Wild Child – Tickets – Lee’s Palace – Toronto, ON – December 9th, 2018

Wild Child

Lee's Palace & Indie88 Present

Wild Child

Future Generations

Sun 12/09

Doors: 7:00 pm

Toronto, ON

$16.50

This event is 19 and over

Advance tickets also available at Rotate This & Soundscapes 

Wild Child
Wild Child
Wild Child won't settle. For seven years now the Austin-based ensemble has carried its infectious blend of indie-pop and infectious melodies across the international music scene, charting viral hits and wrapping their arms around a diverse and dedicated fan base. But earlier this year when the band set out to make their fourth studio album, they found they had their hands full: After half a decade of maturation, the group had grown beyond its traditional writing and recording process.“We had too many ideas for how we wanted to make this record” says Kelsey Wilson, the group’s lead vocalist and violinist. She shrugs. “So we said, ‘Why not just do all of them?’”The group realized this offered an exciting opportunity to make a kind of record bands rarely get right: To take a new, multispectral approach to writing and recording that went beyond simply trying to engineer success. The band made a list of their favorite musicians who were also great producers in their own right — choosing ones they thought would shine a new and unique light on specific compositions — and then Wild Child set about chasing their album from studio to studio all over the world, never saying no to an idea.The result — the band’s fourth album, Expectations— is Wild Child’s most creative, colorful and intellectually engaging album to date.Now a seven-piece pop mini-orchestra (Wilson on violin and vocals; Alexander Beggins on ukulele and vocals; Sadie Wolfe on cello; Matt Bradshaw on keyboards, trumpet, and harmonica; Tom Myers on drums; Cody Ackors on guitar and trombone; and Tyler Osmond on bass), Wild Child formed in 2010 when the group's core duo of Wilson and Beggins wrote and released their first album, Pillow Talk. Wild Child shaped their last record, Fools, in the shadows of more than one failed love, and Expectations, as the title suggests, is a continuation of that personal experience into an awakening. Wilson and Beggins, whose voices fit each other as naturally as any family act, pushed their boundaries as writers, drawing freely from the stories they've lived as well as the artists around the world that have inspired their growth. Their rate of output over that last year got them thinking differently about producing, focusing on one track at a time. “We’ve always focused on the record as a whole. We wanted to think about each track as it’s own piece- but somehow it all fits together” Wilson says of the approach.That route took them around the world — from Chris Walla's (Death Cab For Cutie) studio in Tromsø, Norway, where the Northern Lights are the brightest in the world, to a home-built warehouse studio on the outskirts of Philadelphia, where Dr. Dog's Scott McMicken picked up the bass and “joined the band for a week,” arranging harmonies
and sharing living and recording space. Back in Wimberley, Texas, Matthew Logan Vasquez (Delta Spirit) set up a makeshift studio in Kelsey Wilson’s beloved childhood home — abandoned since the floods of 2015 — where they found the muses were eager to resurface. The group also tapped the talents of frequent tour mate Chris Boosahda (Shakey Graves), Atlantic Records recording artist Max Frost, and Grammy-winning producer Adrian Quesada (Groupo Fantasma, Brown Sabbath, Spanish Gold).The result is a theater of possibilities, with arrangements that reflect the range of tastes of the producers, from scruffy lo-fi tape hiss, to smoothed out precision-cut electronic pop sounds. Smartly, the album avoids defining itself and kicks off with a child’s voice telling Alexander Beggins, "Don't think that way." The track that follows (called "Alex") is a hook-spangled opener which in its three breezy minutes builds from a single ukulele to a lush and playful arrangement reminiscent of Beirut.The record almost immediately settles in to find the band at its most expansive. Songs like "My Town" and the deep-breathing "Eggshells" stretch the spaces between beats like a Chinese finger/time trap. They stop for more than one layover in Detroit, with "Back and Forth" evoking the horn charts of Arthur Conley and Jackie Wilson (or even Jens Lekman), and "Think It Over" throws an unexpected nod to Sly and the Family Stone.The closing track, “Goodbye, Goodnight,” is also the first the group recorded, and the one they believe best epitomizes the journey of making this album. At first, Scott McMicken’s production caught the band off-guard: He slowed the waltz down to the tempo of a dirge — or a dirge with the levity of a waltz — and built the track up at an almost excruciatingly slow pace that in the end gives you what you want from it, but only gives it to you once. “At first we were all just trying to understand where he was coming from,” Wilson says with a laugh. “And it took us a while to get there, but the arrangement works out so well — with what the song is about and how we felt when we wrote it —that it ended up being one of my favorite songs on the record.”And the more you listen to Expectations, the more the many worlds of this project begin to cohere around you. After all, one of the great joys of traveling the world is discovering surprising connections: A skyscraper in Barcelona reminds you of a spire in the Utah desert; the Northern Lights in the Norwegian sky look like an oil slick on the Philadelphia pavement. Expectations, an album which can by turns be bitter, wistful, angry, and flirtatious, is rich with these surprising rhymes across the record.“We’re all growing and changing and learning new tricks,” Beggins says. Wilson responds, “Yeah, there’s no right or wrong way to do anything.” Her own record, though, is proof she’s wrong.
Future Generations
Future Generations
The second full-length from Future Generations, Landscape emerged from the kind of playful creativity only possible among the closest collaborators. Five friends who all live together in Brooklyn, Future Generations brought Landscape to life by balancing their pop-minded songcraft with bursts of free-form experimentation: recording guitar riffs from the receiving end of a phone call, messing with a vintage synthesizer called the Fun Machine, building percussion tracks by sampling a batch of drum-circle recordings. So while the album’s abundance of hooky melodies makes each song immediately catchy, Landscape unfolds with an intricacy of detail that reveals more nuance and depth with every new listen.

The follow-up to their 2016 self-titled LP, Landscape finds Future Generations matching that sonic exploration with a greater emotional intensity. “The title partly came from ending the first significant relationship of my life, and with the band’s move to Brooklyn, we were all put into this world we’d never experienced—living on our own and navigating the landscape of being in New York City,” the band’s singer Eddie Gore explains.

Produced by Justin Gerrish (Vampire Weekend, Hamilton Leithauser), Landscape is also the first Future Generations release to feature their full lineup which aside from Gore includes Mike Sansevere (synthesizer, guitar, percussion), Eric Grossman (guitar), Devon Sheridan (bass), and Dylan Wells (percussion) as the latter two joined the band a few years after its’ formation. Throughout the album, the band proves the power of their chemistry in songs like lead single “All the Same,” a track that builds a brilliant tension between its nostalgia-soaked synth lines and lyrics that perfectly channel pre-breakup disillusionment. A bravely honest look at longing for connection—and rejecting the emptiness of one-night stands—“Suddenly” draws inspiration from hip-hop in its sampled beats, an element offset by the song’s shimmering synth and acoustic guitar. That hip-hop influence also informs the hypnotic rhythms of “Out Loud,” while “Landscape” mines its frenzied urgency from the unchecked fury of punk. And on “I Never Knew I Was Lonely,” Future Generations deliver one of the album’s most chilling moments, shifting between stripped-bare vocals and brutal guitar work to beautifully unsettling effect.

From song to song, Landscape shows the sophisticated musicality that Future Generations have honed since Gore, Sansevere, and Grossman first crossed paths at Fordham.

As a trio, they created an EP that included their breakthrough single “Stars” which helped land them a deal with Frenchkiss Records before they had even finished school. With the eventual addition of Sheridan (whom Gore invited to join the band while waiting in line at a school dance) and Wells (a lucky Craigslist find), Future Generations felt complete. The band moved in together right after graduating, and soon finished up work on their full-length debut.

Once in Brooklyn, Future Generations quickly settled into post-college life, splitting their time between music and their day jobs. “Some people might think, ‘Don’t you guys get sick of each other?’ But even though we live together and work on music together and tour together, I don’t ever feel like I’ve had too much of anybody,” says Gore. As he notes, the Future Generations home life is always kept colorful by the band members’ varying obsessions. “Eric loves good food, he’s always cooking these very intricate things for us,” says Gore. As for the others, "Devon is always illegally streaming NBA games and Dylan is very talented when it comes to betting on horse races."

Above all, Future Generations are unified by a passion for endless discovery in every element of the artistic process. “Making this album was the most creative time we’d ever experienced together,” says Gore. “I remember after the ninth day of recording, we were all walking to the subway together to go home, and we just stopped and looked at each other like, ‘This is crazy, what’s happening here.’ It was this euphoric experience; the energy in the studio was completely palpable.” In reflecting on their chosen name, Gore points to the band’s mission of transmitting that energy to others. “We’re all very optimistic people who are really grateful to get to do what we love together,” he says. “Our hope is for future generations to also have that—to get to do what they love, and be with who they love. It’s a little idealistic, but I think that’s what really encapsulates the whole spirit of the band.”

Eddie Gore (vocals, keys, guitar) - Mike Sansevere (synthesizer, guitar, percussion) - Eric Grossman (guitar) Devon Sheridan (bass) - Dylan Wells (percussion)
Venue Information:
Lee's Palace
529 Bloor St. West
Toronto, ON, M5S 1Y5
http://www.leespalace.com/