Knitting Factory Presents
Fleet Foxes, Chris Cohen
If you'd like, you can add Fleet Foxes new album Crack-Up to your ticket order. Choose from a CD, Vinyl, or Digital version of the new album. Physical orders will ship prior to album release date of 6/16.
Digital albums will be delivered on the release date.
On June 16, Fleet Foxes will release Crack-Up (Nonesuch Records), its long awaited and highly anticipated third album. Crack-Up comes six years after the 2011 release of Helplessness Blues and nearly a decade since the band's 2008 self-titled debut.
All eleven of the songs on Crack-Up were written by Robin Pecknold. The album was co-produced by Pecknold and Skyler Skjelset, his longtime bandmate, collaborator, and childhood friend. Crack-Up was recorded at various locations across the United States between July 2016 and January 2017: at Electric Lady Studios, Sear Sound, The Void, Rare Book Room, Avast, and The Unknown. Phil Ek mixed the album, at Sear Sound, and it was mastered by Greg Calbi at Sterling Sound. Fleet Foxes is Robin Pecknold (vocals, multi-instrumentalist), Skyler Skjelset (multi-instrumentalist, vocals), Casey Wescott (multi-instrumentalist, vocals), Christian Wargo (multi-instrumentalist, vocals), and Morgan Henderson (multi-instrumentalist).
Fleet Foxes' self-titled debut made a profound impact on the international musical landscape, earning them Uncut's first ever Music Award Prize, and topping numerous "Best of " lists, including Rolling Stone's 100 Best Albums of the 2000's and Pitchfork's 50 Best Albums of 2008. Fleet Foxes is certified Gold in North America and Platinum in both the UK and Australia. The follow-up album Helplessness Blues was met with the same critical praise as its predecessor (MOJO five stars, Rolling Stone four stars, Pitchfork Best New Music); that album debuted at No. 4 on the Billboard Top 200, went Gold in the UK, and earned the band a GRAMMY nomination.
As If Apart, the long-awaited sequel to Chris Cohen’s 2012 soft psych garden of unearthly alter-pop earworms and studio-sonic delights Overgrown Path, follows on its predecessor with another bittersweet ensemble of dreamy, complex songs. Pushing the idiosyncrasies of Cohen’s melodic and rhythmic approach into even more fractured, shifting spaces, As If Apart unsettles lazy pop conventions, upending jaded heads and hearts with an expansive, moody psychedelia. Where Overgrown Path plunged within, As If Apart voyages out. And up.
Sometimes as a leader, sometimes as a sideman and collaborator; sometimes as an invisible musician but you’ve heard him: the chest-high bass drum thump, the tightly paired flight of guitars in odd harmony, the disorienting shift in time and texture that resolves itself into song. Chris Cohen has plied the inside and outside folds of pop musical possibility since at least 1978, when he first set infant drumstick to skin at the tender age of three, initiating decades of sonic experimentation across multiple bands and nearly a dozen recordings.
Cohen’s songwriting isn’t so much disjunctive as subjunctive, asking “what if,” playing against the expected and building suspense, breaking like waves or the patterns at the edges of things. Chris makes music with the patience of a gardener: he went out and collected a backyard’s worth of thorny succulents, took them home and cultivated them like so. They are modular plants – cut one little piece, stick it in the ground, give it time. Come back and find it branching, breaking and replanting itself into tangle and form. You notice yourself changed too.
To say that this is how pop music should have turned out would be nostalgic — a misapprehension of time, pop, history and our place within those structures — what we could say is that this is how pop music has turned out alongside itself – how it has become beside itself – as if apart.