NYC's Whitewash releasing
Fraud In Lisbon EP tomorrow
Record Release Show this Wednesday at
The Knitting Factory in NYC
New "Logocneter" via Brooklyn Vegan
MP3 Download / SoundCloud
Fraud In Lisbon EP tomorrow
Record Release Show this Wednesday at
The Knitting Factory in NYC
New "Logocneter" via Brooklyn Vegan
MP3 Download / SoundCloud
"The track combines crunchy guitars that scream classic Stooges while the vocal harmonies are more conducive of any number of Elephant 6 bands. A great acoustic breakdown reminiscent of 70s psychedelia helps cement “Street Faces” retro sound." - Surviving The Golden Age
New York City jazz expatriates and psychedelic aficionados Whitewash will make their first waves with a series of bedroom psych rock recordings entitled Fraud in Lisbon.
Jon Ben-Menachem (bass) and Sam Thornton (guitar) met at NYU in the fall of their freshman year (2012) and promptly began playing along to the entire Ween discography as a duo, choosing bedroom jams with self-taught instruments over Washington Square busking. Jon soon met drummer Evan Giazman in auditions for NYU jazz programs, and after much harassment, convinced him that he could succeed outside of jazz drumming. The newly-molded trio covered classics like Led Zeppelin as well as oddities like Mac Demarco and Thee Oh Sees, unsure of where to take creative root; with the addition of Evan’s then-roommate Aram Demirdjian on rhythm guitar, Whitewash began channeling its own sound by experimenting with everything from bossa nova to noise rock. Early Whitewash originals were raw, yet evocative and simple — remnants of this sound can be heard on appropriately named track “#1.
A year of composition and test recordings evolved into the DIY debut EP Fraud in Lisbon, produced entirely on Jon’s laptop over the course of a semester at NYU. Budget restraints made the recording minimalist in stylistic approach, but the EP displays the band’s ear for lush and developed sounds, given its medium. “Street Faces” was one of the first lyrical Whitewash compositions, drawing inspiration from the absurdity of urban life; the recording of the EP saw it evolve from a grungy garage rock track with just one distinct feel into a psychedelic flip-flopper of an auditory experience. “Logocenter” is rooted in the apparent meaninglessness of signs and representation, and pays tribute to the dreamier aspect of Whitewash’s sound, with reverb-soaked guitar tones and a compelling slow-burn aesthetic. Instead of a unifying theme or message, Whitewash opts for a blend of the group’s collective experiences and imaginings.
The band has made appearances at several NYC venues, but sadly 3/4 of the quartet promptly boarded jet planes to Paris and Prague this past summer, leaving the boys scattered across continents and oceans and icebergs and plains and waterparks and whales and rhinos.
Today, Whitewash is reunited in NYC with a formidable number of shows to play and new songs to record in studio. Now lacking an ocean of separation, the boys can feel free to make the music that their souls demand so fiercely.
Jon Ben-Menachem (bass) and Sam Thornton (guitar) met at NYU in the fall of their freshman year (2012) and promptly began playing along to the entire Ween discography as a duo, choosing bedroom jams with self-taught instruments over Washington Square busking. Jon soon met drummer Evan Giazman in auditions for NYU jazz programs, and after much harassment, convinced him that he could succeed outside of jazz drumming. The newly-molded trio covered classics like Led Zeppelin as well as oddities like Mac Demarco and Thee Oh Sees, unsure of where to take creative root; with the addition of Evan’s then-roommate Aram Demirdjian on rhythm guitar, Whitewash began channeling its own sound by experimenting with everything from bossa nova to noise rock. Early Whitewash originals were raw, yet evocative and simple — remnants of this sound can be heard on appropriately named track “#1.
A year of composition and test recordings evolved into the DIY debut EP Fraud in Lisbon, produced entirely on Jon’s laptop over the course of a semester at NYU. Budget restraints made the recording minimalist in stylistic approach, but the EP displays the band’s ear for lush and developed sounds, given its medium. “Street Faces” was one of the first lyrical Whitewash compositions, drawing inspiration from the absurdity of urban life; the recording of the EP saw it evolve from a grungy garage rock track with just one distinct feel into a psychedelic flip-flopper of an auditory experience. “Logocenter” is rooted in the apparent meaninglessness of signs and representation, and pays tribute to the dreamier aspect of Whitewash’s sound, with reverb-soaked guitar tones and a compelling slow-burn aesthetic. Instead of a unifying theme or message, Whitewash opts for a blend of the group’s collective experiences and imaginings.
The band has made appearances at several NYC venues, but sadly 3/4 of the quartet promptly boarded jet planes to Paris and Prague this past summer, leaving the boys scattered across continents and oceans and icebergs and plains and waterparks and whales and rhinos.
Today, Whitewash is reunited in NYC with a formidable number of shows to play and new songs to record in studio. Now lacking an ocean of separation, the boys can feel free to make the music that their souls demand so fiercely.
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