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THE BOGGS



Last Updated: 12/19/2009

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Status: Single
City: -------BROOKLYN-------
State: New York
Country: US
Signup Date: 9/29/2005

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Monday, December 15, 2008 
"F@$ing brilliant... Forts' is a mind expanding body of work, with plenty
of hope for the future. It's encouraging to hear such fun, clever, inventive, unpretentious music, unashamed of straying from the cookie cutter cut-out of what Topman says we should listen to. Love The Boggs, and they will love you back."
-Art Rocker

"...'Forts' is a magnificent album full of insight, intellect and super-perception."
4.5 STARS
-GIGWISE

"...genre-busting..."
4 STARS
THE SUN

"...bawdy, saucy, horn-work, folked-up unhappy-clappy chanting, and phat-ass production that contrives to make swamp and clarity wrap their snaky arms round each other in virtual homage to yin and yang"
4.5 stars
-MUSICOMH.COM

" [FORTS is] emphatic and enthusiastic in a way The Go! Team would recognise, but somehow measured enough to give a warm glow to fans of Mercury Rev."
4/5 LIGHTNING BOLTS
-HIGH VOLTAGE

"FORTS is a meta-journey through the process of constructing ramshackle pop."
-PLAN B

"[FORTS is] like the best men's vintage suit: sharp, stylish, authentic and a bit lived-in. Also completely and totally fun."
-NO GOOD FOR ME

"...A wonderfully chaotic and unpolished sound reminiscent of The Beta Band of old and the Yeassayer of new. Ich bin ein Berliner indeed."
-THE FLY

"The only ingredient that resurfaces often enough to rank as consistent is quality."
4 S's
-THE SKINNY

"...[FORTS] is by some distance their best and most accessible [release]. With elbows out, it has barely made room for any other disc since first hitting the CD player, and seems unlikely to relinquish its grip anytime soon."
10/10
-CONTACTMUSIC

4 stars
-UNCUT.

"this latest outing from The Boggs is a tremendous showcase for [Friedman's] skewed musical imagination. An incredibly eclectic melange of garage rock, punk funk, folk and Americana, this album is as difficult to define as to become bored of."
4 stars
EPOCH TIMES




"The garage-rock-disco-rave meltdown sound of 2007,
get acquainted or get lost!"

NME




"Quite easily one of New York's best rock exports at the moment."

DAZED




"Nothing less than a sonic revelation."

MAGNET





"...Forts is a combustible concoction of hand-claps, knee-slaps, Bo Diddley beats, shuffling feet, clinking cowbells, and chain-gang chants that suggests a band perpetually on the verge of breaking down but having too good a time to notice the smoke seeping out from under the hood."

PITCHFORK





"The guitars jangle like a flesh eating agent, the drums bruise in tribal glee, the vocals are like mad talking blues, approximating tune,
and everything is weirdly arresting."

THE BIG TAKE-OVER



"...colored with strained dialogue and urgent poetry... crashing, jangling, pumping on it's way toward something bright and great"

90%
FILTER GOOD MUSIC GUIDE



"From start to finish,
track one to thirteen,
front to back cover,
this is a very special album."

THE TRIPWIRE

DOWNLOAD:
I-TUNES
EMUSIC
TUNE TRIBE
WIPPIT

Buy CD:
TANGLED UP SHOP


for more information check out:
TANGLED UP ON MYSPACE
WEB
08:41 
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Wednesday, October 15, 2008 

Current mood:  accomplished
Between 2001-2008, JASON FRIEDMAN'S THE BOGGS RELEASED THREE CRITICALLY ACCLAIMED ALBUMS, PLAYED AND TOURED WITH THE RAPTURE, HOT CHIP, LONG BLONDES, THE KILLS, CALLA, AND THE DUKE SPIRIT, AND were REMIXED BY HOT CHIP AND SHY CHILD. PAST MEMBERS INCLUDEd MATT SCHULZ OF ENON AND HOLY FUCK, HEATHER D’ANGELO OF AU REVOIR SIMONE, AND SAM JAYNE OF LOVE AS LAUGHTER.

IN NOVEMBER 2007, FOLLOWING A US TOUR SUPPORTING THE BOGGS' THIRD ALBUM, FORTS, JASON FRIEDMAN AND TOURING-BOGG ELEANORE EVERDELLFOUND THEMSELVES IN THE STUDIO RECORDING A BRAND NEW COLLABORATIVE TRACK, WITHOUT THE REST OF THE BAND. “IN THE PAST, THE COLLABORATORS I WORKED WITH WOULD ADJUST WHAT THEY DID TO FIT MY VISION,” SAYS FRIEDMAN. “WORKING WITH ELEANORE IT WAS CLEAR THAT THE TIME HAD COME TO SHIFT INTO A MORE EQUAL PARTNERSHIP.” THE RESULT OF THIS NEW APPROACH WAS “DRESSED IN DRESDEN”, A FRACTURED POP THUMPER THAT SHOWED ELEANORE ASSUMING FULL VOCAL DUTIES OVER HEAVY BEATS AND STACCATO GUITARS. 

IN THE MONTHS SINCE THAT SESSION, THE SEVEN-YEAR-OLD BOGGS WERE LAID TO REST, AND THE HUNDRED IN THE HANDS WERE FORMED. 

WITH CAREFULLY COMPOSED POLYRHYTHMS, JAGGED GUITAR LINES, AND LAYERED, BREATHY VOCALS, THE HUNDRED IN THE HANDS KEEP THE RAW ENERGY OF POST-PUNK ILLUMINATING THEIR MINDS AND STUDIO ONE BOOGIE-DOWN BEATS CHURNING IN THEIR GUTS. THIS IS NO ROCK CONCERT SPECTACLE, NO STATIONARY STARE-FEST. THESE ARE SOUNDSYTEM-BACKED, FOOT STOMPING, CLAP HANDS BEATS FOR AKIMBO-LIMBED BOOGIE KIDS. BALLROOMS AND BAR FLOORS ARE BUILT STRONG, IT’S TIME TO GIVE THEM A POUNDING.

See more at http://thehundredinthehands.com
add the hundred in the hands to your friends at
http://www.myspace.com/thehundredinthehands.com


08:50 
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Monday, January 21, 2008 

Current mood:  groggy

THE BOGGS
are mostly

JASON GRANT FRIEDMAN
with a little help from his friends


.."225" height="150">

'ARM IN ARM' LIVE AT NORTHSIX. MARCH, 2006






SOME ONETIME/SOMETIME BOGGS:

ELEANORE EARLS EVERDELL

PETER HALE

ALEXANDER R. LUTHER-CANNON

LEIF YOUNG HUCKMAN III

DAVID LLOYD WOFFORD
(CAUSE FOR APPLAUSE/THE DRESSES)

CHRISTIAN OBERMAIER
(SCHNIEDER TM/THE INNITS)


HEATHER D'ANGELO
(AU REVOIR SIMONE)

MATT SCHULZ
(ENON/HOLY FUCK)


SAM JAYNE
(LOVE AS LAUGHTER)


KAREN SHARKY
(BOY$/THE SEEING EYES)


EZEKIEL HEALY


BRAD CONROY
(DAYLIGHT'S FOR THE BIRDS)


PHILLIP ROEBUCK


ANJALI SUNEJA






14:03 
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Wednesday, August 08, 2007 

Current mood:  nerdy

ANOTHER QUESTION WE GET ALOT IS WHAT THE NAME MEANS.

WELL...

IT'S GOT NOTHING TO DO WITH WITH WADE, OR MARSHLANDS OR TOILETS
(ALTHOUGH WHAT'S MORE ROCK N' ROLL THAN A TOILET REALLY?)

NO.

THE BAND WAS NAMED AFTER THE LEGENDARY BLUES-MAN DOCK BOGGS



A 1920'S MARK E. SMITH, DOCK BOGGS WAS A VICIOUS-MOUTHED PERFORMER WHO ATTACKED HIS INSTRUMENT WITH AN ABANDON THAT DISTINGUISHES HIM AS ONE OF THE TRUE PIONEERS OF PUNK, ROCK OR WHATEVER YOU WANT TO CALL IT.
HE RECORDED A HANDFUL OF 78'S IN NEW YORK CITY BEFORE SELLING HIS BANJO AND RETURNING TO THE COALMINES OF VIRGINIA.




LEARN MORE:

DOCK BOGGS ON WIKIPEDIA

Q: WHO'S THIS MR. SMITH WHEN HE'S AT HOME?


A: WHOMEVER MR. WONDER SAYS HE IS

19:10 
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Tuesday, August 07, 2007 

Current mood:  geeky
WE KEEP GETTING QUESTIONS ABOUT WHO DID WHAT ON THE NEW ALBUM.

WELL...



JASON FRIEDMAN:
VOCALS, GUITARS, BASS, KEYBOARDS, PERCUSSION

CHRISTIAN OBERMIER:
PERCUSSION (EXCEPT ON: SO I SO YOU)

ADDITIONAL MUSICIANS:

FORTS
KAREN SHARKY, JESSICA NORMAN: VOCALS
JULIAN GROSS: ADDITIONAL PERCUSSION

REMEMBER THE ORPHANS
HEATHER D’ANGELO: VOCALS
DAVID LLOYD WOFFORD: BASS

ONE YEAR ON
CHRISTIAN BINDEBALLE, MATTHIAS BEINDIEK, KONRAD LANGEWAND: CELLO, VIOLA AND VIOLIN
HEATHER D’ANGELO: VOCALS

LITTLE WINDOWS
KAREN SHARKY: VOCALS
MATTHAS KUHL: TROMBONE
FLORIAN SCHEFFLER: TRUMPET

ARM IN ARM
LOUIS TRUMPBOUR: BACKING VOCALS
MATTHAS KUHL: TROMBONE
FLORIAN SCHEFFLER: TRUMPET
BILLY PAVONE: ADDITIONAL PERCUSSION

BOOKENDS
MEGAN WILLIAMS, NADJA KORNITH: VOCALS

AFTER THE DAY
FABIAN LESNER: ADDITIONAL PERCUSSION, HARMONIUM, KEYBOARDS

THE PASSAGE
KAREN SHARKY: VOCALS

SO I SO YOU
BRAD CONROY: PERCUSSION
EZEKIEL HEALY; ADDITIONAL GUITAR
DAVID LLOYD WOFFORD: BASS

MELANIE IN THE WHITE COAT
HEATHER D’ANGELO, JESSICA SKILES, ILIRJANA ALUSHAJ :VOCALS
LOUIS TRUMPBOUR: BACKING VOCALS


IF WE WANT (WE CAN)
BRAD CONROY: PERCUSSION
EZEKIEL HEALY; ADDITIONAL GUITAR
MEGAN WILLIAMS, NADJA KORNITH: VOCALS

POOR THINGS
FABIAN LESNER: KEYBOARDS

HOLIDAY
ROSE TIZANE MERRILL: VOCALS
07:57 
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Thursday, August 10, 2006 

Current mood:  accomplished

Flash forward. Flash back.
Tune in New York, Germany, California, South Africa, the UK...

Moving across genres and borders as easily as a dial moving up and down the AM band, The Boggs have spent the past six years defining, refining, building up, and breaking down their take on proto post folk garage punk folk punk blues and disco. Founded in 2001, principle member Jason Friedman has kept the band moving through a number of incarnations, with time off for the occasional side endeavor--a move to Berlin to focus on a series of large scale drawings, for example, or directing a video for sometime tour-mates The Rapture.

Over two years in the making,FORTS follows on the unhurried heels of 2002's We Are The Boggs We Are and 2003's lost critics' darling Stitches.


FORTS started in 2004 on Friedman's kitchen floor in Berlin where, using roughshod recording techniques, he laid down raw tracks. Working with drummer Christian Obermier over the next year and a half, Friedman added fresh layers to these tracks in a series of Berlin studios. The finishing touches to each song were added by calling on special guests who came in to perform specific duties. After finally mixing the stacks of tracks hauled back from Europe to New York's Gigantic Studios, FORTS was released in the spring of 2007.


As cartographers of the New Weird America before such a term came into marketing play, the Boggs have laid claim to territory well outside the usual indie imaginings and instead created a musical landscape that manages to be both achingly familiar and yet almost lunar in its strangeness--a field recording beamed in from a world in which boundaries and decades are irrelevant.



T
H T H
E H T H E
B E H T H E B
O B E H T H E B O
G O B E H T H E B O G
G G O B E H T H E B O G G
S G G O B E H T H E B O G G S
G G O B E H T H E B O G G
G O B E H T H E B O G
O B E H T H E B O
B E H T H E B
E H T H E
H T H
T





1975: Born in Durban, South Africa. A great aunt remarks, "Well, never mind. We'll dress him nicely."

1978-1980: Drew many pictures of Superman in three positions: 'taking off', 'flying' and 'landing'.

1981: Emigrated to California following the family-business of surfing. Drew many more pictures of Superman and family dog. Refused to surf.

1983: After turning the problems in a math quiz into a series of cartoons and deciding the sum of their parts by what best fit the comic, forced to repeat the third grade. Tearfully.

1984-1988: Drew and drew and drew.

1989: Heard Dinosaur Jr.'s 'Freak Scene' for the first time and jumped up on the bed shouting, "This! Is what I've been waiting for!" Sold baseball cards, bought first guitar the following day and began to play and play and play.

1990-1994: Drew and drew and drew. Played and played and played.

1994: Left for New York to go to art school, to draw and make films, and think and think and think, oftentimes, thinking far too much while accomplishing very little.

1995: Switched to a double degree program attempting a B.F.A in fine art and a B.A. in philosophy. Not the best idea.

1996: Started writing a novel suffering delusions of grandeur and believing it would be finished before turning 22. Another poor decision. Finished, but never published (or read), six years later.

2000: Dropped out of the B.A. program. A good idea. Finished BFA. Took a year off while thinking about grad school.

Winter: Wrote and recorded first batch of Boggs songs one stormy weekend using a shitty dual tape deck and headphones as a microphone. Inspired by the realisation that all folk music is punk or all punk music is folk or it's all rock and roll, the 15-track 'personal' Anthology Of American Folk includes nearly half of the songs that would end up on the first record.

Summer: Began busking Boggs songs and met Ezekiel Healy in the subway. Started meeting up to play Boggs songs with Ezekiel every now and again.

2001: First show as The Boggs opening for Calla at the Cooler in New York.
First four shows include four different line-ups. Signed after third show to The Arena Rock Recording Company.

July: Recorded and mixed first album in two days having written half the record the week before. Ezekiel, Brad Conroy and Phil Roebuck, complete line-up at the sessions with Brad and Phil hearing most of the songs for the first time then. Three tracks ('Northwood ground' 'Emily, O, Emily' and 'Plant Me a Rose') are versions taken directly from the original Boggs cassette recording.

September: The Apocalypse. City smells very bad. Most people mope rather fearfully from place to place.

January 2002: Apartment blows up. Or rather, the basement blows up, the bodega below burns, and the firemen pull down the walls and ceiling in an attempt to stop the blaze. Forced to sift through the rubble in a frigid windowless wreck of an apartment and pack up what's left. Luckily, in love.

March: U.S. release of WE ARE THE BOGGS WE ARE. It's released on RYKO in the rest of the world in September. A great many people say a great many flattering things about it. Spent the year touring. Line-up then: David Lloyd (Cause For Applause), Zeke and Brad.

September: Getting very tired of explaining WHY The Boggs are NOT a bluegrass band. Mumbled something about The Vaselines, Blonde on Blonde and Talking Heads before retreating to the green room to listen to EPMD on headphones.

November: Started recording second album, STITCHES, in New York. Cursed from the beginning, the record is worked on-again off-again in six sessions spread out over the next six months.

Next six months: Have difficulty getting studio time. Forced to steal time. When time is obtained, the studio breaks and a metal-body resonator guitar is smashed. In the end, a record is made.

Summer 2003: a prolonged row with Arena Rock owner Greg Glover ends with The Boggs leaving for U.K. label City Rockers.

October: Following a U.K. pre-release tour, with The Rapture, STITCHES is released in the UK. The Guardian names it in their 20 best albums of 2003, The Creative Review selects the cover in its 10 best covers of that year, and the NME says "The Boggs do the nearly impossible and manage to find a new and brilliant take on folk and blues."

November: Despite rave reviews for STITCHES, City Rockers is forced to cancel an upcoming December U.K. tour due to their own growing financial trouble. Told not to panic.

November: Directed Rapture video for 'Sister Saviour' in an attempt to avoid panicking.

December: Recorded SO I SO YOU/IF WE WANT (WE CAN) 45 in New York in an attempt to avoid panicking. It's later released on Rough Trade Shops' For Us Label.

January 2004: A second U.K. tour is canceled. Beginning to panic.

February: Third U.K. tour canceled, City Rockers finally folds having failed to release STITCHES outside the U.K. and the record is officially 'lost'. Unluckily, due to a Valentine's Day disaster, single as well.

March-April: Panicked. And panicked some more. And eventually…

May: …decided to leave for Berlin to focus on drawing projects and to eventually begin work on a new record.

June: Arrived in Berlin knowing no one and never having been there before. A good decision.

July: Drew and drew and drew.

August: Started recording FORTS using a shitty microphone and a crude audio program in a Berlin kitchen.

September: SO I SO YOU/IF WE WANT (WE CAN) 45 released.

October: Recording continued with Karen Sharky (Boy$/Seeing Eyes) at Holger Müller's home studio in Berlin.

December: Recording continued with Christian Obermaier (Schneider TM/Mek Obaam) and Julian Gross (Liars) at Planet Roc in the absolutely insane factory complex that is the former GDR nerve center for Broadcast Recording on the outskirts of Berlin.

December: Started working as a Berlin walking tour guide leading English speakers on four-hour tours of the city concluding with a 'Fall Of The Wall Story' that makes them cry.

March 2005: Recording continued with weekly sessions at Pop Schutz Studio in Berlin. Sessions are co-produced by Fabian Leistner.

November: After finishing last session at Pop Schutz, returned to New York feeling decidedly less panicked.

December: Played first New York Boggs show in over a year and a half. Line up at the show: Matt Schultz (Enon), Sam Jayne (Love As Laughter), David and Karen. Dizzy with excitement.

January 2006: Recording continued in New York at Gigantic Studios with Chris Zane.

March: Played third New York show since returning from Berlin opening for Calla at North Six in Brooklyn. Excitement seems contagious.

July: ARM IN ARM 12" released on Say Hey Records featuring two new songs—ARM IN ARM and THE PASSAGE—and two ARM IN ARM mixes by Shy Child and Glass Factory.

August: Heather D'Angelo (Au Revoir Simone) joins for shows in L.A. and New York.

September: Signed with Gigantic Music and feeling very much good about that decision.
00:00 
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