News

New song, "Jornada Inteira"

Sit back, relax and enjoy "Jornada Inteira", On Fillmore's first release from Happiness of Living, out March 24 on Northern Spy Records. Listen to "Jornada Inteira" here and preorder the album now

WNYC's Radiolab Tour

Check out On Fillmore live scoring for Radiolab's show. More at radiolab.org/live.

Dinosaurs, death, and destruction -- a thought-provoking and laughter-inducing dance on the grave of our inevitable demise. Radiolab turns its gaze to the topic of endings, both blazingly fast and agonizingly slow, in its live show: Apocalyptical. More from Radiolab at radiolab.org 

The New York Times reviews Extended Vacation

All of the music on “Extended Vacation” (Dead Oceans), out on Tuesday, hews to this duo’s trademark prescriptions: slow development and spooky ambience, rooted in cycles of resonance and decay. For the members of On Fillmore — the bassist Darin Gray, an experimental-music polymath, and the percussionist Glenn Kotche, a member of the rock band Wilco — that’s an ideal as deceptively simple as a Zen koan. The album, evocatively bookended by pieces called “Checking In” and “Clearing Out,” proposes an enveloping journey. Mr. Kotche, chiefly on vibraphone and glockenspiel, joins Mr. Gray in playing melodies of gradual convolution, often against subtle pressures from the outside world. So for instance, “Daydreaming So Early” begins with a drone, accumulates a series of birdcalls by the Brazilian percussionist Dedé Sampaio and eventually succumbs to the encroaching rumble of a drum corps. It all suggests a peculiar update of early-1960s exotica, with a heart of darkness in place of a setting sun.

 via The New York Times Playlist

Pitchfork Reviews Sleeps With Fishes

On Sleeps With Fishes the two utilize double bass, vibraphone, and an inscrutable assortment of tuned percussion and field recordings to create a mesmerizing, pointillist topography; one built of tiny sounds that twinkle like the reflection of fireflies upon an ink-black river.
— Pitchfork

Read the full Pitchfork review here