MONDAY OCT 08, 2018
529 Presents:
529 Presents:
Floral Print
Knifeplay
They Are Gutting A Body Of Water | Sisterwife | Follicles
Floral Print
After first meeting on a whim over Facebook, what started out as a chance occurrence between drummer Paul DeMerritt-Verrone and singer/guitarist Nathan Springer (Narrator) sprouted into a continually exciting and unpredictable collaboration. The pair first started practicing and performing around Atlanta, GA in late 2014, and quickly started honing their penchant for dizzying song structures and erratic rhythms grounded in pop sensibilities. Their debut EP ‘woo’, recorded with bassist George Pettis (100 Watt Horse) and producer Graham Tavel, showcased floral print’s vibrant pastiche of psych-pop, early emo, ambient, and deconstructionist rock. Following ‘woo’, the duo (rounded out by a rotating cast of bassists) embarked on numerous tours throughout the East coast and Midwest, making friends and tightening up their sonic communication skills. In summer 2016, floral print linked up again with Tavel to start recording their debut full-length, entitled ‘mirror stages’, at Broad Street Visitor’s Center in Downtown Atlanta. The tracks on ‘mirror stages’ display a marked change in tone from ‘woo’, as glimmers of noise, distorted melancholy, and manic energy imbued their sound with more nuance and stylistic aberrations. Following the recording of ‘mirror stages’, floral print rounded out its lineup with the addition of Josh, Paris, and Lily as the band charts a new course for future tours and releases."
After first meeting on a whim over Facebook, what started out as a chance occurrence between drummer Paul DeMerritt-Verrone and singer/guitarist Nathan Springer (Narrator) sprouted into a continually exciting and unpredictable collaboration. The pair first started practicing and performing around Atlanta, GA in late 2014, and quickly started honing their penchant for dizzying song structures and erratic rhythms grounded in pop sensibilities. Their debut EP ‘woo’, recorded with bassist George Pettis (100 Watt Horse) and producer Graham Tavel, showcased floral print’s vibrant pastiche of psych-pop, early emo, ambient, and deconstructionist rock. Following ‘woo’, the duo (rounded out by a rotating cast of bassists) embarked on numerous tours throughout the East coast and Midwest, making friends and tightening up their sonic communication skills. In summer 2016, floral print linked up again with Tavel to start recording their debut full-length, entitled ‘mirror stages’, at Broad Street Visitor’s Center in Downtown Atlanta. The tracks on ‘mirror stages’ display a marked change in tone from ‘woo’, as glimmers of noise, distorted melancholy, and manic energy imbued their sound with more nuance and stylistic aberrations. Following the recording of ‘mirror stages’, floral print rounded out its lineup with the addition of Josh, Paris, and Lily as the band charts a new course for future tours and releases."
Sisterwife
In Atlanta music circles, David Norbery is best known as the artist behind Nomen Novum, a long-running, genre-defying solo project that Norbery summarily put on hold in 2016. Shortly after, he began experimenting with ambient drone and left-field electronica via the alias Night Heron, and although much of that work has remained hidden from the public eye, what has surfaced has been stark and languid—mesmeric soundscapes that ask the listener to retreat within themselves and drift into a trance. In the past year or so, however, Norbery has made a conscious shift from that reclusive, sometimes spectral aesthetic in the hopes of discovering a sound that is more organic, vulnerable, and human. In doing so, he abandoned most of his synths and electronics in favor of softer, more spacious songs the rely predominately on his vocals and fingerpicked guitars. He’s taken to calling the project Sisterwife, a term he finds “mysterious and transgressive,” and which marks a significant departure for a songwriter grown accustomed to wrapping himself up in philosophical conundrums and idiosyncratic mystique. “I had been listening to a lot of hypnotic, insular electronic music, and what I was doing as Night Heron reflected that,” Norbery explains via email. “I would wake up in the morning before work, turn on my machines and make these little sketches as the light filled my studio. I recorded a whole album that way and was really happy with it, but never released it. At a certain point it got harder to connect with that type of music. That started around the time Trump was elected, I guess. I kind of didn’t want to be in a cocoon anymore. A lot of my favorite records in recent years have sounded convincingly inhuman—robotic, ghostly, alien, atmospheric. I love that, but I missed a certain human connection. It’s been challenging and fun to work with guitars and microphones again.” “Reclaim the Dust,” which we’re excited to premiere this morning, is Sisterwife’s formal debut and it finds Norbery in a pensive space, crooning over spidery guitars and muted textures. The song features Lisa Highfill of Lois Righteous on backing vocals and together the pair weave an alluring web of delicate harmonies that feel less brooding than self-reflective. Overall, it’s a springtime ode to transformational change, one that implores the listener to “unpin their fear” and seek out the courage to evolve. It’s sage advice Norbery has been actively implementing into his own life, albeit with some measure of restraint. Although he says he’s written about 16 songs and is the process of tracking a few of them, don’t expect a whirlwind of activity anytime soon. For now, he’s content to take his time and let things take their due course. “I’m not in any rush,” Norbery says. “Right now I just want to start playing shows and see what happens. Starting from square one is scary but also exciting.”
In Atlanta music circles, David Norbery is best known as the artist behind Nomen Novum, a long-running, genre-defying solo project that Norbery summarily put on hold in 2016. Shortly after, he began experimenting with ambient drone and left-field electronica via the alias Night Heron, and although much of that work has remained hidden from the public eye, what has surfaced has been stark and languid—mesmeric soundscapes that ask the listener to retreat within themselves and drift into a trance. In the past year or so, however, Norbery has made a conscious shift from that reclusive, sometimes spectral aesthetic in the hopes of discovering a sound that is more organic, vulnerable, and human. In doing so, he abandoned most of his synths and electronics in favor of softer, more spacious songs the rely predominately on his vocals and fingerpicked guitars. He’s taken to calling the project Sisterwife, a term he finds “mysterious and transgressive,” and which marks a significant departure for a songwriter grown accustomed to wrapping himself up in philosophical conundrums and idiosyncratic mystique. “I had been listening to a lot of hypnotic, insular electronic music, and what I was doing as Night Heron reflected that,” Norbery explains via email. “I would wake up in the morning before work, turn on my machines and make these little sketches as the light filled my studio. I recorded a whole album that way and was really happy with it, but never released it. At a certain point it got harder to connect with that type of music. That started around the time Trump was elected, I guess. I kind of didn’t want to be in a cocoon anymore. A lot of my favorite records in recent years have sounded convincingly inhuman—robotic, ghostly, alien, atmospheric. I love that, but I missed a certain human connection. It’s been challenging and fun to work with guitars and microphones again.” “Reclaim the Dust,” which we’re excited to premiere this morning, is Sisterwife’s formal debut and it finds Norbery in a pensive space, crooning over spidery guitars and muted textures. The song features Lisa Highfill of Lois Righteous on backing vocals and together the pair weave an alluring web of delicate harmonies that feel less brooding than self-reflective. Overall, it’s a springtime ode to transformational change, one that implores the listener to “unpin their fear” and seek out the courage to evolve. It’s sage advice Norbery has been actively implementing into his own life, albeit with some measure of restraint. Although he says he’s written about 16 songs and is the process of tracking a few of them, don’t expect a whirlwind of activity anytime soon. For now, he’s content to take his time and let things take their due course. “I’m not in any rush,” Norbery says. “Right now I just want to start playing shows and see what happens. Starting from square one is scary but also exciting.”