Joseph Ferocious - Vocals/Guitars
Brian Hamilton - Keyboards
Neil Berenholz - Bass guitar/ Vocals
Matthew Miller - Drums and Percussion
Click the cover below to buy our new 7' single featuring ...And The Hazy Sea/Tunguska
Click the cover below to buy Why There Are Mountains from iTunes
"You could blame it on so many bands being from autophobic NYC, or that the Pacific Northwest gods of indie are still going too strong to already be a primary influence, but neither would explain New York's Cymbals Eat Guitars' Why There Are Mountains. While there's plenty of geographical signifiers on their debut, it's almost topographic in its approach, without hooks and choruses so much as map-like layouts of mountains and sloping valleys." -- Pitchfork [Best New Music]
"Staten Island band Cymbals Eat Guitars came out of seemingly nowhere when, a little under a month ago, their debut album, Why There Are Mountains, was bestowed Pitchfork's "Best New Music" honor. Who were these guys? Staten Island, seriously? They were, of course, four hustling musicians who'd struck gold on the songwriting front, crafting a beastly, obtuse album that sounds a lot like Built To Spill, if Built To Spill actually had some youth on their side and could still throw down in a street fight or get upset over a girl." -- RCRD LBL
"Why There Are Mountains may be one of the best 'indie' (the album is self-released, so, y'know, actually 'indie') albums of the year. And with the major label skyline being obliterated like something out of Independence Day, it's time to batten down the hatches." -- NME
"The most obvious thing about Cymbals Eat Guitars is that their epic, widescreen indie rock bears a striking resemblance to that of Built To Spill and early Modest Mouse. The most impressive thing about them, however, is just how comfortable they sound playing around with a sound those bands defined on albums like The Lonesome Crowded West and Keep It Like A Secret. This isn’t just a case of some young band wearing their influences on their sleeves, and offering up a lesser version of their favorite records — these are strong, creative players stretching out and finding their own niche within a rich yet largely unmined aesthetic territory." -- Fluxblog
"Guitars, bass, keys, drums, hooks hooks hooks. If you are unashamedly an indie-rocker, then this is the indie-rock you like—just stretched and pulled and relaxed in unfamiliar ways." -- Sound Fix
“Do you know how many cities have been built?” D’Agostino asks. He is followed immediately by some brilliant songwriting that remains both unpredictable and convincingly effective, featuring both stark smatterings of keys and explosive arrays of guitars. His vocal delivery often adjusts accordingly, especially during the song’s fiery chorus. That part in particular remains reminiscent of Modest Mouse, but the song’s structural genius and melodic excellence appears more indicative of an idolized act in the Wrens." -- Obscure Sound
"I realized I’ve yet to talk about Cymbals Eat Guitars on here, which I’ve been spinning all year and is probably my favorite debut album of the year, so I feel obligated to give it a mention. Here’s an excerpt of the review on my blog: “The band’s sound is hugely ambitious, explosively energetic force of nature that is clearly influenced by a multitude of 90’s indie rock classics from Pavement to Built to Spill to Modest Mouse while still achieving something that is forward-looking and unpredictable.” -- mtvU
"No pressure, no expectations, no big press push — just some epic jams that effortlessly encapsulate the last 20 years of indie rock with the ease of dudes that have been “doin’ it” forever. The reason why it rules? Because they haven’t been." - Detour Mag
"I’ll be the first to go on record saying that Cymbals Eat Guitars/Joseph Ferocious will end up indie famous within the year." - Charles Bissel, the Wrens
Influences
I got it going on, even flip 'em on this song
Every afternoon, I kick half the tune
And in the darkness, I'm heartless like when the narcs hit
Word to Marcus Garvey or heartless Sparkton
'Cause when I blast a herb, that's my word
I be slaying them fast, doing this, that and third
But chill, pass the Andre and let's lay
I bag bitches up at John Jay and hit a mantinee
“We were at Barnes & Noble today and I was so excited to see Maximum Rock’n’Roll’s still publishing,” says Cymbals Eat Guitars bassist Neil Berenholz, his eyes widening at the very thought. “Joe was just like, ‘What’s that?’”
Welcome to one of the many contradictions that have shaped Cymbals since the spring of 2008. First, there’s that age thing, with 32-year-old Berenholz hailing from the golden age of bedroom recordings, screen-printed T-shirts and Kinko’d zines, and the rest of the group reared on genre-jumping iPods and Web sites that can propel or pulverize an artist’s entire career with a single review. As frontman Joseph D’Agostino—the band’s co-founder along with drummer Matthew Miller—is quick to admit, “I’ve been reading Pitchfork since I was in ninth grade.” Which was also when he discovered “Shady Lane” and started shedding the alt-rock influences that informed the cover songs he and Miller hammered out in high school.
The duo’s in college now, so it seems rather fitting that their full circle moment didn’t involve a capsule review in a print magazine; it happened when Pitchfork bestowed the band’s DIY debut, Why There Are Mountains, with a “Best New Music” stamp soon after its soft release. And we do mean soft. While many buzz-minded new artists dive straight into Brooklyn’s bustling music scene, Cymbals Eat Guitars were happy fine-tuning tracks from the outside, looking in—first in elaborate demos with the Wrens’ Charles Bissel (starting way back in the summer of 2007, before the group even had a name), and finally in a proper studio with Kyle “Slick” Johnson (Modest Mouse, The Hives). Like many other early fans, Johnson inadvertently discovered Cymbals Eat Guitars on New York’s Lower East Side circuit, playing the kind of early sets that come with being spread between Staten Island, Manhattan and Queens.
“We didn’t know anybody in the beginning,” says D’Agostino, “So it was hard to get any shows.”
“And since no one was pursuing us,” continues Berenholz, “We had to pursue opportunities ourselves.”
On a practical level, this has led the band to physically call the country’s most popular record shops and ask them to carry Mountains’ initial pressings. Lucky for them, the record sold itself, generating interest as far away as the UK’s influential Rough Trade shop and the NME, who wrote, "Why There Are Mountains may be one of the best 'indie' (the album is self-released, so, y'know, actually 'indie') albums of the year. And with the major label skyline being obliterated like something out of Independence Day, it's time to batten down the hatches."
Hype-raking reviews aside, there’s this important detail: Why There Are Mountains is a real album, a ‘grower’ that dishes out simple pleasures with every spin. Aside from obvious recurring elements (D’Agostino’s restless yelp and sinuous riffs, Miller’s Wire-y rhythms paired with Berenholz’s melodic bass style, and the orchestral layers of keyboard), there are shades of shoegaze (the patient, feedback-bathed passages of “Share”), Motown (the buoyant bass lines of “Cold Spring”), and Technicolor-tinged pop (the breezy horns and schizo synths of “Indiana”). Not to mention pure chaos, as explored in the gate-crashing “…And the Hazy Sea,” the tension-ratcheting “Like Blood Does,” and the final, throat-tearing moments of “Wind Phoenix (Proper Name).”
As for what’s next, well, one new song already has a “lazy guitar line” that’s indebted to indie pop, floating over a disco inspired rhythm section.
“You guys are laughing,” says Berenholz (and they are), “but that’s what I’m talking about here—people bringing different influences to the table, until my chocolate’s clearly in your peanut butter.”
“We aren’t shying away from the dance beats,” adds D’Agostino.
“Sometimes,” says Miller, smiling, “they are appropriate.”
Kudos to the lyricist, because honestly the lyrics are beautiful in all of your songs. But What Dogs See is my favorite song, and I can't find the lyrics anywhere! I've Googled it multiple times, and even tried doing things the old-fashioned way by replaying the song over and over and attempting to write the words down (to no avail). So I was just hoping that you could post them somewhere, or comment back with them. Make a new blog with the lyrics? I don't know. I'd just love to know what I'm hearing in that song! Thanks again, and also, congrats on the new song/Single CD. I love it!
Damn I loved Why There are Mountain's so much and now "Tunguska" is just leaving me even more amazed. I can't wait to see you guys in the fall with The Pains of Being Pure at Heart
Hello, I played some Cymbals Eat Guitars on my Debris Slide radio show, along with a lot of other good music. Have a listen at: www.differentclassradio.co.uk