THE SPINTO BAND with GENERATIONALS and PEPI GINSBERG at the Pike Room

FRIDAY NOVEMBER 6, 2009
doors at 7PM
tickets: $8 (buy tickets)

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Brevity, soul and wit: some of the hallmarks of THE SPINTO BAND's latest forthcoming release. Slim & Slender is the Delaware native sextet’s self-recorded debut. A succinctly stated 4 song package, this EP serves as a precursor to the self-recorded LP to follow in 2010. Self recorded in eastern PA, these very well may be some of the The Spinto Band's best stuff yet. Included are a lot of extended instrumental explorations , like the bouncily jubilant cover of "Brazil" from the Terry Gilliam film of the same title. “Brazil has been a long time classic amongst the band,” singer/songwriter/guitar-player/production-guru Nick Krill explains. “I first heard it in the film and have overheard Jeff and Tom and others playing the melody on different instruments over the years. The song brings to mind flying high above a city with angel wings sprouting from my back.” Their previous full-length, Moonwink, had Spinto’s crafty penchant for taking care in carving out space for all sounds in elaborate arrangements, and “Thayer Function”, Slim’s original instrumental is a sunwinked continuation of this calling card.

GENERATIONALS is the collaboration of Ted Joyner and Grant Widmer. Following the breakup of their previous band the Eames Era, they returned home to New Orleans in 2008 to form Generationals and record their first record, 'Con Law.' They tapped the Oranges Band founder Daniel Black (the mind behind the Eames Era's swan song Heroes and Sheroes) to engineer and produce the record at his D.C.-based home-studio. Black recorded 'Con Law' in the style of his heroes-George Martin, Phil Spector, Jeff Lynn and Quincy Jones-with a meticulous attention to detail and a willingness to make the recordings sound old. The result is one of those classic 'first record' moments that blissfully wills its listeners into repeat listens. The sounds of 'Con Law' were cobbled together from the far corners of the instrument room to form a cohesive group of songs written in straight-forward pop structures. Chiming 12-string electric guitars sit next to 8-bit sequencers, synth-bass and trumpet. Often the shakers, hand-claps and acoustic guitars sound like Paul Simon and Tom Petty, while another arrangement recalls Junior Walker and Booker T., all recorded to an old 24-track 2-inch tape machine that threatened to melt down several times.

And PEPI GINSBERG: With her hoarse, gasping, masculine voice persistently reminiscent of both Patti Smith and Bob Dylan, it's no surprise Pepi Ginsberg so grandly evokes the archetype of the rock-n-roll poet. On third —but first widely-available— album, the creative-writing-major-turned-singer-songwriter showcases a tendency towards nimble lyricism and considered imagery.

 

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