The Brooklyn-based chamber pop ensemble weaves a kaleidoscopic tapestry of uncanny soundscapes, unconventional instrumentation, and dense note clusters on their recent self-titled album, Cuddle Magic and Phyllis Chen, a collaboration with the toy piano virtuoso. Chen's miniature keyboard creates potent textures, and it's no gimmick--John Cage employed the child's plaything starting in 1948--and it adds an unfiltered sense of wonder and restless spirit to the beguiling lyrics, some of which come from Edna St. Vincent Millay. Refracted through a fun house mirror, this is what avant-pop sounds like in the mirror stage before the id gets checked by the ego of commercialism.
Sun., Aug. 3, 8 p.m., 2014
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