New York has been pumping out some really interesting bands and artists of late: Vampire Weekend, Sleigh Bells and Azealia Banks, to name a few. So of course a new four piece from Brooklyn called People Get Ready has caught our attention. They are a combination of talents: founding member Steven Reker has toured as a dancer and guitarist with David Byrne, while Luke Fasano is a former member of the indie pop band Yeasayer. Ahead of the release of their debut album, People Get Ready has released the first single, Windy Cindy. Sighting inspiration from Cindy Sherman’s Untitled Film Stills, the track is a reflection on romanticism and liveable art incorporating swelling guitar, jumping drums and one sunny voice. We can’t wait for the album.

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Portland-based trio 31Knots have an undeniable pop streak to them that puts them somewhere in the same realm as fellow indie-prog band Yeasayer, but they’re just weird enough to keep my interest. They have a new album out called Trump Harm.

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The video for Yeasayer’s latest single in the UK, Madder Red, tells the story of a loving bond between a girl and her pet. Extremely weird.

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Forget MGMT, well, for the next five minutes anyway. Yeasayer are the hottest band out of Brooklyn, and they have a new video to prove it. Their single, Ambling Alp, sounds like Nik Kershaw locked in a wind tunnel.

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We asked Matthew ‘Woody’ Woodley, drummer and vocalist with Montreal group, Plants & Animals, which bands he thinks are doing interesting things right now and he gave us the following list: ‘Grizzly Bear, Malajube, Yeasayer, Metro League and the guys in the Patrick Watson band’. To read about Woody’s favorite songs right now, check out his recent Secret Playlist.

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The crew at 4AD, watching over perhaps the hottest artist roster of any independent label in the world, have put their collective minds together and come up with an album that holds every potential of being the finest release of the year. The formula is simple: you grab a batch of the hottest bands and artists around at the moment (take your pick from Arcade Fire, Yeasayer [pictured above], Bon Iver, Beirut, Sufjan Stevens; the list continues without the slightest dip in quality), throw in David Byrne for a touch of that priceless musical wisdom, quickly hammer together a few inspired duos, like Gillian Welch and Conor Oberst, or The Books and Jose Gonzalez, name it after a seminal Blind Willie Johnson track, and then get the brains behind one of the great bands of the last few years, The National, to produce it. Finally — take a deep breath — all the proceeds go towards the fight against AIDS. Dark Was The Night isn’t released until February 16th, but the scent on the wind is good. David Byrne and the Dirty Projectors’ opening track (listen below) is brilliantly fresh, while Yeasayer have channelled their wild spirits into a song textured as intricately as a Peruvian silk skirt, with a rainstick for effect.
[audio:http://static.4ad.com/audio/darkwasthenight/knottypine.mp3]

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Those bowled over by Yeasayer’s debut, All Hour Cymbals, would take a true battering at one of their live shows. The band’s recent string of gigs at the Institute of Contemporary Arts in London may well rank among the top performances the venue has hosted in recent years. Pounding the crowd with a barrage of swirling synths, deep kicks and the apocalyptic vocals of frontman Chris Keating, Yeasayer create a massive wall of sound that climbs and climbs like a tidal wave threatening to crash down on your head. Keating swaggers around the stage in a faux whiskey-induced stupor, howling down the mic with a combination of agonised cries and measured harmonising. A subsequent listen to their album drills home the idea that to truly understand the point of it — the concept that wasn’t justifiably realised on All Hour Cymbals — one needs to experience it in the flesh.

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We featured red hot Brooklyn band Yeasayer on Lost At E Minor a few months back, so we thought it was time we checked in with keyboardist-sampler, Chris Keating. There’s a flurry of bands emerging from Brooklyn who are crafting some of the finest music around at the moment. What is it about the area that fuels this creativity? ‘Brooklyn is just a giant neighborhood where many different creative people have come and decided for some reason or another to try and make a home. New York’s proximity to many other major cities and cultural centres as well as its abundance of musical venues and opportunities seems to draw a lot of interesting people and plenty of herbs as well’. It’s claimed in reviews and biogs that you shot to prominence largely because of a live performance at SXSW festival. Did this make you nervous about how your record would be received coming out of a stereo? ‘I don’t really know that this is true. There weren’t very many people at either of our SXSW shows and we toured twice after that without very many people coming to our shows. Our record is what got us any attention in the first place’. Songs like 2080 sound like a party until your ears tune into the near-apocalyptic lyrics. What’s the deal here, are you anticipating the end with big drums and duelling guitars? ‘With so many politicians preaching end-timer ideologies the only option we have is to dance frantically on the titanic’. A number of this year’s most promising bands, including you, borrow from — or even base their music on — indigenous sounds from far flung countries. Why is this becoming such a fad? ‘We just draw on any sounds that inspire us at the time. I feel like we draw more inspiration from David Bowie or A Tribe Called Quest than indigenous sounds but we are happy to pilfer any sonic textures that are exciting to us at any given moment’. Is the ‘Middle Eastern-psych-snap-gospel’ genre you’ve coined a way of avoiding being pigeon-holed into a mainstream category? ‘That’s just something we wrote for MySpace. I wouldn’t mind someone coming up with something better. Maybe Disco-Rock?’

Listen to the Yeasayer song, Wait for the summer.

[audio:http://lablogo.free.fr/julien/yeasayer-waitforthesummer.mp3]

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