Paperhaus – Bandwidth http://bandwidth.wamu.org WAMU 88.5's New Music Site Tue, 02 Oct 2018 15:23:36 +0000 en-US hourly 1 https://wordpress.org/?v=4.5.2 Paperhaus, Frau Eva http://bandwidth.wamu.org/paperhaus-frau-eva/ http://bandwidth.wamu.org/paperhaus-frau-eva/#respond Thu, 03 Nov 2016 20:07:55 +0000 http://bandwidth.wamu.org/?p=69696 Songs featured Nov. 3, 2016, as part of Capital Soundtrack from WAMU 88.5. Read more about the project and submit your own local song.

Gus Voorhees – The Man of Kent and Step Back
Oust – Alas, Posterity
Paperhaus – Silent Speaking
Big Sky Conspiracy – Tornado
Supper Club – Rondamatic
Abu Jibran – Time To Save Your Soul
Kokayi – Port of Lost Angels
K-Murdock – Birdfeather
Dirdy Redzz – Red Line doors closing
The Harry Bells – Man Smart, Woman Smarter
The Mean Season – Kurtz
huSEQ – Super Extoller
Scenic MentaL Detours – Falling Leaf
Atoka Chase – Burn the Light (or Of Matriarchs and Alcohol)
Howard University Jazz Ensemble – Is There Anything Still There
Jonathan Matis – Akeboki
Deleted Scenes – The Days of Adderall
Kino Musica – Yèkèrmo Sèw
Frau Eva – Morrissey Smiling
Blankus Larry – Sam

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Jackie And The Treehorns, The Fishermen Band http://bandwidth.wamu.org/jackie-and-the-treehorns-the-fishermen-band/ http://bandwidth.wamu.org/jackie-and-the-treehorns-the-fishermen-band/#comments Wed, 14 Sep 2016 08:20:25 +0000 http://bandwidth.wamu.org/?p=68514 Songs featured Sept. 14, 2016, as part of Capital Soundtrack from WAMU 88.5.Read more about the project and submit your own local song.

Gordon Withers – Revolving Doors
Elijah Cole – Green Dolphin Street
Suzanne Brindamour – Pilots Rendezvous
Scythian – Last Days of Summer
Theater of Soul – Memories Of A Time Long Ago
Paperhaus – Silent Speaking
Möbius Strip – IG-88
Jackie and The Treehorns – So Many Ways (To Turn You On)
Adam Stamper – Movements of the Anansi
Empresarios – Alegria
Chester Endersby Gwazda – Globes
Roger Aldridge – Twilight Sail
Matt Chaconas – Goodnight
Constant Alarm – Cairo
Blues Condition – Lucky Star
David King – Suspension
Diamond District – Streets Won’t Let Me Chill Instrumental
Black Masala – Cool Breeze
Dan Harris – Pell Mellish
The Fishermen Band – Someday

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Iritis, Speedwell http://bandwidth.wamu.org/iritis-troy-and-paula-haag/ http://bandwidth.wamu.org/iritis-troy-and-paula-haag/#respond Sun, 17 Jul 2016 08:20:23 +0000 http://bandwidth.wamu.org/?p=67050 Songs featured July 17, 2016, as part of Capital Soundtrack from WAMU 88.5. Read more about the project and submit your own local song.

Buildings – Water In Water
Drop Electric – Church of Glass
ZOMES – Equinox
Girls Love Distortion – Psychic Raygun
Jonathan Parker – East Lorain
Fort Knox Five – Reach (Instrumental)
Marian McLaughlin – Will-o-the-wisp
The Petticoat Tearoom – Love Isn’t Gone
Iritis – Gates of Dawn
GroundScore – My Perfect Spot
Cartoon Weapons – WTLFO
Feedel Band – Girl From Ethiopia (Live At WAMU)
Bad Brains – Cowboy
Paperhaus – Cairo
Matt Chaconas – baby bear obliquity
Baby Bry Bry – Is It Anything Or Is It Everything
Protect-U – Dit Floss
Troy and Paula Haag – Lies & Cries
Speedwell – Two Conquests
Lower Dens – Stem

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Outer Spaces, Romantic States http://bandwidth.wamu.org/outer-spaces-romantic-states/ http://bandwidth.wamu.org/outer-spaces-romantic-states/#respond Mon, 04 Jul 2016 08:20:14 +0000 http://bandwidth.wamu.org/?p=66652 Songs featured July 4, 2016, as part of Capital Soundtrack from WAMU 88.5. Read more about the project and submit your own local song.

Lookout Gang

“Shack-It”

from Silent Rising

Ricky Eat Acid

“I Can Hear the Heart Breaking As One”

from Three Love Songs

Luscious Purr

“Bare Bones”

from Half Hearted

Outer Spaces

“Mint On the Sill”

from A Shedding Snake

Romantic States

“Strained Days”

from Vessels of Devils

Cheick Hamala Diabate

“Diamonds and Gold”

from Anka Ben Mali Denou

Nick Hakim

“Heaven”

from Where Will We Go Pt. 2

Domingues & Kane

“The Hunted Hare, Pt. 2”

from Gut + Voltage

Wicked Olde

“Red-Haired Boy”

Terracotta Blue

“Silver Nights”

from Silver Nights

Extra Golden

“Ok-Oyot System”

from Ok-Oyot System

Paperhaus

“Misery”

from Paperhaus

Pilesar

“Stickbag 1ne”

from Shenantics

Warren Wolf

“Things Were Done Yesterday”

from Wolfgang

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Flasher, Dunc, Zomes http://bandwidth.wamu.org/flasher-dunc-zomes/ http://bandwidth.wamu.org/flasher-dunc-zomes/#respond Fri, 03 Jun 2016 18:33:38 +0000 http://bandwidth.wamu.org/?p=65300 Songs featured June 3, 2016, as part of Capital Soundtrack from WAMU 88.5. Read more about the project and submit your own local song.

Paperhaus

“Cairo”

from Paperhaus

Dura

“Lawns”

from Silver/Lawns

Ploy

“Future Voyager”

from Young For a Moment

Beach House

“Myth”

from Bloom

More Humans

“Slide Around”

from Hot Cloud

Borracho

“Redemption”

from Splitting Sky

Wytold

“Do You Know?”

from My Regards

Dunc

“Tree Rings”

from Cycles

Body Thief

“The Wishing Tree”

from Speak In Hibernation

Thievery Corporation

“Samba Tranquille”

from The Mirror Conspiracy

Nitemoves

“Ashe”

from Themes

Flasher

“Make Out”

from Flasher

Marvin Gaye

“Right On”

from What's Going On

Damu the Fudgemunk

“Overtime Intro — Instrumental”

from Full Time

Fugazi

“Afterthought”

from Instrument Soundtrack

Zomes

“Ruminants”

from Near Unison

Lands & Peoples

“Lullabye”

from Pop Guilt

Peals

“Believers”

from Walking Field

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Nitemoves, Kev Brown, Borracho http://bandwidth.wamu.org/nitemoves-kev-brown-borracho/ http://bandwidth.wamu.org/nitemoves-kev-brown-borracho/#respond Wed, 01 Jun 2016 08:20:27 +0000 http://bandwidth.wamu.org/?p=65093 Songs featured June 1, 2016, as part of Capital Soundtrack from WAMU 88.5. Read more about the project.

Deleted Scenes

“Ithaca”

from Birdseed Shirt

Bella Russia

“Nocturne In Blue & Gold”

from Rainbow Arcade

M.H. & His Orchestra

“Where Are You Going? (The Easy Song)”

from The Throes

Fugazi

“Recap Modotti”

from End Hits

Future Islands

“Long Flight”

from In Evening Air

Damu the Fudgemunk & Raw Poetic

“Hole Up (Instrumental)”

from Kilawatt 1.5

Borracho

“King's Disease”

from Borracho/Eggnogg Split

Kev Brown

“December 4th”

from The Brown Album

Paperhaus

“Misery”

from Paperhaus

Yeveto

“Cowboy Song”

from Remote Unelectrified Villages

Nick Hakim

“The Light”

from Where Will We Go, Pt. 1

The Caribbean

“Artists In Exile”

from Discontinued Perfume

Nitemoves

“Grinder”

from Longlines

The Seldom Scene

“Joshua”

from Act 1

Sam Phillips

“Differences”

from Stay the Night

Sealab

“Space Worm”

from II

The Evens

“Cut From the Cloth”

from Get Evens

Ploy

“Beyond the Plain”

from Beyond the Plain

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Where Synthesizers Meet Cinnamon Rolls: It’s Drone Brunch http://bandwidth.wamu.org/where-synthesizers-meet-cinnamon-rolls-its-drone-brunch/ http://bandwidth.wamu.org/where-synthesizers-meet-cinnamon-rolls-its-drone-brunch/#respond Wed, 27 May 2015 16:13:13 +0000 http://bandwidth.wamu.org/?p=52506 On a Sunday afternoon in May, Pat Walsh stands in the kitchen of Petworth house venue Paperhaus, cooking brunch. As he readies batches of scones, heat from the oven mixes with the day’s unseasonably warm weather. The air fills with smoke from the oil into which Walsh is dipping chicken breasts.

But Walsh isn’t cooking for one: He’s getting ready for the latest edition of Drone Brunch, a now three-year-old event series that combines delicious food with nichey music. In the living room, keyboards and synthesizers litter the floor, and the musicians to which they belong mill about. A show is about to begin.

Two acts from Philadelphia are on the lineup — Hallowed Bells and Charles Cohen — alongside D.C. synth ensemble Br’er. When the show starts, Hallowed Bells’ peaceful twinkling gives way to Cohen’s dense and contemplative aural storytelling, and Br’er shows that it exemplifies Tom Waits’ adage of “beautiful melodies telling me terrible things.”

And there were scones.

Drone Brunch started when Walsh “heard from a friend of mine say the phrase ‘drone brunch,'” Walsh says.

Walsh later found out that the idea was never meant to be taken seriously. He says the term’s inventor, ex-D.C. resident Cole Goins — whose former house venue The Cherch hosted the first Drone Brunch in 2012 — told Walsh that it had been a joke he and some buddies had come up with over a few beers.

Charles Cohen at Drone Brunch

Charles Cohen performing at Drone Brunch (Photo: Keith Mathias)

“It happened to be a great idea because there’s this tradition of hardcore matinees on Sundays,” Walsh says. Famed New York City club CBGB hosted them for years, and D.C.’s hardcore scene has had its share of daytime gigs. But hardcore isn’t a calming way to wrap up the weekend.

“I enjoy a hardcore matinee,” Walsh says, “but on a Sunday afternoon, I’d prefer something a little less aggressive.”

So drone it was. It’s music built on sustained, repeated sounds — which can be made acoustically, but usually require some electronic manipulation — and the audience for it is decidedly limited. Case in point: On this particular Sunday, the people trickling in mostly seem to know each other, and conversation revolves around which shows everyone has seen recently. This is a crowd that sees a lot of music in D.C.

“Somebody who goes to one show a month isn’t going to make that show a weird Sunday afternoon show,” Walsh says. “It’s sort of a self-selecting group in that way, but it’s certainly not exclusionary and we don’t want to be exclusionary in any way. That’s just kind of the way it works out.”

Hallowed Bells at Drone Brunch

Hallowed Bells (Photo: Keith Mathias)

Walsh says Drone Brunch and the people who attend it are “a little bit weird.” That’s just his style. “I like the weirdos. They’re my people,” he says.

Now, Drone Brunch isn’t the only music-and-brunch event circulating around D.C.: Northeast space Hole In The Sky recently kicked off its own series of brunch concerts, and Walsh has been working with the venue to host a Drone Brunch there sometime over the next couple of months. If it’s anything like the most recent edition, everyone in attendance is in for a treat — including the edible kind.

But Drone Brunch has no large-scale ambitions. Its purpose is simple. The series is “really just about having a nice time and eating some scones,” Walsh says, “because it rhymes with ‘drone.'”

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Rare Essence Will Be The First Go-Go Band To Play SXSW. Could It Mean Another Shot At Fame? http://bandwidth.wamu.org/rare-essence-will-be-the-first-go-go-band-to-play-sxsw-could-it-mean-another-shot-at-fame/ http://bandwidth.wamu.org/rare-essence-will-be-the-first-go-go-band-to-play-sxsw-could-it-mean-another-shot-at-fame/#comments Mon, 16 Mar 2015 09:00:17 +0000 http://bandwidth.wamu.org/?p=49025 This month, thousands of bands, industry execs and people with the word “guru” in their Twitter bios are descending upon Austin, Texas, for the annual South By Southwest music, film and technology festival — and for the first time, D.C.’s homegrown go-go music will be there alongside them.

Local legends Rare Essence are scheduled to perform at the festival Tuesday, sharing a bill with other D.C.-area artists including Prinze George, Oddisee, Paperhaus, Black Alley, Kokayi and Asheru. The showcase is technically part of the Washington, DC Economic Partnership’s technology campaign during the festival, but Rare Essence is paying for the trip itself with a combination of private donations and money it raised at a recent fundraiser concert.

Bandleader Andre “Whiteboy” Johnson, the group’s only remaining original member, says Rare Essence has been looking to play SXSW for several years to meet with industry representatives and get its sound in front of new audiences.

“We’re trying to expand Rare Essence and go-go music beyond the beltway,” Johnson says.

Now nearly 40 years old, Rare Essence could seem like a strange fit for SXSW. It’s not a buzz band with a recent Soundcloud hit or a nationally known group hitting the summer festival circuit. It’s a treasured local band that’s been performing in clubs and gymnasiums across D.C., Maryland and Virginia for decades.

Rare Essence’s fans still call it the “wickedest band alive.” They’ve seen the group through peaks — like the success of singles “Body Moves,” “Lock It” and “Work the Walls” — and tragedy, namely the deaths of trumpeter Anthony “Lil Benny” Harley and drummer Quentin “Footz” Davidson.

But like most go-go bands, Rare Essence hasn’t built a strong national following. It hasn’t had a hit outside the D.C. region for years.

Johnson says his band wants to play SXSW, in part, to change that. He says the best way to market a band like his is to perform live. That’s how go-go music must be heard.

“People like live music, and that’s the main ingredient to go-go,” Johnson says.

There’s a good chance Tuesday’s District music showcase in Austin will attract an audience that’s more D.C.-aware than the rest of the SXSW crowd, but still, Johnson says it could be a challenging performance. Rare Essence shows attract familiar faces. Band members used to do shout-outs by reading the name and neighborhood of fans from a card. Now, Johnson says, the band knows most of the shout-outs by heart. They can’t expect that level of local love in Austin.

During SXSW, Rare Essence will probably play the same songs it performs in D.C., Johnson says, but the shorter set time means the group probably won’t break into extended jam sessions like it regularly does at home — unless the audience demands it.

“We’ve been in situations where people would walk in and not know what this is and stand around for the first couple of songs,” Johnson says, “but by the end of the set, they’re into it like everyone else.”

SXSW isn’t Rare Essence’s only attempt to define itself for new audiences: The band’s trip to Texas coincides with the release of its first batch of new songs in more than a decade. Johnson says the new release contains some of the band’s best music ever. Perhaps a few business meetings and a good performance will yield more concert dates outside the D.C. region and new ears for its fresh material.

Though scholars and music journalists have already declared go-go a strictly local phenomenon, Johnson suggests maybe they’re wrong. Maybe go-go just hasn’t broken out of D.C. yet.

“The reason for us even going to South By Southwest is for us to expand Rare Essence and go-go as much as we can try to get to that next level,” Johnson says.

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First Listen: Paperhaus, ‘Paperhaus’ http://bandwidth.wamu.org/first-listen-paperhaus-paperhaus/ http://bandwidth.wamu.org/first-listen-paperhaus-paperhaus/#respond Sun, 01 Feb 2015 23:03:00 +0000 http://bandwidth.wamu.org/?p=46975 Paperhaus is my kind of guitar band, with power in the lyricism instead of just the chords. Its music can be jarring and jagged, but Paperhaus can also sound dreamy the way groups like Television could, with lilt and grit. These are long songs that take twists and turns of the variety you might find in a prog-rock band. But Paperhaus is more pop than prog, with excursions that serve the music rather than the musicians themselves.

Over the past four or five years, I’ve watched this band grow to become a centerpiece for an arty, punky side of Washington, D.C. Its members share a house, also called Paperhaus, and it’s become a venue for an eclectic mix of noise, electronic and rock bands from in town and out. Alex Tebeleff and Eduardo Rivera both trade guitar and voice on the band’s self-titled debut, and serve as the heart of the group amid turnover in Paperhaus’ rhythm section. Their shows are about community and bringing people together, and recent performances bear that out.

With Krautrock providing a basis for what Paperhaus does, Rivera and Tebeleff even formed a Kraftwerk cover band, and they’ve been nailing those gems of the ’70s in concert, performing with real drums, guitars and, of course, synths. But there are moments when Paperhaus digs further into rock’s past, when its sound recalls lesser-known acts like Ten Years After and a time in rock music when the blues met psychedelia in long-ago songs like “50,000 Miles Beneath My Brain.” Paperhaus channels that time, as well as its spirit of experimentation, but it still sounds like right now.

Copyright 2015 NPR. To see more, visit http://www.npr.org/.
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D.C. Band Paperhaus Plots An Ambitious Kraftwerk Cover Show http://bandwidth.wamu.org/d-c-band-paperhaus-plots-an-ambitious-kraftwerk-cover-show/ http://bandwidth.wamu.org/d-c-band-paperhaus-plots-an-ambitious-kraftwerk-cover-show/#comments Mon, 08 Dec 2014 10:00:25 +0000 http://bandwidth.wamu.org/?p=42716 Washington D.C. is a little like West Germany in the 1970s: We’ve got beer gardens, Olympic ambitions and pretty decent roadways. Come Dec. 14, this town may even sound like ’70s-era Deutschland, too, when local indie-rock outfit Paperhaus embarks on an ambitious effort to cover Trans-Europe Express, the revolutionary 1977 album by Kraftwerk, at U Street Music Hall.

Like the legendary electronic ensemble from Düsseldorf, Paperhaus’ members are audiophiles who can recognize a good sound system. Frontman Alex Tebeleff—who’s put in years playing through crappy PAs in basements and rock clubs—came up with the idea to cover Trans-Europe Express around the time he played a Madchester-themed DJ set at the U Street club in September. After his set that night, he spent some time admiring the venue’s sound system with U Hall co-owner Will Eastman.

“Me and Will were talking and I made a comment like, ‘Can you imagine something like Kraftwerk coming out of these speakers?'” says Tebeleff, 27. “It just came out of a conversation between two music nerds, basically.”

A Kraftwerk superfan, Tebeleff cites the German ensemble’s influence on pop music of all kinds, from hip-hop forebear Afrika Bambaataa to dance-punk ensemble LCD Soundsystem to his band, which usually plays a fairly straightforward strain of indie rock. When he spins music for his pals, “I always enjoy surprising people playing ‘Trans-Europe Express’ into [Bambaataa’s] ‘Planet Rock,'” says Tebeleff. Plus, Paperhaus used to cover “Neon Lights,” a melodic cut from Kraftwerk’s The Man Machine.

Paperhaus doesn’t plan to alter the record or put a unique stamp on Trans-Europe Express, save a few minor tonal adjustments. He says the group will play 85 percent of the melodies on the record, but expects to add live drums and bring new timbres and textures to the songs. The Petworth band recruited neighbor and Br’er keyboardist Erik Sleight to play a synthesizer, and they’re plotting to stack the stage with twice the amount of normal Paperhaus gear, including drum samplers, bass synths, poly synths, a vocoder and effects pedals.

Tebeleff says Paperhaus wants the audience’s focus to be on the music and not the band’s image onstage, but it wouldn’t be a Kraftwerk-inspired act without a light show. Accordingly, Tebeleff says, there will be one—though something more low-key (and low-cost) than Kraftwerk’s spectacular recent performances.

The one-off December show promises to be a dramatic detour for Paperhaus, which is currently recording its new album, scheduled for a Feb. 10 release. All of this electronics-tinkering probably won’t show up on the record; Tebeleff says that the band’s latest songs represent “some of the dirtiest, nastiest rock ‘n’ roll that we’ve done.”

While Paperhaus has already started practicing for the Dec. 14 gig, the group still isn’t sure how it’ll turn out.

“Part of the fun of getting to see us play it is seeing how the [hell] we pull this off,” Tebeleff says. “I’m not even quite sure how we’re gonna do it yet.”

Paperhaus performs Trans-Europe Express Dec. 14 at U Street Music Hall.

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