Aeroplane Pageantâs Float Above The Yard was produced/mixed by 2-Time Grammy Winner "Bassy" Bob Brockman (Notorious B.I.G, Bob Dylan) and expands upon their distinct aesthetic vision of blurring the line between what's real and what's fake.

10 MP3 Songs in this album (35:41) !
Related styles: Pop: Psychedelic Pop, Rock: Psychedelic, Type: Experimental

People who are interested in
should consider this download.


Details:
Aeroplane Pageant is not a pop band all the time.

But after fourteen months in a studio that sits directly under the rattle of the Wantagh train station and following fifteen years of brutal friendship, Aeroplane Pageant now introduces its latest effort: FLOAT ABOVE THE YARD (LP3).

And so in this âyard,â or better yet on this genre-less album, you might âfloat aboveâ an impressionistic landscape dappled with some wolves, some apples, a crowd that gathers and then cheers on a horse, a family being pushed off a house, a few birds and flowers, some black flowers, a lovely garden, some teeth , a hundred or more ghosts, and always a TV, always a billboard, a big moon, a few cities, some cake thatâs been left on the floor, and of course the compulsory âconfessing young bear,â a bit of blood, some of it fake, a rope hanging by a treeâ¦

â¦as these songs are often dark and quirky and intimate narratives where a blend of real and imaginary âdesperate characters,â beg to love, to be loved, and to make sense of things, âas time, it burns us thin,â and loss, death, and confusion undo youthful expectations, as singer/songwriter Brian Kelly reminds us when he proclaims over cut-up horns, primordial drums, and panicky guitars on, We Were Once a Boy, âNow weâre hanging by a rope on a tree in our front yardâ¦and this kind of heaven isnât what weâd said it be.â

How to recover in the face of disappointment? How to begin again? âTo see again with plain eyes, to be again this time and not pretend Iâm aliveâ¦oh, we didnât dream enough in this house!â in the minimalist and electronic, Brief Confessions of a Young Bear, an upbeat track held together by jittery percussion and a zigzagging bass line.

This sentiment of starting again, of understanding, overcoming, and rising above the bleaker moments echoes throughout here, as the songs and music urge us to observe and celebrate, and to listen to each other, and to consider hope and the human imagination first, even as we grow and sheer apart, âPart of you has drifted/Like a voice that breaks with distance/ And I hate that Iâll admit it/So I came here to listen/ I came here for you,â we hear on the cinematic orchestral number Desperate Characters. And then the hushed playful exit, when light breaks for a moment, a sense of release or acceptance on the albumâs final track, Hello Radio; itâs a blurry-ballad that fights and breathes through shards of noise, as children laugh in the backdrop, when Kelly gently asks of someone or everyone, âI want you to be good to yourself, good to you and everyone else.â

â¦and yet this album, according to Kelly, âis a hyperrealistic paean to the suburbs---where the events within could happen in anyoneâs backyard,â in repeating landscapes, houses stacked on top of each other, amid the drone and anxiety of shopping mall America, amid the comforts of television and self-imposed alienation---all deliberately infused with sharp juxtapositions of image and sound, at once insular and celebratory, bright and dark, abstract and material, noisy and melodic, repetitious and formless, organic and electronic.

This brace of songs is most often motivated by the sensibilities of the early dark folk idiom, the earthy confusion of psych-pop, the exploratory provocations of bands like the Velvet Underground, Guided by Voices, and the Flaming Lips. âItâs the sheer excitation of the imagination. Itâs trying to make things happen. And this time we wanted to combine literary-minded content with some of the latest experimental production techniques. Our idea was if we can hear or visualize the sound in our heads then letâs figure out a way to build it,â says Brian Kelly.

The making of this album is an over-dramatic love-story. Itâs a story suffered by a collection of best friends, all of whom have known each other since the earliest days of high school---as they now plug away at their perfunctory day-jobs as writing instructors, journalists, mailmen, parks department employees and tech-managers, and unemployed US citizens--- developed in a concerted fanaticism with sound, with creating sounds, with constructing ideas and tying songs together, âWe really wanted to blur the content of these songs so itâd be difficult to distinguish between whatâs real and whatâs fakeâ¦we wanted to disrupt the illusion or the expectation of what traditionally makes up âthe song,ââ offers bassist Tim Watson. Drummer Mike DeLorenzo elaborates on this idea, by stating, âThe ideas weâd established from the get-go were something weâd all felt closely mirrored our own little realities---constantly in flux and discontinuous, almost schizophrenic, and never quite real, perhaps sometimes too real.â

And so in comes 2-time Grammy Winner Mixer âBassyâ Bob Brockman to materialize Aeroplane Pageantâs âlittle realities.â Through a mutual contact at Technicolor Studios---the studio that produced the brand new AP video (written/directed by Brian Kelly) for âHelp Me Shoot This Apple off My Headâ---Brian Kelly happened to hook up and interview Brockman for a MEDIA Magazine article he was writing on the plight of the music industry. Somewhere along their discussions Brian emailed Brockman some new material AP was working on, and shortly thereafter Brockman came down to see AP live, âIt was just the right blend of weird and popâ¦and itâs refreshing to see a band play their instruments, not just their computers, and make songs that arenât so âdetached and coolââ¦thereâs a vulnerability and warmness thatâs especially inviting in this digital age,â says Brockman of Aeroplane Pageantâs sound.

And of course these warm feelings were immediately reciprocated, as the band was now fixed on collaborating with an expert like Brockman, resulting in âsome bigger and lower end sounds for this record,â says, multi-instrumentalist Chris Aguis, âsomething that Brockman is well-known for producing.â âWe saw it as an opportunity for the band to generate this odd-Frankenstein by bringing Bobâs distinct R&B, pop, and hip-hop influences in conjunction with some of our fringier tastes,â explains lead guitarist/multi-instrumentalist
Michael Areephituk.

And sure some of the sounds on FLOAT ABOVE THE YARD are small, and some are just grotesquely big, others are looped or stretched and frequently destroyed, and then sometimes unnecessarily put back together. But nevertheless Aeroplane Pageant produced all of these sounds, Grammy Award Winning mixer âBassyâ Bob Brockman (Notorious BIG, Debbie Gibson, Bob Dylan) mixed it all, and Joe Lambert (Deerhunter, the National, Animal Collective) mastered them.