DIIV

chiaro-tiso

DIIV

Contacts

PRESS
US: heathcliff.berru@gmail.com / sara@capturedtracks.com
UK: leah@inhousepress.com / will@inhousepress.com
FRANCE: laurence.alvart@stageoftheart.net
GERMANY/AUSTRIA/SWITZERLAND: joerg@starkult.de

SYNC LICENSING OPPORTUNITIES
dave@omnianmusicgroup.com

BOOKING
US:  john@groundcontroltouring.com
UK/EUROPE:  ben@primarytalent.com ross@primarytalent.com

LEGAL
lisa@lisasocranskylaw.com

LABEL CONTACT
katie@capturedtracks.com

OTHER
divebk@gmail.com

DIIV is the nom-de-plume of Z. Cole Smith, musical provocateur and front-man of an atmospheric and autumnally-charged new Brooklyn four-piece.

Inked to the uber-reliable Captured Tracks imprint, DIIV created instant vibrations in the blog-world with their impressionistic debut Sometime; finding its way onto the esteemed pages of Pitchfork and Stereogum a mere matter of weeks after the group’s formation.

Enlisting the aid of NYC indie-scene-luminary, Devin Ruben Perez, former Smith Westerns drummer Colby Hewitt, and Mr. Smith’s childhood friend Andrew Bailey, DIIV craft a sound that is at once familial and frost-bitten. Indebted to classic kraut, dreamy Creation-records psychedelia, and the primitive-crunch of late-80’s Seattle, the band walk a divisive yet perfectly fused patch of classic-underground influence.

One part THC and two parts MDMA; the first offering from DIIV chemically fuses the reminiscent with the half-remembered building a musical world out of old-air and new breeze. These are songs that remind us of love in all it’s earthly perfections and perversions.

A lot of DIIV’s magnetism was birthed in the process Mr. Smith went through to discover these initial compositions. After returning from a US tour with Beach Fossils, Cole made a bold creative choice, settling into the window-facing corner of a painter’s studio in Bushwick, sans running water, holing up to craft his music.

In this AC-less wooden room, throughout the thick of the summer, Cole surrounded himself with cassettes and LP’s, the likes of Lucinda Williams, Arthur Russell, Faust, Nirvana, and Jandek; writings of N. Scott Momaday, James Welsh, Hart Crane, Marianne Moore, and James Baldwin; and dreams of aliens, affection, spirits, and the distant natural world (as he imagined it from his window facing the Morgan L train).

The resulting music is as cavernous as it is enveloping, asking you to get lost in its tangles in an era that demands your attention be focused into 140 characters.

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