June 27, 2017 | doors at 8:30pm
Sharing is Caring
Triple Ds presents:
Shepherds | Newark Wilder
  • $8
  • $8
Andy and Edwin Mathis White are the duo known as Tonstartssbandht. Behind the made up name (pronounced as tahn-starts-bandit) is a lifetime of synergistic sibling energy and a decade of making and releasing music together.

Tonstartssbandht began in August of 2007 in their hometown of Orlando, Florida. After spending their teenage years exploring the languid landscape of improvised ensemble noise rock, they focused their efforts on recording a few cover versions of songs from the Beach Boys’ Smiley Smile / Wild Honey. As choir members in their youth, the two felt no apprehension at the vocal task at hand and set their expectations to “neutral” when eventually writing their own music. Soon after, Andy and Edwin moved to their new respective homes in Montreal and New York City.

In these two cities Tonstartssbandht continued under the restraint of solo writing, recording, and e-mailed collaboration. The confined living environments necessitated a reliance on the power of choral vocal loops, sampled rhythms, and digital music media. This method of songwriting and exchange was carried through on their three self-released 2009 albums, An When, Dick Nights, and Maihama. On these albums were also glimpses of their rock inspired past, with songs like “Midnite Cobras”, “Haughty Deb,” and “Welsh Souper” revealing an unexpected doom and blues riff affinity.

In the fall of 2009, the brothers began performing primarily in lofts and various DIY venues of Montreal. Playing so frequently, they would perform “electronic sets” and “rock sets” within the same week; sometimes sets would begin with a few chaotic vocal looping tracks before jackhammering into a raucous guitar and drum segment. Montreal label Psychic Handshake shared their rock side with the Midnite Cobras 7” in March 2010. A year later, Arbutus Records, which formed in late 2009 alongside the band’s live development, released Tonstartssbandht’s first full-length 12” Now I Am Become, a platter of music splattering between dooming rock and choral harmony.

In the years that followed, work and touring began to supersede that time once used for prolific recording. After bringing the split psyche sets on the road, the focus eventually shifted toward a streamlined live instrumentation involving their voices and analog ware. Their entire spring 2013 European tour was meticulously recorded each night by Andy. By then he had joined his brother at Le Wallet in Brooklyn and where that winter they mixed and spliced together an 80 minute selection from more than 25 hours of the European recordings. Entitled Overseas, and jointly released in June 2014 by Company Etc. & Arbutus Records, the double live album was the perfect document of where their creative development turned. It gave a broader audience the chance to at least hear how their performance were enrapturing listeners around the world, if not experience it from the venue floor.

As Tonstartssbandht continued touring, the recording never stopped. Full set live cassettes followed with Nantes, Hanoi, and Christchurch. After moving back to Orlando in early 2016, their new home studio album Sorcerer was finally completed.
We get together, We make noise, and We make it soulfully.
Newark Wilder
Newark Wilder’s debut album Vanessa Atalanta (The Cottage Recording Co.) is a diverse cornucopia of psychedelic punk that utilizes sneering guitars, punchy basslines, steadfast drums, and the swagger of frontman Benjamin Kinzer. Kinzer, a classically trained cellist, is the ringleader of the rambunctious outfit that includes Atlanta luminaries Nadir Baaset, Rebecca Flax (Young Sirens), and Gibby Ruby.

Vanessa Atalanta was produced by Luciano Giarrano at the infamous East Atlanta hideaway The Cottage. The now 17-year-old Kinzer was specifically drawn to The Cottage because “I knew that Small Reactions and Gold Bears had recorded at The Cottage, and they're two of my favorite Atlanta bands, so I thought I'd just try it. [ . . . ] it all just worked out really well.”

It certainly did. From the opening 6/8 shimmer of “Tint/Shade” through the triumphant coda of “There is no blue without you,” Vanessa Atalanta is a record as bombastically rich as it is dynamically complex.

Songs like “Stephen Loves My Eyes” and “Atalanta” hearken back to bands like Can and Joy Division. In “Stephen Loves My Eyes” Kinzer feverishly sings “I don’t have much time /you may need it and I don’t mind”. The song feels like a late night hook-up—intense, liberating, exhilarating. “Atalanta” kicks off with an explosion of guitars that culminates in an acrobatic instrumental section swarming with feedback, delayed guitar trills, and the pulse of Baaset’s kick and snare.

However, tracks like “Pharma Girl” display the band’s versatility. “Pharma Girl” opens with an XX-style bass and drum machine groove underscoring Kinzer’s vocal “I want to leave a little light in my head / at all times / feel my arms racing down your spine / feel it like a knife.” Drawing on Kinzer’s classical roots, “Nemo,” in contrast, provides a brooding respite to the album. At its instrumental apex, “Nemo” moves like a submarine that’s looming over a shipwrecked oceanliner—exploring the marine underworld in the same way that post-rock outfits like Explosions in The Sky or Godspeed You! Black Emperor defined the limits of the galaxy.

Vanessa Atalanta is a record that is deeply influenced by the city of Atlanta. Kinzer says “[Atlanta] has such an urban and cement aesthetic, but it's also so full of trees and greenery. I think that's really influenced the way I write. I always try to create a really strong technical basis, like the cement part of it; a groundwork that some would say, would be more technical and sharp, but then I try to flesh it out with broader brush strokes of deeper melodic color.”