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Brent Arnold & Baby Copperhead, Tom Brosseau, Christy & Emily, Eleanor Friedberger

Feb 12, 2014 @ 8:00 pm

| $8

Brent Arnold & Baby Copperhead, Tom Brosseau, Christy & Emily, Eleanor Friedberger
Wednesday Feb 12, 2014
8:00 PM

21 and over

$8 advance, $10 at the door
The Paper Box
17 Meadow St.
Brooklyn, NY
RSVP: https://www.facebook.com/events/462038893921979/

Brent Arnold & Baby Copperhead
http://babycopperhead.bandcamp.com/ http://brentarnold.bandcamp.com/

Tom Brosseau
Tom Brosseau is a folksinger and songwriter from Grand Forks North Dakota, who learned acoustic guitar from his grandmother Lillian Uglem. He has toured Japan, Canada, Portugal, UK, Iceland, Australia & more; performed in bars, backyards, grand halls, subways, theaters, old folks homes; exchanged songs and poetry with many talented folks, including Susan Orlean, Ramblin’ Jack Elliott, Patrick Marber, Bonnie Raitt and the late Sam Hinton. Now based in Los Angeles, Brosseau has been a featured member of John Reilly & Friends, a band rounded up by actor John C. Reilly and devoted to the eternal nature of American folk music. In 2011, Reilly and Brosseau recorded a 7″ vinyl single entitled John & Tom that was produced by Jack White for Third Man Records. Brosseau is touring for his new full length, Grass Punks (Crossbill Records), recorded and produced by Sean Watkins of Nickel Creek.

Christy & Emily
Experimental folk-pop duo Christy & Emily is comprised of Christy Edwards, a self- taught indie-rock guitarist and Emily Manzo, a classically trained pianist. The duo began writing music together after their band with Walter Martin of The Walkmen dissolved. Since their 2006 debut on The Social Registry, they have toured in the US and extensively in Europe. Their second record was made in Emily’s basement apartment and found itself on Robert Lloyd’s UK label, Big Print. In 2009 and 2011 they recorded two albums with producer Hans Joachim Irmler of Faust in the German countryside. At home in New York they have performed at Le Poisson Rouge, The Brooklyn Museum, The Knitting Factory, The Stone and Joe’s Pub, often collaborating with musicians from both rock and avant-garde classical worlds. Recently the duo has had the great honor to develop a concert with Brock Monroe of The Joshua Lightshow and perform with him throughout Germany, Austria, Switzerland and the Czech Republic. They are also delighted to say that their music can be heard in the film, Nancy, Please (2012), directed by Andrew Seamans and winner of the World Narrative Competition at the Tribeca Film Festival. Over many years Christy & Emily have forged a songwriting style that melds haunting vocal harmonies with jagged guitar swells and vintage electric piano/organ dreaminess. For the latest album and tours, they have built up their sound by adding Peter Kerlin (Chris Forsyth, Source of Yellow) on bass and Kristin Mueller (Gloria Deluxe, Cynthia Hopkins) on drums. In their more subtle formation as a duo, Erik Satie’s First Gymnopédie does not feel out of place during a surprise appearance in their tune “Lover’s Talk.” “In Christy & Emily’s music, we find unconventional rockers with Brazilian baiao rhythms seated in a psychedelic netherworld, suicide ballads invoking the sordid tales in the Harry Smith Anthology and chords borrowed from Schumann and Liszt with a chorus that nods to Brian Wilson.” –Digital In Berlin

Eleanor Friedberger
At a time when most female singer-songwriters perform as alter egos, Eleanor Friedberger is simply, refreshingly herself. And that’s just the way her fans like it. Having spent the last decade fronting the indie-rock institution The Fiery Furnaces (currently on hiatus) with her brother Matthew, in 2011 she emerged as a formidable solo artist with Last Summer, a thoughtfully crafted tale of memory and place couched in the organic pop of her ’70s idols. Instantly, Friedberger established herself as a modern-day heir to the tradition of Donovan, Todd Rundgren, Ronnie Lane, and their ilk: Warm, nuanced, timeless songs. No gimmicks necessary. The title of Friedberger’s sophomore album is Personal Record, and it is, in a sense. Personal, that is. But not personal in the way of, say, a coming-of-age record, or a diary about the past, which Last Summer was. Many of the songs seem to be about love, or love lost, but whether any of the experience is hers or someone else’s, she isn’t saying. “It’s not as specific a narrative this time,” she says. “There’s a universality to it.” So incisive are the lyrics, in fact, that Friedberger’s bassist incorrectly assumed that two of the songs were about him. “I loved that,” she says. “I want him to feel like the songs are about him. I want you to feel like the songs are about you.” The term “personal record” also refers to an athlete’s best, and the double entendre is apt. An intense decade-plus of touring and recording has burnished Friedberger’s voice and imbued her songwriting with newfound depth; there’s a maturity and mellifluousness to this outing that feels downright epic. It was always the Eleanor-penned songs that gave the Furnaces’ albums their most poignant and graceful moments, especially in later work like I’m Going Away. Last Summer took that promise into full flower; Personal Record “is part of the same growth process,” she says. Faced with a six-month gap between the completion of Last Summer and its release and accompanying tour, Friedberger holed up at home in Brooklyn; by the time the tour started, she had twelve new songs to road-test. Though most bands work this way, the Furnaces didn’t. For Friedberger, touring with the unreleased material allowed her to flesh out a more rollicking, full sound from the get-go. “By the time I came home,” she says, “I knew exactly what I wanted the songs to sound like.” She reunited with Last Summer producer Eric Broucek (the DFA-trained emerging talent whose clients include !!!, Hercules and Love Affair, and Jonny Pierce) to expand upon the warm, textured atmosphere of their first collaboration. Tracking began in fall 2012 with a week at Plantain Studios, the West Village home of DFA. To Friedberger’s favored electric pianos and classic-rock guitars, they added a menagerie including an upright bass, an alto flute, a bass clarinet, and even a portative organ. (It’s a device made of several recorders and a bellows in a frame that looks like a wooden castle. Or, actually, like Howl’s Moving Castle.) Production then resumed at Broucek’s home studio in the Los Angeles hills, where the rest of the record was completed in just ten days. As the songs filled out, Friedberger went full-out in immersing herself in her romantic vision of that city. “I was just listening to Fleetwood Mac and Neil Young, driving around in a borrowed Prius,” she says. “Walking along Point Dume, playing tennis at Griffith Park…. I ate hippie food every day. Lots of lentils.” The sun-warmed languor of the West Coast and its golden age of rock ‘n’ roll shines through in Personal Record. It’s the aural equivalent of an afternoon jaunt up the PCH in an orange BMW 2002, fist pumping into the wind. “When I Knew” and “Stare at the Sun” rock out like the Furnaces’ finest, but with that unmistakable Eleanor gracefulness. “Echo or Encore” is a lilting love ballad underlaid with with a bossa nova beat. “I Am the Past” evokes the mystical side of the Me Decade with meandering bass clarinet and a balls-out flute solo (seriously). Though Friedberger may harbor a bit of a ’70s fetish, there’s an idiosyncrasy and intimacy to her music that’s undeniably modern. Above all, it’s pretty. “It’s such a romantic album to me,” Friedberger says. “But more so than love for another person, it’s really about a love of music.”


Feb 12, 2014
8:00 pm


The Paper Box
17 Meadow Street
Brooklyn, NY 11206 United States
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