Knitting Factory Brooklyn Presents:
Balene
Pearl and the Beard, Carl Hauck, Tricia Scully
Knitting Factory Brooklyn
Tue, June 22, 2010
Doors: 7:00 PM / Show: 8:00 PM
$10.00
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Balene
BALENE was formed in the summer of 2008 around a batch of songs written and sung by Casey Brooks. The album "A Phantom Sea" was recorded in 2009 and Brooks enlisted long time friends Mike Friedrich (guitar/keys/vocals) and Chris Bordeaux (bass/vocals) of RAHIM, Chris Pressler (drums/percussion) and Jeff Stultz (guitar/production) of LIMBS, and Anna Bean (vocals/keys) to fully realize the material. The band continues writing new songs and as a live entity they emphasize melody and simplicity as common ground among their broad musical palette.
Pearl and the Beard is three voices, one cello, one guitar, one glockenspiel, one melodica, several drums, one accordion, ninety-six teeth, and one soul.
Former strangers Jocelyn Mackenzie, Emily Hope Price, and Jeremy Styles were united in the great city of New York. Each had migrated there from a far corner of the nation with naught but food in their pockets and money in their bellies. Each had the same true love. Since then, the three have nested, and their unique brand of brightly melodic songcraft continues to blossom of its own accord.
Pearl and the Beard loves you the way you’ve always been.
When he’s not busy teaching poetry to high schoolers, northern Illinois native Carl Hauck spends time writing a bit of his own and crafting the music to accompany it. Compared to the likes of Andrew Bird, Iron & Wine, and Sufjan Stevens, Hauck has self-recorded and independently released three albums of subtly layered acoustic folk since 2004, and is set to release his fourth album this summer. As Innocent Words Magazine declares, "not only is Carl Hauck a guitarist and songwriter, he is also a poet... If Hauck isn't up-and-coming, he'll be sorely overlooked."
Over a modest ensemble of hand claps and shimmering six-string, Tricia Scully croons, “I’m holding out on you,” yet it’s clear that she’s doing anything but. Both her ethereal vocal stylings and intricate finger picking showcase tinges of jazz and pop that saunter effortlessly into the melodic framework, at once lulling and flirting with listeners. It’s an idiomatic mingling of all of Scully’s former musical identities – from punk guitarist to marching trumpeter to mask-wearing electro-pop collaborator to indie rock front-woman – that sheds the pretense and underscores the only thing that matters: her sheer talent as a songwriter and performing musician.