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DTSTART;TZID=Europe/Dublin:20261116T200000
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DTSTAMP:20260811T082229Z
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SUMMARY:(4AD Records) – Modern Lovers (Curated by Foggy Notions)
DESCRIPTION:MODERN LOVERS (curated by Foggy Notions) presents\nWorkman’s Club\, Dublin\nNovember 16th\, 2026 \nAs part of the inaugural MODERN LOVERS\, a new music programme curated by\nFoggy Notions across multiple venues in Dublin City from Nov 8th to 16th\n@ (4AD Records) will play their biggest Irish show to date at The\nWorkman’s Club on Monday 16th November. \n@ – Autosmile\n16 October 2026 | 4AD 0910 \nSongwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to\neach other and to the\nmusic of @. In their solo existence\, Victoria works as a beekeeper and\nStone as a self-taught\ncomputer programmer\, but when they get together\, they become a singular\,\navant-garde song\nforce. The East Coast house-show circuit first brought them into each\nother’s orbit. Both Victoria\nand Stone are long time participants in the D.I.Y. music world\, with\ntheir own separate histories\nin basement noise shows\, warehouses and all ages spaces (Victoria has\nseveral records under\nthe name Brittle Brian\, and Stone has most recently gone by the\npseudonym E.R. Visit). Over\ntime\, the two began collaborating long distance\, and soon developed the\n@ formula – half Victoria\nsongs\, half Stone songs\, with each filling in the cracks of the other’s\ncompositions. On their new\nalbum Autosmile\, the band’s first with the legendary indie label 4AD\, @\nhave harnessed their\nunique process to reimagine the psychedelic folk tradition as an\nundeniably contemporary art\nform. @ are a coalition\, a team\, a two-headed cat\, and their\ncollaboration has led them\, once\nagain\, to fascinating and timeless results. \nThe mysterious channels of the internet brought the songs of @’s first\nalbum\, Mind Palace Music\,\ninto the lives of a much larger audience than Victoria and Stone had\never encountered. The\nalbum’s organic success story is miraculous considering the aggressively\nun-searchable nature\nof their deliberately obtuse moniker. Before their debut album\, @ had\nnever played live or even\nsung a harmony together in person. The collaborations were entirely\ndistanced. In the years that\nfollowed\, @ figured out how to have a band practice\, how to perform this\nmusic for audiences of\nall sizes\, how to sing together in shared air\, and how to make each\nother laugh on stage with\nabsurdist guitar-god solos. The process of becoming a formidable live\nband was highly influential\non the way they decided to approach arranging Autosmile\, opting for more\nreproducible\nexperiments and relying far less on digital production flourishes than\nin the past. \nDuring the making of Autosmile\, Stone relocated to Philadelphia and the\nduo had the benefit of\nfinally living in the same city. However\, the band still chose to work\non their songs individually; as\nthe adage goes: If it ain’t broke… Instead of booking out studio time\,\nthey hired close friends to\nguest on the album\, adding cello\, violin\, and live drums to their\nalready expansive arsenal of\ninstruments. Victoria recorded her parts\, as always\, on a cheap 80’s\nmicrophone inherited from\ntheir step-mom’s old polka competition days. In lieu of a mic stand\, she\nregularly props it up in a\ncoffee mug\, recording from her couch. Stone’s preferred setup is also\nremarkably low tech\, yet\nthe resulting sounds of their home-wizardry somehow remain lush\,\ncomplex\, and occasionally\nquite hi-fi. \nBoth Victoria and Stone are incisive\, classic songwriters\, and their\noccasionally-baroque\narrangements and production touches give the songs a rough-hewn yet\nvirtuosic quality. This\ninventiveness\, applied to songs that hold up against classic psych folk\nrecords\, sets @ apart\,\nsomehow looking backwards and forwards all at once. Album opener “Bird”\nbegins with an eerie\,\nchromatic trance of acoustic guitar & cinematic flutes that spins out\ninto an uplifting pop chorus\nbefore crashing back into its introspective verse. There is a consistent\ndarkness to the moods of\nAutosmile\, but @ is also an inherently playful enterprise\, unexpected\nprog flourishes lurking\nbehind incisive indie rock song craft. Victoria explains\, “Neither of us\nis afraid of being over the\ntop musically…. being unafraid of getting dramatic or comedic lends\nitself to really emotional\nmoments.” \nOn the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes\na mysterious breakup into\nquestions of demonology\, no stone left unturned as the duo quests\ntowards respective and mutual\nresolution. Whatever private matters are examined\, mystery is\nkey—Victoria and Stone don’t tell\neach other what their songs are about. @ believes “if we are writing a\nsong that can apply to many\naspects of our own lives\, then it makes it more relatable to the\nlistener’s life.” In keeping\, the lyrics\nthroughout the album bounce between adversity and possibility\, exploring\nthe inner and outer\nworlds with curiosity and prismatic awe. The nostalgic earworm “I Know\nYou Are (But What Am I\nThinking)” seems to laugh at the beauty of change and decay. This\nability to twist a negative\nimpulse into something beautiful also gleams on the standout “Punish My\nMind”\, an expertly\narranged song complete with dense harmonies and intricate chord\nprogressions over which @\nsing about the twin instincts to punish and comfort oneself\, eventually\nenvisioning a pristine state\nof pure acceptance. \nAcross Autosmile\, Victoria and Stone carefully balance beauty and pain\nwhile remaining one of\nthe most musically adventurous duos operating today. These eleven songs\nnimbly shift between\nblack hole heaviness and patient understanding\, never abandoning a sense\nof wonder. In the\nface of darkness\, miraculously\, perhaps impishly\, an Autosmile forms.
URL:https://www.dublintown.ie/event/4ad-records-modern-lovers-curated-by-foggy-notions/
LOCATION:The Workmans Club
CATEGORIES:Alternative,Music,Rock & Indie
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