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West Coast neo-punk twins, moonlighting models, and provocateurs, The Garden represent a new, youthful punk scene of the West Coast, with their DIY principles, and ability to exploit some previous sixty years of music and fashion to their advantage. Fact is, The Garden don’t give a shit what you think, they’ve been conceptualizing their own style since well before the formation of the band in 2011. The constantly evolving duo of identical twin brothers; Wyatt (bass) and Fletcher (drums) Shears, from Orange County, CA consistently defy genre and categorization, so much so, that they created their own term Vada-Vada* to define their sound and escape being pigeonholed. Their minimalistic two-piece bass and drums essence is dirty, raw and immediate.
They strip away everything unnecessary about modern punk and get straight to the heart of it. With four releases up their sleeve; three EPs and their debut album The Life and Times of a Paperclip via Burger Records in 2012, the duo have become known for their fast, condensed, and heavy style. On their debut, they tear through 16 tracks in about the same about of time, with zero time to take a breath. But like youth culture itself their creative expression stretches far beyond any one release. The duo, not only have captured the attention of the punk scene, but by way of fashion juggernaut, Saint Laurent and creative director, Hedi Slimane, have shown they are as home on a Paris runway as a music stage.
The Garden’s shows are experiential and powerful. Arresting a sense of urgency, they throw you heavily into their parallel world of vada-vada. The duo seduce their audience onto a carnival ride of sound and movement that stops as abruptly as it starts; it’s just a close approximation of The Garden experience. *Vada-Vada: “an idea that represents pure creative expression, that disregards all previously made genres and ideals”- Wyatt Shears (The Garden) 2015.
Vada Vada Band The Garden Opening For Macklemore 2018
Opening for Mac DeMarco Tuesday, Sept. 26 is the “Vada Vada” duo The Garden. Comprised of tw Indie rock band Joywave to open for the Cold War Kids at sold out show.
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Before you ancients out there turn your heads and scoff at the premise of a twenty-something rock-and-roll goofball calling himself an old-anything, consider this: said perpetrator, he who answers to the name Mac DeMarco, has spent the better part of his time thus far writing, recording, and releasing an album of his own music pretty much every calendar flip, and pretty much on his own. The fresh meat you’re now feasting on, This Old Dog, makes for his fifth in just over half a decade—bringing the total to 3 LPs and 2 EPs. According to the DMV, MacBriare Samuel Lanyon DeMarco is 26.
But in working-dog years, ol’ Mac here could easily qualify for social security. To stay gold, turns out all he needed was some new tricks. Though used to and pretty happy with that annual grind, it was a little space—in time, location, and method—that inspired DeMarco while making the record. Moving from his isolated Queens home to a house in Los Angeles helped give the somewhat transient Canada-native a broader base, and a few more months on his calendar to create did their job as well.
Arriving in California with a grip of demos he’d written in New York, he realized after a few months of setting up his new shop—complete with a few new toys—that the gap was giving him perspective (insert tooth joke here). “This one was spaced out,” DeMarco says. “I demoed a full album, and as I was moving to the West Coast I thought I’d get to finishing it quickly. But then I realized that moving to a new city and starting a new life takes time. And it was weird, because usually I just write, record, and put it out; no problem.
But this time, I wrote them and they sat. When that happens, you really get to know the songs. It was a different vibe.” DeMarco wrote some demos for This Old Dog on an acoustic guitar, an unusual yet eye-opening method for him. “The majority of this album is acoustic guitar, synthesizer, some drum machine, and one song is electric guitar. So this is a new endeavor for me.” And from the outset, from the pops and clicks of the CR-78 and acoustic strums on the album-opening “My Old Man,” the synth-drenched beauty of the second track, “This Old Dog,” and that ironic recurring word itself, it’s clear that DeMarco’s bag is filled with new tricks indeed.