INCAN ABRAHAM (LOS ANGELES, CA)

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RELEASES

Springhouse 10 Inch Vinyl EP
Limited to 550 copies on white Vinyl
ORDER NOW
45 RPM 

SIDE A
Springhouse
Panama Dry

SIDE B
Springhouse Wyatt Penn Keusch Remix

SPRINGHOUSE SINGLE
Available Digitally AT:
iTUNES | AMAZON MP3

BIOGRAPHY

“They’ve made it past their mirror stage, and learned the right lessons about rhythmic elasticity, textural curiosity and instrumental democracy.”
-Ian Cohen, Pitchfork

“With haunting synth guitars and textured percussion, an Incan Abraham song feels like a memory even the first time you listen to it, a soundscape for a road trip you’ve already taken.”
-TIME.com

It was the late spring of 2009 and Incan Abraham was about to become a band-or give up on becoming a band forever. On the east coast, Teddy Cafaro and Spencer Mandel were about to abandon music entirely, really, as college ended and they slid into that last free summer before jobs and careers and real life would all team up to make them sell their instruments on Craigslist. On the west coast, Giuliano “Giuls” Pizzulo and roommate Andrew Clinco were experimenting with their own homemade music, but they knew they needed something extra to get out of the bedroom and into the world. Simultaneously, they all decided that they need to take one more shot at making music, and they’d need their cross-country friends to do it.

The four of them decamped to a tiny remote New York state cabin for a month that summer, hauling in guitars and computers and a portable recording kit-along with plenty of Budweiser and hot dogs, leading to some eventual rock ‘n’ roll weight gain-with a mission to take the band from dream to reality. That little room packed with four air mattresses became the birthplace of Incan Abraham. It’s the place where every band member figured out who he was, and how he was part of the band.

Multi-instrumentalist and singer Giuls had been trained at Berklee, and he’d trade his guitar for a custom-built computer-electronic rig. He’d find the rest of the budding Incan Abraham to be the perfect complement to his genre-dissolving digital music and his impassioned vocals. Drummer Andrew was an artist trained at OTIS, and he’d add conga drums to his kit, pursuing a more rhythmic, primal sound inspired by music from Africa and the Caribbean. Bassist Spencer would borrow a percussion rudiments book from Andrew and reconfigure his entire style of playing. And singer Teddy would pick up the guitar again and revive the harmonies he’d been practicing with childhood friend Giuls ever since singing along to alt. rock classics in junior high.   This would become the Incan Abraham of today-everything stripped away but rhythm, harmony and melody,delivered in cascading sheets of sound closer to a tropical storm than a pop song.

Their newest release “Springhouse” catches the band at an unusual time, says Spencer. It’s all about “potential energy,” he explains-the tense propulsive power that comes from being closer to the dreams in your songs than ever, but at the same time being more deeply mired in the everyday realities of life outside the band thanever before.

In JAXART Records’ new Springhouse EP – out now digitally and limited edition 10″ vinyl on November 27, old and new and near and far all dissolve together. There are echoes of Animal Collective and Grizzly Bear, of course, in Teddy and Giuls’ dream struck vocals and Giuls’ relentless electronic rhythms, but there are also the super-bright guitars of Africa’s King Sunny Ade, and the bottomless bass from Black Ark Studios dub records, and dance-y drums that’d be as at home on Factory Records’ as in some South American psychedelic band. This isn’t world music so much as pop for the whole world-the spirit of the Talking Heads used to explore every last unknown musical place.

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