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About Rubblebucket
Led by the musical couple of front woman Kalmia Traver and bandleader/trumpeter Alex Toth, Rubblebucket has spent the last four years building a reputation as a band that blurs the lines between psychedelic indie rock, upbeat dance, and radiant, left-field arrangements. The Brooklyn, NY by way of Boston and Vermont band has evolved into something that is “utterly post-genre—horns, synth, guitars, harmonies—a smile-inducing point on the tangent that connects Björk and Broken Social Scene”, which is to say that you never know what you’ll see or hear next.
2012 has been a banner year for Rubblebucket, seeing the outfit grace the stages of Bonnaroo (with a surprise guest appearance with Foster the People) among countless other festivals, collaborate with heroes tUnE-yArDs and? love for a Fela Kuti compilation, bring their raucous live show, along with giant robot puppets and love-tunnels, to larger and larger crowds across the US and receive love and affection from Paste, Rolling Stone, Stereogum, Wall Street Journal, Daytrotter and so many more. Now, on July 18th, the band will make their debut late night TV appearance on Jimmy Kimmel Live.
The band will release a new EP in September 11, 2012, recorded at Bear Creek Studios in Seattle, WA (home to Fleet Foxes’ two gorgeous albums) with producer Ryan Hadlock (Ra Ra Riot, The Gossip, Blonde Redhead). This EP takes Brooklyn’s freshest octet to a new level; between Kalmia Traver’s unmistakable voice and the band’s hip shaking, off-kilter arrangements, this EP highlights everything that makes Rubblebucket so special.
The band’s 2011 album Omega La La marked a milestone for Rubblebucket. Recorded last year at Plantain/DFA Studios with Producer Eric Broucek (LCD Soundsystem, Cut Copy, Hercules and Love Affair) at the helm, the record was their most ambitious yet, with the band dipping into everything from dancey indie-pop arrangements to Fela-Kuti inspired afro-beat stomps. The record has earned a wealth of praise, with Stereogum hailing the record’s “tricky arrangements, whistle solos, and disco guitar leads” and Paste Magazine calling the album “instrumentally rich but catchy enough to ass-kick Katy Perry off the pop charts (in a just world) —mega-melodic without sacrificing an ounce of atmosphere or creativity.”
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