Adir L.C.

Indie rocker Adir L.C. got his start in the sweaty basements of Glen Rock, New Jersey, not unlike local staple acts Titus Andronicus and Real Estate, but he wouldn’t stay there for long. With a hunger for the world beyond his backyard, he set off for various destinations — including New Paltz, New York, whose music scene he figured into prominently — meeting and forging friendships with handfuls of new people along the way.

His love for music may have led him to travel far and wide, but he’s come full circle in a way. Those global experiences have now had a major impact on Adir L.C.’s creativity — his forthcoming album, Oceanside Cities, is inspired by that sense of wanderlust and transience. A press statement elaborates further:

“Oceanside Cities describes a young person’s search for identity and purpose as something essentially solitary and global in scope. Friends and community provide sustenance, love, and temporary shelter along the way, but, like a hero waylaid among the lotus eaters, in song after song, the singer struggles between the comforts of connection and the spiritual imperative of moving along.”

Adir L.C.’s latest offering, “New City”, captures the album’s aesthetic, its winding, whimsical nature reminiscent of the hefty, guitar-led arrangements of Built to Spill and sometimes David Bazan’s Pedro the Lion. What keeps Adir L.C. grounded — and what kept the aforementioned bands grounded, too — is a commitment to being honest, to being human when it’s tough to be vulnerable. Listen in below.

Oceanside Cities, written in multiple cities and recorded in Tel-Aviv, is due out on November 6th. For more, hear the previously released “Half Right”. - Consequence of Sound

“Stop this horse for I am withering.
I’m nothing but a skeleton of what I remember to be.”

If you caught the premiere of ‘Oceanside Cities‘ – the new album from Adir L.C – last week, you would have seen it feted with the ‘folk-pop’ tag, which might make something of a confusing entry point when listening to his, admittedly wonderful, new album on Bandcamp. Auto-playing from track number seven, ‘New City‘ is a crunching, full-blooded, thick-edged blast of heartening rock music that dilates in to a huge final minute of snarling guitar noise and thunderous percussion. Which is to say, there ain’t much folk-pop on show here.

And yet, that umbrella still makes some kind of sense when delving in to the album as a whole. Recorded in Tel Aviv but inspired by and written within a series of, you guessed it, oceanside cities, this charming, invigorating collection of songs bridges a gap between the two extremities of his songwriting craft; at once as soft and subtle as it is robust and impactful. There is swooning alt. rock, the kind of which David Bazan fans will instantly feel compelled by, yet there are more immediately floating moments too, seemingly inspired by the breezier days found in the suitably more buoyant climbs of some pretty seaside town.

The release of the album comes with the news that Adir has recently returned to NYC to live alongside the likes of LVL UP and Porches at Brooklyn’s DBTS venue and there’s certainly an air of both of those bands work across ‘Oceanside Cities’. It’s there in the occasional tongue-in-cheek lyrical refrain, the downbeat juxtaposition which is also prevalent, and certainly in the grainy, splinter-edged vocals that give this record it’s brilliantly human persona.

One of the autumn’s most endearing retreats, it’s a hearty and compellingly sincere ode to the dark complexity of empty days, empty cities, and the paths we strive to carve out of them. Stream it in full below and head to the Bandcamp page to get hold of your own copy. - GoldFlakePaint

Adir L.C. (born Adirel Lavi Cohen) began his foray into the musical realm during his prodigious days in Glen Rock, New Jersey with The Medics, a group that would spring forth Le Rug’s John DeNicola, members of Porches., playing the DIY show circuits that have sprung contemporaries such as Real Estate, Titus Andronicus, and others. Running around the world (with a particular focus on locales with coasts) from NYC to Tel Aviv, Adir readies his album Oceanside Cities for release in November 6 via his Dinky Pops Records imprint, but not before first presenting us with the world premiere of the video for “Dinosaurs” directed by Eden Barel.

“Dinosaurs” is Adir’s song that embraces the future prehistoric state of today, presented as a big celebration in shops, living rooms, and rooftops between L.C. and company. Twilight cast revelry, impromptu dance parties, and some quirky felt dinosaur costume head pieces stir about the carpe diem ethics that embrace the joie de vivre of the moment in between contemplation of what will become of beloved coastal towns and beloved places 10,000 years on from now. Adir waits not for crystallized and freeze dried onset of fossilization but embraces the world and company around him with open arms and an enamored atmosphere where anything can happen. His friend and video director/prouder Eden Barel with camera operator Matan Gershovitz catch the candid and joyous moments shared between friends, warm vibe gatherings, live music merriment, and more with a constant vivid vibrancy (courtesy of Shahaf Ram’s color corrections) that matches the life inspired attitude and forever young feeling of the song. Right after the following video debut for “Dinosaurs”, read our thoughtful interview with Adir L.C. himself....

What are your earliest memories of your interest and entrance into the world of writing songs, and making music?

I remember when I was really little, my brother got a Walkman CD player for his birthday when they first came out. He had a burned copy Nirvana’s Unplugged playing in it. I stole the thing and locked myself in the bathroom, closed my eyes and listened to the whole thing through—truly listened—and nothing was the same after that. The real boom came in middle school when I started going to all the house shows Glen Rock and the neighboring town of Ridgewood had to offer. Patrick Stickles (of Titus Andronicus) used to throw this annual show in his basement called “Patstock” with all these local bands including early versions of Real Estate, Liquor Store, Julian Lynch, etc…as a kid, these shows blew my mind—be it the loud volume, the energy of a bunch of kids packed into a room…its where I realized the true power of live music. It’s also where I met my best bud Cameron Wisch (Porches., Downies, Ronnie Stone & the Lonely Riders, etc.) who was one of the first people I really started making music with seriously. We used to throw a lot of shows at Cameron’s place as well.

If we were to go back to my early childhood, I grew up in a very musical household. I remember learning English around first grade through listening to Pet Sounds and Sgt. Pepper’s on repeat. The beauty of song writing took a hold of me even back then.

Tell us how your Glen Rock, NJ by NYC by Tel Aviv adventures impacted your own musical and pop cultural perspectives.

I was fortunate to be turned on to amazing music from a young age and even more fortunate to live in a small town with a strong music scene that appreciated Built to Spill, The Pixies, Pavement, etc., unlike many neighboring towns that had a dominant emo/pop scene—so that was a beautiful thing about Glen Rock, NJ. My dad used to take me to NYC every weekend to see a different kind of show ranging from reggae to ballets. Also having the pleasure to be in a band with Cameron in NYC from a very young age and play so many internationally known venues and be signed to a production contract was something not a lot of kids have the opportunity to experience. This incredibly diverse and tangible outlet of the proverbial Big Apple, to have so close to my house was another blessing. Moving back to my birthplace to record the album was stimulating in the way that popular music in Israel, while being so diverse, has very distinct qualities that would be hard to find anywhere else. While it takes time to get accustomed to a new thing all together, its important for the sake of renewal and refreshment. Being able to bridge the gap between what sounds good to someone growing up in the states and someone growing up abroad is something I really tried to make happen on the album. All the timeless songwriters are the ones who bridge that gap, be it Bob Dylan, Michael Jackson or anyone else with an international following, people on every continent have been able to connect to their music regardless of the local pop culture.

How did those experiences inform your album Oceanside Cities?

Be it NYC, or Tel aviv, or Los Angeles, or Denmark, or Amsterdam…any of the places I wrote music in either quickly passing through or living in—the power of these oceanside cities (hundreds worldwide) always struck me. People in all walks of life, particularly young people all over the world come to these cities to begin the process of making something of themselves. I found the experiences acquired in the states that developed my songwriting were applicable to a much more global perspective—someone in a different country I have never been to could completely relate to my experiences—this gave way to the making of this album.

What was it like working with producer Tom Elbaz, and how did he affect the vision of the album?

Working with Tom was in a trip in the sense that we have completely different musical backgrounds and tastes—yet we connected on much deeper levels than I have reached with many peers in NY/NJ. He is an incredibly talented musician and complete focused, workaholic of a producer. My original vision for this album maintained the lo-fi home recorded sound I had been accustomed to. Working with Tom brought in ideas I had not planned on and created an overall more produced, tight, and refined sound to the album. This is not necessarily a bad considering I did have a secret desire to create something super polished to be able to share on multiple fronts, appealing to a wider audience. I really like that you can hear that the album was not recorded in the states (especially the original masters) or produced by an American, but all the while being completely American in the songwriting and core structure. I wonder if other people would agree with me.

You recently were in Israel during Rosh Hashanah and Yom Kippur. What was that like?

Being in Israel during these holidays, particularly Yom Kippur is surreal. Having an entire bustling city completely shut down—with true quiet all around—is something most people may find hard to appreciate. The idea of giving people’s brain a chance to slow down instead of finding an excuse to throw massive sales at every store and have people spend their day shopping (like all holidays here, including Memorial Day?) make more sense to me. Saturdays are also “days of rest” where many stores are closed for the most part. This takes getting used to, but there is so much comfort knowing you HAVE no choice but to chill, hang out with a loved one, sleep in—whatever you have to do before continuing on with your day to day life. I never even looked at it as a “religious” thing…more of a mental health thing; and you can see it in the people.

What sorts of paleolithic inclinations and inceptions are at work in the subtext of the song “Dinosaurs”?

The song is trying to happily point out that nothing is permanent. I wrote the song, rather quickly, while thinking one day that no matter how much energy we may invest into trying to leave our mark behind in this world, the sad but liberating truth as that likely, the world as we know it will ultimately not exist. I think most people feel this once in a while. We’re all trying to make a name in this city, but in ten thousand years this city will all be under dirt anyway. In the end, we humans are all just like the dinosaurs regardless of how far we come as a species.

This may seem like a morbid thought, but I think it’s actually an acknowledgement that can free the mind and spirit. The idea that we are all technically meaningless can make way for accepting that we are the only ones in control of our endless potential for greatness, happiness, success, what have you. At least that’s what I try and tell myself.

What was making the Eden Barel video like, running about rooftops, kicking it at the Hoodna, The Shoe Factory, and hanging with friends?

Eden is one of my closest friends, so working with him was a breeze. He also has this incredible ability to make sure we maintain a party energy while staying extremely calm and focused. I’m glad at least one of us was focused.

The Shoe Factory is a DIY show/art space I started with my good friend Goni after moving in there together when I first got to Tel Aviv. We were fortunate enough to incorporate the apartment into the shoot only weeks before she moved out, being able to capture it forever in this clip. The roof of the building was a special place to me on which I spent a lot of time as well. Actually filming up there kind of stressed me out because there is no wall or railing…I’m so glad it went smoothly. Filming at the Purim costume party in the ancient ruins of the Tower of David in the old city in Jerusalem was also such a treat considering it’s one of the best parties there are. More importantly, I think it shows the underlying contrast between the modern city and the ancient city that is only ruins… Finally filming one of our shows at the Hoodna was like the cherry on top. The Hoodna is not only our neighborhood hang out, but they have been huge supporters of my music before anyone in Tel Aviv knew who I was.

Where did the cloth dinosaur costumes come from?

I made them myself out of chicken wire and felt. The original idea for dinosaur heads was inspired by these animal head costumes my college roommate Geoff had made a few years back.

What are you listening to right now that has you excited?

I’m actually really excited about new albums my friends have either recently released or are currently working on and giving me private tastes of. I can already tell you the new Downies, Porches., and What Moon Things albums are all going to be incredibly special.

What are you writing and recording right now?

There are many unfinished recordings on my computer of almost twenty different songs I never actualized or fully finished. I’m trying to give those that are worth the time some love, since there really are some gems in there. As for new material, there’s always a new song brewing…I’m really looking forward to start the process of recording another proper album…again and again…forever and ever.

Parting wisdom you can impart upon us all?

Take a long, deep breath. Feels good.

Adir L.C.’s Oceanside Cities will be available November 6 via his own label Dinky Pops Records. - Impose Magazine

Adir L.C. has been making music since the mid-'00s with such groups as The Medics and Fairweather Friends, and will release a new solo album, Oceanside Cities, this week. (11/6). Written at various points on the globe but recorded last year in Florentin, Tel Aviv, Oceanside Cities is lush, folky pop with Adir's appealing voice making things all the more inviting. The album's out this Friday (11/6) but a stream of the whole thing premieres in this post. Listen below.
Now relocated to Brooklyn, Adir L.C. has a a number of shows coming up before year's end, including Wednesday (11/4) at Pianos with Joe and Soo, Blunt Moon, Angi3, and Corina Corina. He also plays: November 20 at The Tiger Lounge with Downies and Normal Person; then December 2 at Shea Stadium with Downies; and December 17 at The Rock Shop with Hannah vs. The Many and Twiga. - Brooklyn Vegan

Written in New York City and recorded in Tel-Aviv, Oceanside Cities, the upcoming new album by singer-songwriter Adir L.C. continues to hone his warm, affable indie pop sound. Already a popular artist in Israel, his crossover appeal on this side of the world is undeniable, and based on the strength of the new track “Dinosaurs”, it should only be a matter of time.

“I think I wrote the song ‘Dinosaurs’ quicker than any other song on the album in the way that it just kind of came out in one quick sitting,” he tells PopMatters. “It was one of those moments where I was trying to see where my life was going to take me, and I kept coming to the same somewhat dark, but optimistic conclusion: that no matter what I do or impact I make, trying to make a splash in this city—in ten thousand years this city probably wont even be here anymore; we as humans might not even be here just like the dinosaurs—and so, I may as well do what will keep me young and happy for as long as possible, to make the most of this relatively short life. I doubt there is someone out there that hasn’t considered this notion at least once; and if they haven’t, then they should. Thats why the song is a happy one. It’s a good reminder, at least to myself, to avoid making things so heavy that they lose their beauty…I think we’re all guilty of doing this at some point or another.” - PopMatters

When I first saw Adir Cohen, who goes under the moniker Adir L.C., it was immediately evident that he carried an easy magnetism. There was a quiet confidence in his posture and it was clear he was surrounded by friends; people gravitated towards him thanks to his soft affability. With all of that taken into account, it wasn’t too much of a surprise when he started setting up behind the microphone at DBTS. Equally unsurprisingly was that those same qualities translated seamlessly through the songs he performed that night, each a carefully constructed tale that were at least somewhat reflective of his wealth of experience as a frequent international traveler.

The bulk of that set was culled from Oceanside Cities, a beautiful collection of expressive, folk-oriented songs that often feel as vibrant as they do weary. Oceanside Cities also boasts a level of grandeur that’s beginning to feel increasingly uncommon in the DIY-leaning scenes. Songs like “Dinosaurs” (which was rightfully paired with a very strong music video) give the record a cinematic, widescreen feeling, which also heightens the record’s more fleeting moments of greater intimacy. One of the moments that hits hardest comes in the form of the heartbreaking “Buyer’s Instinct”, which now boasts a beautiful music video that’s premiering here.

“Buyer’s Instinct” does have a surprisingly optimistic core but it becomes abundantly clear throughout the course of the song that the optimism’s been brutalized over time. Enhancing that subtle, warring aspect of the song are the visuals provided for “Buyer’s Instinct”, which put Cohen in front of some of the most distinctive street art murals in his home of Tel Aviv. The visuals are a striking complement to the nature of the song, each feeding into each other to create something that feels singular even before the superimposed home movie imagery that characterizes a haunting solo section comes into play. As an examination of human nature and the way it can evolve, erode, and decay while still being preserved throughout time, it’s a startling piece of commentary. As a music video for an emerging artist? It’s just about perfect.

Watch “Buyer’s Instinct” below and pick up a copy of Oceanside Cities here. - Heartbreaking Bravery

It’s more than likely that everyone has one or two songs that make them instantly sad. For my uncle it’s “I Will Always Love You” thanks to it being the main song of my grandpa’s funeral, for me it’s Coldplay’s “Trouble.” It holds no personal meaning, nor does it mark a time in my life – just listen to it – does it not sound like the end of a life? If my grandpa has passed in 2000, I would’ve requested this as the theme song of the day. Like always, these personal anecdotes were brought about by this week’s review choice. I thought Adir L.C. was going to be this chilled listen, but instead he took me down a Coldplay like path on Oceanside Cities.

“Half Right” opened the record and tricked my mind. I rarely read the words that make the press release, as I want to form my own opinions about things – so I thought from this song that it was going to be similar to Jason Mraz in the middle of his career. I was wrong. While the music would still be a favorite on Vh1, “Creature” and “Goldmund” presented a different front. They had a depth to them that really sung loud and gave way to a pristine way of thinking. They had a very somber tone to them, but it wasn’t all serious business on Oceanside Cities. No, “Dinosaurs” was very upbeat as “Believers” and “Same Big Ring” played around musically to deliver unique takes that really made me want to hit repeat.

When Adir L.C.’s record started, I was taken to a place of relaxation, then sadness but then the music did a turnaround and in the end every emotion was tapped. I guess that’s what a good record should do. It should take you on a ride and not let up. That’s what Adir L.C. has managed to do with this one. So if you like Chris Martin and Co. but like every side of them, not just the “Trouble,” check out Oceanside Cities, out now. - Golden Mixtape

Adir L.C. seemingly cut his indie rock teeth in the Glen Rock< new Jersey basements that bred the likes of Titus Andronicus and Real Estate. However, in his new album Oceanside Cities, its tales from his globetrotting nature that fuels the material, as evidenced by the fact it was written in multiple cities and recorded in Tel Aviv. From the album comes New City. Winding guitars and this messy drum sound begin the record, which sounds almost claustrophobic in the way its recorded, but funnily enough not in a bad way. Adir lays down this stripped back verse of slacker rock, before the accompanying guitars bleed white noise through their instruments inbetween. There’s a certain amount of angst in the music as it stutters to a halt on a couple of occasions before its noisier elements take over. Strip it all back though, and you have pop music at its most pure.
Crowd-sourced, self-actualized and defiantly indie, Oceanside Cities will be released on Adir’s own Dinky Pops Records on November 6, 2015. On this evidence, its a must. - Backseat Mafia