As with a lot of great bands, when you really listen to Big Quiet, you understand the depth of its attendant members’ music fanship. These three know their source material, whether it’s Athens, GA, in 1982, Scotland in 1988, or New York right now. The Brooklyn trio's knowledge of indie rock and post-punk history is real, and they’ll talk your ear off about it if you ever ask. But what Big Quiet plays isn’t just some kind of stoic record-collector rock. In a live setting, you’re struck by their sheer viscerality and volume. Marisa Cerio’s Rickenbacker can scorch faces, dousing her rapid-fire strumming in treble and reverb. She belts out a song so emphatically, you’d think she’s trying to sing to the next room over. Chris Matheson’s steady, propulsive bass erupts in a gnarl at just the right moments. Stephen Perry’s drum beats are all manic bounce. You don’t take bathroom breaks during Big Quiet’s set. They’ll be onto the next song and the next idea before you get back.
Big Quiet’s debut 7" takes the melodic post-punk power-trio impact of the band’s live set and expands into a rewarding “headphone experience.” Aided by legendary producer Mitch Easter (R.E.M., Pavement, Ex Hex), the band folded into the record some subtle but compelling flourishes, extra layers of vocal and instrumental melody and harmony. In the context of the record, Big Quiet’s pop chops are clear — the sound is ever so slightly sweetened in the studio, while wisely retaining the muscle that makes them such a powerful live entity.
Best known to the world as Jared Zoltar of the Zoltars, Jared Leibowich is a musician/writer/filmmaker based out of Austin, TX. His debut solo album, Welcome Late Bloomers, was recorded and mixed by Chris Cohen. Jared says of the album "This is an album about how a person can experience youth, adventure, and rebirth, even as the country he or she lives in is falling apart." This is 10 song collection is sure to please fans of the Zoltars and win Jared new admirers as well.
Praise for Jared Leibowich and Zoltars:
have you ever wanted someone to fuse all the best things about the Modern Lovers and Some Velvet Sidewalk together? Really? Have long have you been in treatment? Jared Zoltar doesn't stay awake at night wishing for such things (for starters, he's not 100 years old) --- instead, he's honing his craft as one of the nation's best, no-fucking
around songwriters. If I didn't know better I'd accuse him of saving his best stuff for the non-Zoltars recordings, but there you go, I know him better. He's not nearly as malicious as the rest of you. - Gerard Cosloy/12XU Records, Matador Records
"I like the Zoltars because they took the expectation of garage rock... and turned (it) inward, quieting down when others got loud, asking questions when others made pronouncements... They make aching, clean, uncertain-sounding pop music that’s too strong to be polite, but charmingly unsure of its strength.” – Doug Mosurock / Still Single
“There’s a seemingly endless array of nerd voices out there, from puberty-creaked teenagers to computer-science over-pronunciators, but some nerd voices sound really cool, like the person is so fascinating and peculiar that you’d happily sit down and listen while they read the classifieds out loud. That’s how I feel about the main guy in The Zoltars, a sleepy-eyed, Austin-based rock group who make no bones about the holes in their pockets and tears on their cheeks – this vocalist clearly has been stuffed in more than one locker in his day, but there’s a complexity to his sadness that I want to figure out.” – Yellow Green Red
Though several names and lineup changes, Kerbivore's constant has been singer/guitarist/songwriter Sean Kuhl. Taking clear inspiration fromthe holy trinity of U.S. post-punk axemen –J Mascis (Dinosaur Jr), Bob Mould (Hüsker Dü) and Roger Miller (Mission of Burma) – Kuhl has long impressed New York crowds with his masterful fretwork. On the All Dressed EP, Kuhl arrives as a songwriter; 5 songs whose melodies are as powerful as the brute force of the band's instrumental attack, displaying chops that put most of the "melodic punk" crowd to shame. Equally sweet and gnarled, the effect is not unlike your favorite quirky indie band developing a sudden (unhealthy?) fixation with Killed By Death–style punk compilations. Or perhaps the groups of the Paisley Underground ditching Roger McGuinn as their guitar hero in favor of the Stooges' Ron Asheton. Fans of the Thermals, No Age and Cloud Nothings will find plenty to love in Kerbivore.
Swivs is the new project from Will Schalda Jr. Schalda achieved a taste of fame as a member of the Realistics, perhaps the great lost band of the early 21st century New York rock scene. Though they commanded an impressive local following, toured extensively with their contemporaries the Strokes and the Mooney-Suzuki and opened for punk icons Joe Strummer and Blondie, The Realistics sadly fizzled before gaining the recognition and success of many of their peers. Schalda spent the next several years as an in demand touring musician, lending his talents on the keys to acts as diverse as Brendan Benson, Kevin Devine and his Goddamn Band and, most recently, Charles Bradley, all the while penning his own tunes on the side. Reuniting with Realistics powerhouse drummer Dave Patrikios, Schalda finally shows the world what he's being up to all these years with Swivs' debut Free Period Blood Money: 10 songs of finely-crafted, keyboard-driven pop that may remind younger fans of New Pornographers, Spoon and Ariel Pink but are equally reminiscent of old wave legends like Elvis Costello and The Cars. From bubblegum stomps ("I Was Alive"} to video game blips ("Safe For Now") to stately power pop ("676767," "Krystina Mirrors'), Free Period Blood Money proves Schalda a tunesmith of remarkable breadth and uncommon talent.
THIS IS ALL A BUNCH OF BULLSHIT, RIGHT?
Everyone knows these band "Bio"s are either written by their friends, family or worse; By themselves and in the third person. The end product is usually a revolting exercise in self absorption and poor salesmanship, compiled of tedious tidbits about them that no one gives a shit about and/or copious amounts of name dropping/obscure musical references; None of which is gonna change your mind about their music. These people probably smell their fingers after they scratch their balls too.
That being said; Were I to indulge in such a narcissistic travesty, it would probably read something like this:
WILLIAM SCHALDA JR. IS SWIVS.
"Schalda has a hobo's voice and the dick of an angel." -James Ruppleton (Mean Ether)
Born in Brooklyn, New York on July blah, 19-nobody cares and currently residing in Yonkers, the SWIVS 'sound' is steeped in the tenets of the underground GMSM (Grassroots Monophonic Synth Movement) widely popularized by bands such as Plain English, Mean Ether, Palpable Tuft, and of course- Some Other Band You've Never Heard Of. His musical resumé is as long as this paragraph is full of shit: Very. He's toured with various acts over the years including His Old Band, His Brother's Band, His Old Friend's Goddamn Band and most recently, His Good Friend's Very Successful Soul Band. After years of blah blah, Schalda decided it was time to whatever out on his own. The result: The DePop Musik Revolution. The time is now or something, and SWIVS is here to give the time back to you, for the time being. Or some other clever bullshit, but I don't care.
DON'T YOU WANT TO VOMIT NOW?
Go ahead. Spew right into your $20,000 laptop. Hold your $5000 phone away from your face as hot chunks of meatball parm and deli coffee from two hours ago comes gushing out of your mouth onto the old lady next to you on the bus. Let the wretched words you just read conjure forth the last drops of bile from your convulsing esophagus until that white hot razor blade acid scrapes through your throat as you cough and gasp; Murmuring to yourself like a schizophrenic lost in a subway tunnel, "Never again...never again..."
I'm only kidding. Enjoy the record!