American Watercolor Movement draws us into a world all their own. With looping beats and a unique lyrical mutability, their songs appeal to our senses—imparting stories of lust, longing, traveling, searching—and we willingly submit to the highs and lows of their design.
American Watercolor Movement began in 1998 as an experimental musical concept, evolving out of various musings and eclectic sounds. Their first CD, Flapjacks, Sunrise and Verne (Perhaps Transparent Recordings), displayed a krautrock-inspired style. Over the years, while still involved in other musical projects, AWM would hone their creativity, even as new members joined the collective, resurfacing in 2004 with their second CD, and the maps came down (self release). The songs from this breakthrough release and AWM’s powerful live performances—an integrated fury of music, film, and dance—have seamlessly engaged and captivated their audiences. Their newest album, It takes 15 to tango in my book, what book do you read? , will be self released October 3rd 2006 with a tour to follow.
Tom Barrett (guitars, keyboards, percussion, vocals)
Joe Centeno (guitars, percussion, vocals)
Jason Cieradkowski (vocals, narration, flute, percussion, guitar)
John Fesken (bass, keyboards, sampler, guitar, percussion, vocals)
Mark Townsend (keyboards, percussion, vocals)
Brian Wilson (drums, percussion, laptop, keyboards, trumpet)
Flapjacks Sunrise and Verne (1998)
and the maps came down (2004)
Colortest EP's (Limited 2004)
It takes 15 to tango in my book, what book do you read? (October 3rd, 2006)
LIVE REVIEW (Maxwell's)
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In a good month, I’m at Maxwell’s three or four times. That’s thirty visits a year for fifteen years...In a good month, I’m at Maxwell’s three or four times. That’s thirty visits a year for fifteen years, several bands per bill. You know I’m up front for all of them; I don’t hang around at the bar. So when I say that last month’s American Watercolor Movement show was one of the handful of best performances I’ve ever seen at Maxwell’s, that’s saying something. I don’t like to make recourse to transcendental categories of value, and I don’t go to shows to be “blown away”, but by the time they’d finished their set, I was speechless.
TRIS McCALL / NJ.com
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A t last count, this New Jersey collective included eight members (late TV-painting guru Bob Ross is...A t last count, this New Jersey collective included eight members (late TV-painting guru Bob Ross is not and never was among them) The members play keyboards, a cello, a violin, guitars, bass, a trumpet, a flute and a lap top, while churning out a comic mélange of high-concert art noise.
NEW YORK DAILY NEWS (5 LIVE: Hot tips on this weekends coolest concerts)
It Takes Fifteen to Tango: Album review
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Come and enter. The world of American Watercolor Movement awaits feverishly with open arms. Experime...Come and enter. The world of American Watercolor Movement awaits feverishly with open arms. Experimental post-rock madness that travels deep into the world of progressive ideas of how music is not only created but recorded, American Watercolor Movement is a constant evolution of how we hear music. Experimental music that is this divisive in sound but so united in fandom is rare so clutch onto it tightly. Magnificent! -- J-Sin, Smother Magazine
It Takes Fifteen to Tango: Album review
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American Watercolor Movement It Takes Fifteen To Tango In My Book, What Book Do You Read? (www.ameri...American Watercolor Movement It Takes Fifteen To Tango In My Book, What Book Do You Read? (www.americanwatercolormovement.com) Reminds me a bit of one of Luke Sutherland’s more abrasive projects. Though this is perhaps more angst-laden and less euphoric. There’s a similar feeling of theatrical desolation to some of Scott Walker’s later work, though this is far more poppy by comparison. Very carefully crafted dark art pop, with a fragile male vocalist intoning confessional longing and misery. Other touchstones might be: Disco Inferno, later Talk Talk, and Current 93, without sounding that much like any of them.
Dream Magazine #7
FLAPJACKS, SUNRISE AND VERNE: Album review
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A diverse album with one unifying element, that of a twisted, slobbery thread of damaged genius that...A diverse album with one unifying element, that of a twisted, slobbery thread of damaged genius that flosses every song, no matter how serious, how silly, how awful or how pretty they are. This CD-R (Perhaps Transparent is a CD-R label) opens with the lucid raveup of "Cupid's Without Pants," which features wicker-stick shuffle drumming, noodling melodies, castoff vocals that recalls Mayo Thompson at his least annoying. The poignant "Silver Gultch 1886" follows, and slows the rambling momentum bugun on the first song to a drunken crawl as the brittle guitars are plucked for all their fragile beauty as the singer enunciates his regret to the snap of saltine creacker snare. The desperate insistence of "Dresden" reinstates the pace of the first song with a steady drum clip, over which horns, guitar and voice fade in and fade out. "Automobiles and Broken Legs," with its hyper, tinny strums, off-kilter singing and clamorous cymbal splashing and "Wipeout" drum break, is a fairly basic but rewarding musical stab, if only for the moment it lasts. "Contraband Cowboys (Tough Love)" is an obnoxious combination of the two prior songs, but I like it. "Marie," is a hilarious tribute to Spinal Tap. "Kiss my glove. Put it in your mouth. Smell the glove. The love is all around." The breathless singer and the nasty guitar solo take the song to its most ridiculous end. The American Water Color Movement throw the humor into high-brow gear with "Marie," which is probably the sleeper song of the year. Over spare percussion and chiming harmonics, a man affecting the accent of a serious German artiste (think Sprockets) tells a story of traveling the Black Hills of Montana to hit a hip party at a hot pub. Along the way, he meets a woman who takes him on, long before he is ready. As the song intesifies, we learn of his plans gone awry, and in the end, we're left to know all this dead sexy lover wants is to be loved, to be held, to be touched. I thought about quoting some of the lyrics, but I would end up reprinting them all, for the story depends on each line building upon the previous. While the album continues for another seven tracks, I'm going to stop here, because if these tunes don't sound like they interest you, then you wouldn't have the patience to listen through the back-half of the CD to find the Gems buried within, anyway. I normally never, ever do this, but since it might clinch the deal for someone: This record is recommended for fans of early-Pavement, listenable Red-Krayola, Meringue, Home, Wingtip Sloat, Angels of Epistemology, et al. OK. That probably narrows it down to six people. If any of you six are reading this, you know what to do.
Steve Brydges--Copper Press
AND THE MAPS CAME DOWN: Album review
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A hypnotic European travelogue of impressions, experiences, chance encounters, and missed connection...A hypnotic European travelogue of impressions, experiences, chance encounters, and missed connections. But this is no Club Med vacation -- AWM want to bring out Europe as confusing, sleazy, foggy, threatening, decayed; usually sexy, sometimes dangerous, always alluring. Jason Cieradkowski's songs are crammed with peddlers, old buildings, ruins, airports, cafes, "chlopcy", and fetching girls whose languages he doesn't speak. Lost in a kaleidoscope of vaguely recognizable sounds and cultures, Cieradkowski's narrators drift from location to location, following barely-discenrnable signals and voices, and an unarticulated longing. Chasing chicks through grubby European streets becomes a metaphor for communication breakdown. Or maybe it's the other way around.
I'll be straight:And The Maps Came Down is a major release, and one of the most interesting rock albums to come from New Jersey in the past five years. Musical travelogues tend to be distinctive by nature, but Cieradkowski's European explorations have gone to tape with uncommon vividness. Far from home, surrounded by unfamiliar faces and beholden to a foreign logic, the narrators stumble through sonic tapestries alternately carnivalesque and menacing. The silences between the tracks feel like the spaces lost in translation.
Tris McCall / NJ.COM
30 to 60 minute sets consisting of original music. Live shows range from experimental Avant-garde to powerful rock based performances. Songs may include, but not limited to the following:
Charging For Mariscos
152 Feet Below The Acropolis
Pour Les Auditeurs
It Takes Fifteen to Tango
Flowers For Catalan
She Danced Like a Demon
Because of What you Wear
C'est La Vie, Gueule De Fuch
Article I. (Treaties Nouveau)
Release the Pulse
Thats the Kind of Love
Brotherhood of The Sea
There are no upcoming dates at this time.