Skating Club
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Skating Club

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The best kept secret in music


"CMJ Monthly Review"

Calling a sailboat in Boston Harbor home had quite the tangible effect on Skating Club mainman Aubrey Anderson - listening to SK's self-titled debut, you can't help but paint an image of sitting on the edge of a dock, haphazardly flicking your toes over the top of the water and staring off at an end-of-summer sky. A florid comparison, yes, but Skating Club is all about mood- from the gallons of reverb on Anderson's guitars to the miles of echo on the drums - so a picture of the album's atmosphere is altogether more accurate than a simple breakdown of influences and instrumentation. At its core, Skating Club does fish in the same pool as moody bands like Low and Ida, all slow and gentle melodies with breathy vocals floated on top, but Anderson never gets lost in the melodrama or overly weepy. And while the album does have a cohesive mood, Anderson's tendency to experiment with different timbres - say, lacing a syrupy guitar with a light digital squall, or casting some roads piano plinks between his phrases-keeps things hypnotizing, rather than snooze-inducing. Skating Club is surprisingly comfortable with brevity, too - most songs clock in at around three minutes - something not generally part of the slowcore canon. But SK has a tighter grasp on pop than most in that club, too, which makes them miserable in an irresistible way. -- Nicole Keiper - CMJ Monthly (March/April 2002)

"CMJ Weekly"

The press materials that accompany Skating Club's self-titled debut list one of the record's selling points as "This music is shy." That's a perfect summary: this trip through 10 tracks of indie-pop atmospherics is the music equivalent of the smart kid who stands in the corner at a high-school dance staring at his shoes. Singer/guitarist Aubrey Anderson (along with bassist/keyboardist Colin Rhinesmith and drummer Bruce MacFarlane) sing plaintive and desperately charming tales of awkwardness, with self-conscious lines like "I'm still scared of my own shadow," hearkening him to low-self-opinion types like Hayden and Elliott Smith. But rather than go that bare bones, Anderson and co. drape their songs in rich atmospherics, cooing over beds of ringing guitar chords and occasional chiming electric pianos. Opener "G.T.I." lopes along with a lazy, shimmering guitar until the chorus introduces a cascade of descending Rhodes piano and "la la" backing vocals; the plodding chords of 'The Hypnotist" and "Foolish" recall Sparklehorse's recent It's A Wonderful Life". Fidgety music for eternally nervous people. Tom Mallon (R.I.Y.L Sparklehorse, Hayden, Elliott Smith) - CMJ Weekly


Skating Club, which sufficiently wowed the guys in Mission of Burma to land an opening gig at one of the Burma reunion shows, has a subtle gem in its self-titled debut (on WishingTree); think a more laid-back Versus teaming up with Belle & Sebastian while Elliott Smith nods approvingly. - Fred Mills
- Blurb


2001 - "Skating Club" full length released on Wishing Tree Records

2002 - alternate version of the song "Stockholm" appears on the Amos House II compilation on Wishing Tree

2002 - the song "Livingstone" released on the In Our Lifetime series on Fenway Records

2003 - "Bugs and Flowers" full length released on Wishing Tree Resords

2003 - the song "Miss USA" released on the Amos House Volume III compilation on Wishing Tree


Feeling a bit camera shy


After two years of experimenting, recording and editing, Aubrey Anderson's pet studio project became Skating Club's critically acclaimed debut on Wishing Tree Records.

Shortly after the release of Skating Club's debut, Clint Conley of Mission of Burma heard the Club playing live on WMBR Radio in Boston. He called the station after the set and invited the band to open at the first Mission of Burma reunion show in Boston. The frenetic, sold out event was the fifth live show the Club had played. The debut reached #23on the CMJ chart and was on the chart for over six weeks.

After a US tour and some time off for writing in Athens, Georgia and San Francisco, Aubrey and the gang recorded basics for a second full-length at a studio in Boston in early 2003. Other tracks for “Bugs and Flowers” were recorded remotely in art galleries, houses and even outside in rural Georgia with a mobile laptop recording setup. Aubrey then brought all the tracks back into the studio in Boston and assembled the record from all the pieces. The result on both records is organic, exotic and unique. It is down-tempo pop at its best with threads of country and rock wrapped around.

Skating Club has always been part extended family and part pick-up soccer game. Members joining Aubrey often come and go with different sessions and tours depending on everyone's schedule and needs. The sound evolves with the lineup. Live shows often feature members from both records alongside new members. They are always exciting rearrangements and reinventions of the songs.

This year, Aubrey and Club members split their time between Boston, Athens, New York, San Francisco and Los Angeles.