of content that arises for consumption and evaluation. Only time, and the reception to that content over time – years, really, not the weeks or months they'd like you to believe it might take – will allow for that work to enter the canon of the classic, of the legend.

Because of this, it is only fair to judge Parquet Courts in the now. Yet they stand at the foot of the canon, the light of recognition ready to shine on them. Their debut album Light Up Gold shot them within range, an early and lasting success of the current year, finding favor in just about every blog, radio station playlist, and periodical that matters, from Pitchfork to NPR to the New York Times and all points in between. Their new five-song EP, "Tally All The Things That You Broke," noses them even closer. Restless, wound up, and nerve-jangling, their music is proof that the indie rock of 2013 – the one everyone seems to want – is the same one that aligned outcasts and viewpoints way back in the '80s and '90s. And, as with any band worth carrying the mantle of an entire genre of music, they find ways to expand their sound in their own voice. But it's that particular voice, born in Texas and broken in New York City, that makes them who they are, and what they mean to you.

"Tally" is far more than a stopgap in between full-lengths; it's the sound of Parquet Courts stretching out. Opener "You've Got Me Wonderin' Now," with its melodic drive and persistent Flutophone running alongside the melody, balances the manic tendencies of "Descend (The Way)," which would have fit on Light Up Gold, and extended rager "The More It Works," which would fit in a live set between Tyvek and Eddy Current Suppression Ring. "Fall On Yr Face" presents a classic desert trawler, lopsided and tuneful, the sound of the end of a long day. But the day is just beginning for the protagonist of "He's Seein' Paths," junkyard drum loops and doorbell samples framing Andrew Savage's eight-minute stream-of-consciousness rap about the trials and tribulations of a marijuana delivery service representative, zipping around the city on his bike. Simultaneously the link between Parquet Courts and Ween, or Parquet Courts and Beck, it frames the band coming from a new place, and is a post-millenial NYC anthem, quintessential sounds for anyone who's ever waited in anticipation of dialing that number, or anyone who's put on their game face and rode from point A to point B in the snarl of vicious traffic.

Parquet Courts remain Austin Brown, A. Savage, Sean Yeaton and M. Savage. They sound like all the bands you think they sound like. They've toured everywhere this year and will continue to do so.
The Beets
The Beets
Let's talk about the Beets. The story of the Beets begins in scenic Queens, New York, where Uruguayan transplant Juan Wauters met Jose Garcia in art classes at LaGuardia Community college. The two started playing guitar together, and eventually found the first in a series of many drummers so that they could play shows under the name of… The Beets. Soon enough, Wauters and Garcia found another like-minded soul in Queens-based artist Matthew Volz. Volz quickly took over the visual needs of the band, creating flyers, album covers, videos, and light shows, in effect turning him into the secret fourth member of the band. Volz also plays recorder for the band from time to time.

Over the course of four years, the Beets have become one of the best bands, if not the best band, in New York. With two full-length LPs and three singles on NY label Captured Tracks under their belt, and an amazing live show to boot, it is no wonder why they have been personally asked to share the stage by the likes of Pavement, and to tour with bands from the Vivian Girls to the Mountain Goats. The Beets are the musician's band, the artist's band, the band of bands. The Beets are smart and colorful individuals who treat life as a sing-along and a comic book all at once. The Beets are more than a band: they are a way of life, a gang, a gang from Jackson Heights, a gang that you want to be a part of.

Hardly Art is proud to present to the world Let the Poison Out, the third masterpiece from the Beets. It was recorded in two days, with a few overdubs here and there, at Marlborough Farms by Gary Olsen of Ladybug Transistor. It's the album the Beets have been working up to. Let the Poison Out also marks the addition of Chie Mori, an important component as the latest and last drummer for the Beets. It's true that the Beets have had many drummers. "If this doesn't work out, then no more Beets," asserts Garcia.

While the title references the band's idol and unofficial mascot, Howard Stern, Let the Poison Out is really an album about getting everything out of your system. All of the Beets elements are here: jangly acoustic guitar; simply captured, sing-along lyrics about being yourself, being free, not fitting in; and an undercurrent of restless energy. The Beets love the Ramones. The Beets love MAD magazine. The Beets love Queens and Keds. Now is the time for you to love the Beets.

The Beets are and always will be: Juan Wauters (guitar, vocals, songs), Jose Garcia (bass, vocals), Chie Mori (drums and more), and Matthew Volz (artist plus).
Venue Information:
Music Hall of Williamsburg
66 North 6th St
Brooklyn, NY, 11211
http://www.musichallofwilliamsburg.com/