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Les Rotondes proposent des manifestations dans les domaines des arts de la scène, des musiques actuelles et des arts visuels, ainsi qu’une offre importante de conférences, de projets participatifs et d’ateliers pour tous les âges. Défricheuses de nouveaux talents dans les domaines précités, ce lieu unique accorde une place importante aux jeunes, autant comme participants que comme public, et fait figure de centre d’expertise et d’incubateur d’initiatives nouvelles dans l’interface entre la culture et l’éducation ainsi que dans le milieu socioculturel.
 
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PALM

Thu 7.6.18 / 20:30
Math rock, Noise rock, Post-punk, Art rock

Doors : 20:00

Venue : Klub

Palm plays rock music backwards. Eve Alpert and Kasra Kurt’s guitars occupy themselves most often with the pace-keeping work typical of a rhythm section. Meanwhile, Gerasimos Livitsanos’bass and Hugo Stanley’s drums perform commentary and reportage from their deeply embedded positions at the front. The band is firmly attached to the physicality of rock, but not as much its tone; their instruments tend to sound like any number of things at any given time. None of the members of Palm are formally trained on their instruments. The band formed in 2011 at college in Upstate New York, when high school friends

Eve and Kasra met Gerasimos and Hugo. In those early days, the band was just beginning to forge its collective musical identity through experiments in recording and performing live. 

Their first album, Trading Basics (2015), was written in Hudson, NY, a riverside outpost where the group could clarify its intentions outside the direct influence of nearby cultural capitals. That year, the members of Palm relocated to Philadelphia, where they continue to live only a few blocks apart from one another. This proximity has facilitated a level of collaboration necessary for a sound so slippery to remain in the firm grasp of its players. 

On 2017’s Shadow Expert EP, they made use of the steady hand granted by a tireless touring schedule, cutting their songs to efficiencies of pop confection without sacrificing the avant-adventurism at the center. The effort was met with praise from such outlets as Pitchfork, Stereogum, Spin, and Tiny Mix Tapes, who likened the sound variously to Stereolab, Slint, Sonic Youth and Broadcast. With 

Rock Island (2018), Palm excuses the company of these myriad influences with a sly brush of a hand, ushering the listener into a new domain, thrillingly strange for all its familiarity.

PALM
© Dylan Pearce