The Bowery Ballroom
K.FLAY

K.FLAY

Paper Route, Daye Jack

Mon, February 27, 2017

Doors: 7:00 pm / Show: 8:00 pm

The Bowery Ballroom

New York, NY

$20.00

Sold Out

This event is 18 and over

Post-Show Happy Hour in the Lower Level Lounge

K.FLAY
K.FLAY
On "Blood in the Cut" -- the moody and magnetic lead single from her new EP 'Crush Me' -- K.Flay turns emotional damage into unlikely transcendence. "It's about inundating yourself with feelings of pain and angst, and how that can be its own form of power," says Kristine Flaherty, the L.A.-based artist who made her debut as K.Flay with a series of releases in 2010. "The songs on the EP revolve around the idea of a person or a force seeking to crush you or hold you down, but there's a defiant energy to them -- like, 'Yeah, go ahead and try.'"

The first signing to Night Street/Interscope Records (an imprint helmed by Imagine Dragons frontman Dan Reynolds), K.Flay instills that energy into a batch of songs highlighting her seamless flow and head-turning lyricism. But while 'Crush Me' builds off K.Flay's hip-hop background, the EP also channels her punk sensibilities and DIY spirit into a lush but gritty sound rooted in live drums and guitar. "My live shows always had the spontaneity that comes from working with more organic instrumentation, and I wanted to make sure that was really reflected on this EP," notes Flaherty, who's previously toured with artists like Passion Pit, Icona Pop, Awolnation and Theophilus London.

Equally inspired by the novels of Marilynne Robinson and Kid Cudi's early records, 'Crush Me' finds K.Flay delivering her most intensely intimate yet sonically expansive work so far. "My main imperative was to create something musically interesting and at the same time be completely honest and not censor myself," she says. Throughout the EP, K.Flay spikes her lyrics with confessional barbs but never loses her breezy cool. On "Blood in the Cut," for instance, lines like "Reading through your messages/My favorite way to die" slip right into the song's stripped-down arrangement of bright beats and buzzsaw guitars. Named for a cemetery in the heart of Los Angeles, the darkly charged "Hollywood Forever" matches K.Flay's commentary on the toxic nature of fame with her own personal revelations ("My father was a user/And I'm afraid I'm just the same"). One of the loveliest and most melancholy moments on 'Crush Me,' "Dreamers" owns up to feelings of loss and regret but explores the redemptive power of creativity ("Suddenly I felt fine inside a mind so full of ghosts/The darkest nights mean you see the stars the most"). And on the hazy and quietly heartbreaking "You Felt Right," K.Flay offsets her lovesick, ripped-from-real-life storytelling with the occasional self-effacing dig ("I should have known don't trust a poet, 'cause they can't do the math").

Though 'Crush Me' endlessly reveals her easy grace as a songwriter and producer, K.Flay is quick to point out that she "fell into music very haphazardly" at the age of 19 -- a decade after her dad first taught her to play guitar. "I was in an argument with someone and was challenged to make a song, which was really my entry point to music," says Flaherty, an Illinois native who studied at Stanford University. "From there I started producing and playing house parties on campus, kind of as a release from the academic life. I liked that music was a window into a world with a lot of unpredictability and chaos; it was almost diametrically opposed to my very regimented day-to-day living."

Upon graduating, Flaherty moved to San Francisco and kept up with music, making her breakthrough with the 2011 mixtape 'I Stopped Caring in '96' and soon landing a deal with a major label. Not long after putting out her 2013 EP 'What If It Is' (featuring a collaboration with Danny Brown), K.Flay launched her own label for the release of her full-length debut 'Life As a Dog' (a 2014 album that "pairs spaced-out rap beats and chiming indie rock," according to Entertainment Weekly). "I feel like I've somersaulted into everything that's happened since I first started making music," says Flaherty. "It's like I kept slowly turning to the right and ended up doing this for a living, which is pretty amazing to me."

In making 'Crush Me,' K.Flay joined forces with Nashville-based producer/musician JT Daly, writing and recording in a converted carriage house deep in the Tennessee countryside. She also worked with LA based producer Simon Says.

Both collaborators helped shape the emotionally raw yet complexly layered terrain of 'Crush Me.' "I remember I was leaving the studio in Tennessee really late one night and playing 'Hollywood Forever' super-loud in the car," says Flaherty, looking back on the making of the EP. "All of a sudden I was jolted back to the first time I ever pressed my music onto CD, and to putting all the boxes of CDs in my trunk and saying to myself, That's cool -- I made that. It was this weird joyous feeling, and I'd completely forgotten all about it until that night in Nashville."

For K.Flay, that weird joy surpasses "all the crazy adventures" she's experienced since dedicating herself to music. "There have been a lot of really high highs and low lows over the years, but the experience of taking nothing and creating something makes me happy and helps me not be anxious or depressed," she says. "In and of itself, just the act of making music is still so life-affirming to me."
Paper Route
Paper Route
Early in the autumn of 2014, Paper Route's JT Daly, Chad Howat, and Nick Aranda moved into a cabin deep in the hills of Middle Tennessee, set up a makeshift studio, and spent a month dreaming up material for their third album and first for Kemosabe Records. Just as they did for the making of The Peace Of Wild Things (a 2012 release created in a creaky plantation house called Joy Mansion), the Nashville-based trio purposely chose a remote and ramshackle space that promised retreat from the rest of the world. "We like to work within the limitations that come with being far away from everything," says Daly, Paper Route's singer and main lyricist. "It keeps us uncomfortable in a way that ends up being really inspiring."

Called the North House, Paper Route's temporary home brought contact solely with non-human life forms: bats whizzing past their heads during band meetings, snakes slithering into the house in the middle of the night, a tarantula-sized spider creeping into their piano — only to be coaxed out by Howat's 1930s-horror-flick-inspired improv on the keys ("We felt like we were living in a parable," says Aranda, "where all these crazy crawling things would suddenly appear out of nowhere, often in twos"). But in a band that thrives equally on intense collaboration and solo experimentalism — a dynamic that's shaped their lavishly textured, beat-heavy alt-rock for more than a decade — those isolated quarters provided a perfect breeding ground for Paper Route's ever-evolving creativity. "Living in the North House, there was an intimacy that isn't possible in real life," says Howat. "I could be working on a song and hear something through the walls, and that would give me a whole new idea about what I'm doing. We were able to hunker down and just completely immerse ourselves in this shared experience."

As a result, Paper Route carved out a vital new sound that closely reflects their purity of intention. "Making this album, we really chased the feeling we all had back when we were just beginning to discover the wonder of music," says Daly. "That feeling I can still remember from taping 'Champagne Supernova' on my boombox when it debuted on the radio — that's what we wanted to get into these songs."

Charged with the raw energy that Paper Route has revealed in touring the world with bands like Imagine Dragons and Passion Pit, the as-yet-untitled album achieves that feeling in part by making guitars central to its intricately crafted arrangements. On "Balconies," for instance, a blistering guitar solo cuts through the song's airy atmospherics, building a brilliant tension against shimmering synth and Daly's soulful vocals. "On the last record, the guitar was kind of the cherry on top — an afterthought. For this one we wanted to go somewhere new, but also channel the spirit of the guitarists we loved as teenagers," says Howat, who names George Harrison's solo efforts and Blur's Graham Coxon as key inspirations. For help in sharpening that guitar-centric sound, Paper Route made use of the production and mixing skills Howat has honed in his work with artists like Paramore and Kye Kye, and also enlisted the expertise of Darrell Thorp (an engineer who's previously worked with Beck, Radiohead, Air and Paul McCartney.

Paper Route first conjured up their melody-driven take on electronic-leaning alt-rock back in 2004, when Howat began using music as a means of battling insomnia. "When I couldn't sleep I'd make tracks on my laptop, and after a while I showed those tracks to JT and asked if he wanted to start a project together," says Howat. An old friend from college and former bandmate, Daly was then working as a painter and graphic designer (an ongoing endeavor that includes creating artwork for Paper Route as well as artists like Sufjan Stevens and Wilco Building off their powerful chemistry, Daly and Howat put out their first two EPs in 2006: a self-titled release and the three-song Thrill of Hope, whose closing track "The Music" later appeared in 500 Days of Summer. Over the next few years, Paper Route split their time between touring with arena-filling acts like Paramore and sharing smaller stages with the likes of Thurston Moore and Mark Kozelek (their fellow performers at SXSW 2008's Lou Reed tribute show). Releasing their full-length debut Absence in 2009, the band continued to straddle the pop and indie worlds, heading out on the road with Imagine Dragons in 2013 and embarking on their own headlining tour in 2014.

When it came time for the follow-up to The Peace Of Wild Things, Paper Route shook up their process with an experiment they named Band Camp. "We'd just come off the road and we were exhausted but starving to create again, so we made up a series of exercises to try to kickstart everything," says Daly. For one week, Paper Route invited various musician-friends into their Nashville studio to try out those exercises (example: "Play the heaviest song you can, as quietly as possible"). While the band ended up scrapping most of the material born from Band Camp, they found themselves re-energized and refreshed by the time they headed to the North House. And though the album marks Daly and Howat's first time writing with Aranda, the longtime touring guitarist gelled instantly with his new full-time bandmates. "The three of us being in the same space, where there's this wide-open soundboard and anyone can sing a melody as soon as it comes to them — it created something fully collaborative and just felt really great," Aranda says.

One factor that fostered that collaboration: Paper Route's unified vision of tapping into a deep-seated need for connection and transformation. "We love the idea of being a voice someone else might cling to, the same way we did when we found those bands that changed our lives, who made us want to lock ourselves in our rooms and play their records over and over," says Howat. At the same time, Paper Route aspire to protect and preserve what Daly refers to as "the sacredness of the musical language. "With music, you can make people feel like they're having a better day than they are, you can make them remember that they're in love or not in love, you can make them mourn or make them celebrate," he says. "It's a very powerful thing, and I'm pretty positive that we've served that sacredness with much honesty."

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Daye Jack
While old folks lament the younger generation's disappearing attention span, 19-year-old Daye Jack is busy creating album-length experiences that overflow with vibrant soul and acute focus. If Daye Jack's independently released Hello World is his broad introduction, then his forthcoming Soul Glitch further explores the depth and nuances of an artist beyond his years. Due June 30th on Warner Brother Records, Soul Glitch is a soulful showcase of the songwriter's sage wisdom and remarkable versatility. Be it snarling raps or soaring melodies, the hip-hop vocalist continually finds new ways to express his exploration of both the world's oldest truths and its newest technologies.

Pronounced dah-yay, Daye Jack was born in Nigeria before moving to Atlanta at the age of six. He credits the slow, soulful vibe of Atlanta's suburban sprawl for the genesis of his sound, but also fled its boundaries the minute he was of age. Daye's father, who spent his own formative years in San Francisco, always counseled his son to escape Georgia. New York City became the destination — by way of Computer Science studies at NYU — and blossomed into an inspiration for Daye's music.

Fascinated by how the destruction of data sets can warp technological worlds, Daye Jack has embarked on a journey to apply the same distortion to hip-hop, pop and soul music. His debut mixtape, Hello World, collected his first four years of material, taking its name from a computer program and introducing Daye Jack to the world. The Village Voice said his "experimental hip-hop will make you swoon" and Complex said he "has no trouble standing out," while The Fader announced that Daye Jack "defies the traditional boundaries of genre." Even as major labels came calling, he focused instead on his studies at NYU and the inspiration provided by his first winter in an actual winter climate. The resulting Soul Glitch continues his quest to create worlds and listening experiences that demand top-to-bottom immersion — and finally became reason enough to put school on hold and focus solely on music.

It also became reason enough to leave New York and move to Los Angeles, where he's recording his debut album for Warner Brothers. Under the umbrella of Max Martin's MXM Publishing and Mike Elizondo's executive production, Daye Jack is expanding his craft under the tutelage of veterans with countless classic records and dozens of chart toppers. In truth, it doesn't matter who Daye Jack is working with or the auspicious number of years he's been alive, he aims to dirty soul music, warp hip-hop and create unforgettable pop music without ever compromising his ideals. Daye Jack's music will always be his, regardless of what the old folks think.
Venue Information:
The Bowery Ballroom
6 Delancey St
New York, NY, 10002
http://www.boweryballroom.com/