Wolf Gang

Wolf Gang

ATLAS GENIUS, The Royal Concept

Tue, October 30, 2012

8:00 pm

$12.00 - $15.00

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This event is 21 and over

Wolf Gang
Wolf Gang
As strange as it may sound, you could say that Wolf Gang's career in music began at The London School of Economics and Political Science. A few years ago, the Scottish-born Max McElligott was finishing up a degree at LSE when he decided that he was ready to throw it all away in order to follow his first passion: Music. "I'd always grown up playing and writing music but I never really considered it being a possibility to pursue professionally," McElligott recalls, "but when I came to London to study and saw people doing gigs every day of the week, I thought 'if they're all giving it a go why don't I?' and it turned out that felt quite natural once I committed myself to the idea."

Six months after quitting school, Wolf Gang was born and McElligott had a record deal as well as the songs that would become his self-titled EP. The 5 song collection culls a pair of tracks recorded with producer Dave Fridmann (Flaming Lips, MGMT, Mercury Rev) -- "Lions In Cages," Dancing With The Devil" -- along with self-produced demos of songs that will appear on his forthcoming full length debut. "I'm not actively trying to make songs that sound different from each other, it's just the way I write," McElligott responds when asked about the inherent variance of these tracks. "I might wake up one day and write an upbeat guitar riff and then the next day I'll write a piano ballad; it's not like there's any kind of master plan," he continues.

McElligott attributes his diverse musical output to being raised listening to his parents' record collection and honing his taste from an early age. "Growing up I was always listening to what they were blaring in the living room which would be David Bowie, Fleetwood Mac or the Talking Heads," he says. Additionally McElligott's mother, who is a classical violinist also helped instill a love for classical music. "The chord progressions used by Mozart and Bach are the same progressions that get used daily by all sorts of musicians so there's a lot of inspiration you can bring in from that genre," he explains when asked how all of these seemingly disparate influences figure into his own musical palette.

Correspondingly, from the infectious electro-pop of "Lions In Cages" to the atmospherics of "Back To Back," McElligott -- who plays all the instruments in the recording studio but performs live with a full band -- has been able to create music that isn't specific to any scene and is extremely refreshing in today's increasingly homogenized musical landscape. Already a fast-rising star in the UK with a debut full length due there in June, Wolf Gang recently played his first shows in U.S. with several standout performances at this year's SXSW Music Conference. "It's a steep learning curve going from a social anthropology degree to being a frontman so I'm glad that I've had the last couple of years to try to perfect my craft," explains McElligott when asked about Wolf Gang's live show. "I just can't wait to get out on the road and share all of these songs with people all over the world."
In November 2009, the members of Adelaide, Australia's Atlas Genius set about building a studio where they could write and record music for their newly formed band. For two years, brothers Keith, Steven, and Michael Jeffery devoted their days to constructing their dream studio and spent their nights performing songs by The Police, The Beatles and The Rolling Stones at local pubs to pay the bills. "We really got down and dirty with drywalling and literally laying the floorboards, and at the same time we were taking a couple of days a week to focus on writing songs," recalls Keith, Atlas Genius's vocalist/guitarist. The studio was designed and outfitted by the brothers with the help of their father (who comes from a music and engineering background). Once the studio was complete, the first song that Atlas Genius finished was a song called "Trojans," which they wrote, recorded and produced in collaboration with their friend Darren Sell. After many weeks tweaking the song, Michael insisted that the song was ready to be heard outside of the studio walls. Within an hour, "Trojans" was on SoundCloud for sale via TuneCore on iTunes, Amazon and Spotify worldwide.
"We had begun to think that music was a pipedream and we had all gone back to university to pursue more realistic careers" says Keith. "We'd had such a long slog of playing late nights and working all day, and it felt like we didn't really have anything to show for it." But then, in the midst of cramming for their Fall 2011 semester final exams, Michael discovered a Neon Gold post praising "Trojans" as a song sure to "invade your head, all dressed up in a clever disguise of earnest vocals riding a hooky riff." Checking the band's email account for the first time in over a month, Atlas Genius found that dozens of record labels, publishers, lawyers, booking agents and management companies from all over the world had contacted them.
"We were trying to focus on school, but it was just impossible," recalls Keith. "So we said, 'There's something going on here. Let's get back to the music.'" The band added Manager, Jonny Kaps from +1, to their extended family to navigate all of the interest as the band focused on writing and recording more songs.
Quickly named an iTunes Single of the Week in Australia and New Zealand, "Trojans" reached #4 on Hype Machine by the end of May. In August, SiriusXM Satellite Radio's Alt-Nation discovered the song on a blog and decided to give it some spins. There was an immediate reaction from listeners, and in September, "Trojans" was placed into heavy rotation, where it maintained a top-five position on the listener-generated Alt-18 countdown and peaked at number one for 4 consecutive weeks in January 2012. "Trojans" began selling over a thousand tracks per week on U.S. iTunes and soon climbed to 40,000 sales -- all with zero promotional efforts from the still-unsigned Atlas Genius.
"Knowing we had this audience that was waiting on new songs, we had a much greater sense of purpose than we had before," says Keith. "It was really exciting to know that there were people who wanted to hear more of our music." Although labels were clamoring for the band to come to the U.S. and play a series of showcase gigs, Atlas Genius turned down those offers in favor of staying in Adelaide to keep writing and recording new songs. In February 2012, after months of communicating with numerous labels via Skype, the band chose to travel to the US in order to make their label decision.
"We'd never been to America before," says Keith. "We flew in at night and saw this sea of lights, and it really became apparent to us how massive this country is. It was pretty intimidating -- like 'How do we fit into all this?'" In April 2012, the band returned to the U.S. having made their decision to sign with Warner Bros. Records. "We felt a connection with them," notes Keith. "Everyone there feels very creative and dedicated to the music."
The band's first release from their new label home, the three-track "Through the Glass" (produced, engineered and mixed by the band) captures Atlas Genius's singular combination of sophisticated musicality and warm, wistful spirit. Infused with a classic sensibility, each of the songs would fit seamlessly if somehow slipped into a long-treasured mixtape. On the shimmering "Symptoms," for instance, taut keyboard riffs mesh with urgent acoustic strumming before the band bursts into a gently frenetic, guitar-drenched chorus. Meanwhile, "Back Seat" blends its pulsing bass throb with a sweetly infectious beat and tender vocals that alternately soar and sigh. And on "Trojans," Atlas Genius begins with a restrained guitar melody and vocal ("Take it off, take it in/Take off all the thoughts of what we've been") before giving way to the handclap-accented, harmony-soaked refrain and lush yet kinetic bridge.
With "Through the Glass" completed, Atlas Genius is now holed up in its studio and working on wrapping up its first full-length album. "It's still surreal," says Keith of all that's happened over the past year. "I think when we were very young, we had hopes that something like this might happen one day," he continues. (Thanks largely to encouragement from their Beatles fanatic parents, who encouraged the three brothers to begin playing music by age 14.) "But then you grow up a bit and it seems less and less likely. So when we put 'Trojans' out, we figured it would be a success if maybe a hundred people heard it." "So many bands focus on the promotion aspect of the process instead of the music," says Keith. "All of our efforts go into making the songs as good as they can be. We don't want to force our music onto anyone. Our goal is to write songs that we love and we hope they connect with other people too -- be it 100 or many more."
The Royal Concept
The Royal Concept
Previously known as the Concept Store and the Concept, Stockholm's Royal Concept features vocalist/guitarist David Larson, guitarist Filip Bekic, bassist Magnus Robert, and drummer Frans Povel. The group debuted in 2010 with the single "Damn!," which introduced their Phoenix-like mix of sunny pop and electronic elements. The following year, the tracks "D-D-Dance" and "Gimme Twice" earned them more fans. Early in 2012, the band -- which settled on the Royal Concept moniker that April -- signed to Lava Records, which released the group's self-titled debut EP that June.
Venue Information:
Cameo Gallery
93 N. 6th St.
Brooklyn, NY, 11211