Line-up

Venue

Le Poisson Rouge

158 Bleecker Street, 10012, New York (NYC), NY, US

www.lepoissonrouge.com

Capacity: 700

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Additional details

Doors open: 18:30

Concert in your area for Indie & Alt, Rock, Folk & Blues, and Pop.

Find out more about Rock and Pop.

The Antlers biography

The Antlers is an indie rock band out of Brooklyn, New York, United States, consisting of vocalist and songwriter Peter Silberman, synths and keyboardist Darby Cicci and drummer Michael Lerner.

The Antlers began as Silberman’s solo project – a bedroom project of lo-fi, alt-folk tracks recorded on a shoestring. He self-produced the first album, “Uprooted” in 2006, which consisted of nine songs. Silberman’s released his second solo project packaged as The Antlers, “In the Attic of the Universe”, in 2007.

By 2009, Silberman joined forces with Cicci and Lerner, and The Antlers evolved into the full, three-piece set up that it has remained, channeling the earlier albums’ DIY ethos into vibrating, synth-augmented dalliances with folk and electronica.

Their first album (technically third, but oh well) “Hospice” was self-released in March 2009, rapidly shifting the entirety of its short run of stock. From there, they were signed by the New York-based label Frenchkiss Records, who re-mastered the guerilla recording of “Hospice” in August, 2009. The band put out the album single “Bear” after “Hospice”’s unofficial release in April. The single “Two” was the first official single, released as a digital download in June 2009.

In 2011 The Antlers put out “Burst Apart”, which fused an array of instrumentations on piano and strings with an electronic sound, to create a layered and intricate but delicate venture into dreamy folk pop that provoked a sustained hum of approval from critics. Off the back of “Burst Apart”, they released the “(together)” EP, which contained remixes and re-recordings of tracks off the album, amongst these, collaborations with Bear in Heaven, Neon Indian and Nicole Atkins. The EP also included a cover of “VCR” by The XX and a remix by Sydney band, PVT.

The Antlers’ latest studio album, “Familiars” (2014), enticed rave reviews from critics, with glowing write-ups from Pitchfork, Rolling Stone, MOJO and Loud and Quiet for its reflective, existential songwriting and looming, orchestral sound.

Live reviews

I saw the Antlers in Toronto at the Great Hall a few years back and they were amazing. Great live performers, there's no denying that. Unfortunately they didn't engage their audience one bit last night and it made the experience lacklustre. I would also never go back to the Mod Club. I always heard rather poor reviews on the venue, but last night just confirmed that. It wasn't loud enough so you could hear your neighbour clearly without having to yell. A large amount of the audience left mid performance- but I think the majority of the issue was the venue itself. I still love the antlers, last nights performance just didn't showcase their talent unfortunately

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krista-peterson

Mutual Benefit, a music project put together by singer-songwriter Jordan Lee, has seemingly avoided putting out albums until very recently. Up until 2013’s full-length Love’s Crushing Diamond, they released sporadic EPs and downloadable singles including 2009’s Figure in Black, 2010’s Spider Heaven, and 2011’s The Cowboy's Prayer.
They are Bandcamp enthusiasts, having made their whole career thus far on the site, including their debut LP, which was the first Bandcamp release to score a ‘Best New Music’ gong from Pitchfork.
Love’s Crushing Diamond is a rambling roadtrip of an album, a winding wilderness of wistful, gliding harmonies and Lee’s soft, introspective vocals. With no set band line-up, there is scope for musical exploration. With Lee at the helm, Mutual Benefit perambulates fields of luscious folk hooks and instrumentation. It’s fitting that the album with written and composed in St. Louis, where Lee was living at the time, and recording began in Austin, Texas, and finished in Boston.
With a changing line-up, most of the songs off Love’s Crushing Diamond, when played live, have tweaks and tints added, are reworked and built upon. Their performance reflects the spontaneity that is Mutual Benefit’s modus operandi.

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