I tried so hard, I really did. I searched here, I rummaged there and not even a game of virtual hide and seek could turn up much factual data relating to And The Wiremen. What I did glean is that the group’s self-titled debut came out either in 2009 and 2010 and there are members from Sparklehorse and Pere Ubu larging it up inside it’s eclectic grooves. As you’d expect the mysterious ones make their bed in Brooklyn so is it any surprise that the song that closes their record sounds like an interesting Vampire Weekend. Probably not but isn’t it nice to have these non sequiturs strewn across quickly conceived unprinted pages. ‘Lines’ is deliciously groovy, a forgotten Friday night anthem for thirsty scholars and work abandoning minds. If you hear it this weekend make sure you find out something about the band and let us know. KD
And The Wiremen – Lines
More Info: Official
Buy Songs: And The Wiremen
Year: 2009ish
Check out blog:
http://andthewiremen.blogspot.com/
Thanks a million Andres, the mystery is unravelling!
From The Bell House calendar, April 1.
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WACO BROTHERS
AND THE WIREMEN
MACON DEAD
“I’ve never been able to find a live band in New York as consistently thrilling and funny and fun as the Waco Brothers.”–Author and former Chicagoan Sarah Vowell interview on the Chicagoist.
Ladies and gentlemen, quite possibly the best live rock band on the planet. We’ve seen them a hundred and sixty seven times, and the Waco Brothers never fail to entertain with their train wreck approach to country. Subtlety is for the weak, so they’ve chosen the path of optimum mayhem and tomfoolery. In their rollicking career, they have been called everything from the flagship act of the alternative country “movement” to pure butchery. Both are likely to be correct.
The line-up, in case you haven’t been paying attention: Jon Langford (Mekons, Pine Valley Cosmonauts), Joe Camarillo, Alan Doughty (Jesus Jones), Deano (Dollar Store, Wreck) and Tracy Dear (World’s Greatest Living Englishman).
In a world of corporate-sponsored tours by lame-o alt-rockers complaining about their hotel suites and “country” stars who owe more to Boston than Bakersfield, the Wacos go out every night and play as if their lives depended on it. Their shows at SXSW and CMJ are legendary, and every year threaten to actually collapse under the weight of their runaway brilliance. If you’re not drunk, sweaty and out of money at the end of one of their shows, then brother, we pity you.
“…and dancers of all stripes jumped into the uproar on the tiny platform of a stage, seemingly destroying the barrier between band and audience. As the last bits of the tumultuous sound faded away, the crowd picked up the slack, cheering with all their might. A feeling of exhilaration permeated the air, leaving all assembled smiling the knowing smile. They’d been to rock & roll nirvana, and life just couldn’t be any better.”–Austin Chronicle SXSW
Their mix of hellfire country and mournful punk truly inspire. They are working to save music so you don’t have to. And The Wiremen is a Brooklyn-based ensemble led by songwriter and multi-instrumentalist, Lynn Wright. As the primary songwriter and lyricist, he specifically works and collaborates with core members Paul Watson (Sparklehorse) on trumpet, Tony Maimone (Pere Ubu) on bass, and longtime partner-in-crime, Jon Petrow (Cloudroom) on guitar (with whom Wright also shares time in another laudable Brooklyn-based outfit, Bee and Flower). The experience, ingenuity, and craft this collection of musicians brings to the table is further enhanced by their collective willingness to defy genre. They are improvisatory, whimsical, and pleasurably good at leaving a listener playing a song-to-song guessing game. At times heavily Latin-influenced— with strokes of Cumbia and an underpinning of Columbian and Brazilian percussion— these songs comfortably move into jazz, avant-pop, or blues— sometimes within the same number— despite a deceptive minimalist approach to song structures. Lyrically, Wright is cogent, funny, and literate; a virtuoso, really. He has a knack for catchy one-liners (hardly throw-away’s) and passages that sound indebted to some wily trident of Faulkner, South American Surrealism and Film Noir— aspects which combine to push both the music and Wright’s smooth, cool-as-a-cucumber delivery into the lofty realms of fable.