Underskog

JOLLY JOLLY JOLLY! FØRSTE GANG I NORGE.
Dave Longstreth kommer til Spasibar, vi er så stolte for vi elsker The Dirty Projectors! Med seg har han den nye plata “Rise Above” som ble til da Longstreth dro for å hjelpe foreldrene sine å flytte ut av huset han vokste opp i. Under oppdrydninga fant han kassett-etuiet til Black Flags “Damaged”. Dette fikk fram mange gode barndomsminner. Han bestemte seg for å spille inn sin egen versjon av albumet, uten å lese igjennom tekstene eller høre igjennom plata. Med seg på konserten har han fire andre musikere.

Hør her:
Kjøp billett på Tiger

anmeldelser:
The Glad Fact

The Getty Adress

Slaves, Graves and Ballads

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Ok, nå vet du at Pitchfork elsker dem. De har også spilt konsert på Whitney-museet i New York. Nå er de klare med plata “Rise Above”, et album med Black Flag sanger slik Dave Longstreth husker dem selv. Anmelderne er enige i at dette er bra skit og Rise Above ligger helt på topp på Metacritic

anmeldelser:

Tiny Mix Tapes
Sonically, Rise Above is just another healthy dose of what Longstreth does best. Anomalous harmonies, quirky time signatures, and spontaneous rock-outs punctuate the album’s 11 tracks.

Dusted Magazine
The result is one of the most formally radical indie records in recent memory. It also happens to be Dirty Projectors’ all-around best, not least because it most closely recreates the kinetic force of their live performances.

The Onion (A.V. Club)
Dirty Projectors leader Dave Longstreth clearly had more than a remake on his mind—a mind whose wandering ways will be worth following for years to come.

Pitchfork
Rise Above will drop plenty of jaws, and, like Deerhoof, Dirty Projectors are restructuring rock on a compositional level rather than a sonic one.

PopMatters
Dave Longstreth’s vision has always been determined and unique; it has never been this clear or viscerally exciting.

Stylus Magazine
iT is the most focused art the Projectors have ever produced.

Prefix Magazine
Rise Above is deliberately challenging and obtuse; its ceaseless changes and refusal to settle are its most important similarities to Damaged’s abrasive and exhaustive loudness. Translating Black Flag’s anti-intellectual screed into arty free-jazz concept is one thing. That it actually merits repeat listens is another altogether.

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FRA ALLMUSIC
The Dirty Projectors are the project of Dave Longstreth, a former Yale student who left college to become one of the most prolific and unique indie singer/songwriters of the early 2000s. In early 2002 Longstreth released his first album, The Graceful Fallen Mango, under his own name on the This Heart Plays Records imprint. Largely recorded on four-track with the help of friends in likeminded projects such as Wolf Colonel and Dear Nora, the album introduced Longstreth’s distinctive, crooning voice and equally unique approach to arrangements and both lo-fi and hi-fi production. As he continued to record, Longstreth played shows with other contemporaries like the Microphones, Bobby Birdman, and [[[[VVRSSNN]]]] (aka Yume Bitsu’s Adam Forkner). Forkner helped record his next album, The Glad Fact, which was the first to bear the Dirty Projectors name and arrived on Western Vinyl in fall 2003. This was followed quickly by Morning Better Last!, an album culled from three triple albums he recorded in 2001 and 2002; it was an Internet-only release on States Rights. Slaves’ Graves and Ballads, which Longstreth described as “a song-journey for me singing with a ten-piece chamber group called the Orchestral Society for the Preservation of the Orchestra,” arrived in early 2004 as a split release on Western Vinyl and Happy Happy Birthday to Me Records. Later that year, the orchestrally enhanced Slaves’ Graves & Ballads arrived.