The Loom is a four piece rock band from Brooklyn and KINGSTON.
They have toured extensively in the United States and Canada, with appearances at SXSW, Pop Montreal, CMJ and many other music festivals. The band was featured in Paste Magazine’s “Best of What’s Next” series and New York Times called the band the “next big thing”.
The Loom released its 2011 debut full-length album, ”Teeth,” on Crossbill Records to acclaim from NPR, AOL/Spinner, TimeOut Magazine, Fader, Consequence of Sound, and many others, and accompanied the release with a national tour in 2011 and 2012.
The band released their second album "Here in the Deadlights" in April 2016 via Crossbill/Stereocilia. Deadlights, which was recorded with producer Kevin McMahon (Titus Andronicus, Real Estate) at Marcata Recording in upstate New York, finds them
stacking organs on top of organs and undergirding endless tangles of words with noisy guitars, set against horns run through delay pedals, all while maintaining the spirit and craft that led Daytrotter to write that The Loom “makes us believe that they’re the fathers and mothers of our cold and jagged memories, those that may or may not even be our memories for they feel so distant.”
Psych-influenced songs like “I Am Not Young” and “Fire Makes” push towards connection and against the incessant passing of time, while “Ten Thousand Tiny Field Mice” is the repetitive, bracing sound of a mind unraveling (complete with manic saxophone breakdown from Phantom Family Halo’s David Lackner, also featured on “Fire Makes”).
“Some Voice Other than Mine” couples ominous minimalism with jarring noise, as the narrator strains to hear a sound outside of their own mind. “Only Electric Light” layers ethereal guitar loops and hollowed out drones to conjure the sound of too many days and hours spent under a fluorescent hum. Meanwhile “For Comfort Bates” builds on Lis Rubard’s mournful horn, while “Here in the Deadlights” layers delicate vocal harmonies as it reaches for forgiveness and redemption.
While the album marks a definitive end to a time in the life of a band and of its members, it also decidedly marks a new beginning: the sound of pushing through the darkness and coming out the other side, fundamentally changed and newly invigorated. Here in the Deadlights is the first of two new albums the band has completed with McMahon.