Jared Samuel Explains the Dream-Folk Behind Invisible Familiars

“I’m trying my best to recover from a lot of strange trains, planes, and automobiles,” says Jared Samuel, the man behind dreamy folk-pop project Invisible Familiars. “I don’t know how it works out across time zones, but I’ve been traveling since sometime yesterday. I left Rouen in France at about seven o’clock in the morning and arrived in San Diego at two o’clock in the morning, local time. It was two flights, and a train, and a car, and another train and a car, and I don’t know what order it happened in anymore.”

Samuel is the kind of guy who flies across the world to play at a friend’s wedding, temporarily leaving his current bread-and-butter job as a touring member of the Ghost of a Saber Tooth Tiger, Sean Lennon and Charlotte Kemp Muhl’s ethereal indie outfit. He’s so defensive when it comes to talking about that band that he brings it up immediately, before the topic is even broached. Given the personalities involved, it attracts a lot of gawkers. Plus, Samuel gets tired of press attention centering on that, instead of his debut album under the name Invisible Familiars, Disturbing Wildlife, which dropped before the close of 2014. The last thing he wants to do is ride anyone’s coattails.

“You can’t get around it; you can’t get over it or under it,” he sighs. “But Sean’s one of the hardest-working fucking musicians I’ve ever met. It’s just nice to work with someone who cares so much about music.”

Samuel, a 33-year-old Long Island native, is also defensive about how long it took him to release his first record. “In a youth-obsessed culture it goes against me. But I’ve been a professional sideman since I was eighteen,” he adds proudly.

Like in an old-school apprenticeship, Samuel learned his musical craft by working for a maestro or two. “I didn’t ever go to college for music, but I learned enough about music theory from the guys I was lucky enough to tour with,” he says. “My friend Dougie calls them the people who know all the names of the notes. I credit Sean and Yuka Honda for my continuing music education. I played with Blind Boys of Alabama and learned the right and wrong way to attempt gospel music for someone with a relatively secular Caucasian upbringing. I toured for a while with James Hunter, a wonderful r&b musician.” These things alone tell us the teenage Samuel wasn’t too bad of a musician himself. “I wasn’t horrible,” he admits.

The regard he holds for fellow artists is reciprocated, too. Responding via email, Muhl, who directed the video for Invisible Familiars’ “Act One,” says, “Jared is a true songwriter and craftsman in an era of corporate mush. [We] have been playing music together for a while and bonded heavily over a mutual affinity for offensive jokes, coconut oil, Robert Wyatt, old leather boots, and soup. When he released his solo record, I wanted to do a video with him and he was sweet enough to trust me.”

Disturbing Wildlife also includes guest spots by guitarist Nels Cline, singer-songwriter Jolie Holland, Cibo Matto’s Honda and Miho Hatori, and Antibalas saxophonist Stuart Bogie. That means either Samuel had a huge budget to pay top-notch musicians, or he’s well connected in the music community, and even well liked, too.

“I paid them millions,” he jokes. Of course he didn’t, because he couldn’t. “I am really, really fuckin’ lucky. I don’t know how it all came about. I could tell you specific anecdotes of meeting one person or another, but eventually you realize all of your friends know all of your friends. Some people say it feels too insular. If anything, it feels affirming. It affirms that the right people are meeting each other and it’s not all missed connections.”

Mainly, two things delayed Samuel setting about making his own record: the lack of time and space to write. Disturbing Wildlife, which Samuel wrote while renting a houseboat moored in Jamaica Bay, Queens, came from a period of being off the road, and being alone. “It was pretty interesting because it was my first time experiencing utter solitude in my entire life,” says Samuel. “That was the focus I needed to make the songs come about.” He’s been compared to T. Rex, largely because of a spacey sound and one or two songs bearing a Marc Bolan lilt. “It’s really complimentary, because he had a really unique style,” Samuel says. He doesn’t list that glam band among his musical influences, but he does credit his maternal grandfather with being his earliest and also biggest musical influence.

“He didn’t play an instrument; he was just a big music lover,” Samuel says. “Growing up with him as my de facto babysitter, I was exposed to everything from Harry Belafonte to Philip Glass to Louis Armstrong to Steve Reich. I bought Faith No More’s Angel Dust and my grandfather listened to it with me in its entirety. He was a really hip guy.”

And, of course, Samuel adds the B-word: “Like everyone, there was the Beatles, of course…and the Beach Boys, too, actually. The closest I came to rebelling growing up was listening to the Beach Boys, because my mom hated them so much.”

Probably out of habit rather than any real bad feelings, Samuel becomes a little dismissive about his Long Island roots: “No Billy Joel, thank you, I’ll pass.” But Lou Reed was from Long Island! “Yeah, I’ll take Lou Reed, no problem. Actually, I’m not as ashamed of growing up on Long Island as I used to be.”

Meanwhile, Samuel has convened his own touring band to flesh out Invisible Familiars’ lush, layered compositions. The group, featuring guitarist Robbie Mangano and drummer Tim Kuhl, is one he hopes will stick around. “I am philosophically opposed [to] using backing tracks live,” he says. “That’s one of the things I picked up from James. Luckily, I was able to find musicians who were able to pull the album off, so it’s become a live band. It could all vanish in an instant. It’s never a solo project: I’ve had help and I’m grateful for it. Is this current live band the one that will jump into the studio for the next record? I hope so, ’cause I fuckin’ love playing with them.”

The main thing is to just keep playing music and see where it lands him, which has been his plan since he bolted from high school and dropped out of college so he could be a working musician. “I’ve been doing music full-time, albeit as a sideman, for the last five or six years. It could change in the next year or so, what with the changing landscape of making a living from music. When I come home from tour I take a few odd jobs, which usually comes in the form of DJ’ing. It used to come in the form of using a paintbrush and a roller and a sander. For the most part, I haven’t had a full-time job in a long time: I haven’t had to work retail or wait tables, which is a good thing because I’m shit at those.”

Invisible Familiars perform on Saturday, June 13, at Union Pool in Brooklyn, and on Wednesday, June 17, at Shea Stadium BK. Tickets: $7/$10. Disturbing Wildlife is out now on Other Music Recording Co.


Horse Lords

Among the Baltimore underground’s hottest tickets in recent memory is Horse Lords, a supergroup of sorts that’s ascended to main-event heights. The foursome kick up an instrumental, furious-but-controlled fusion of jazz and avant-rock, spiced with electronics and world-music flavors. Sure, they’re only a few platters deep — 2014’s Hidden Cities is arguably better than anything else you spent last year raving over — but we may have a new Oneida on our hands here. Opening are Chris Forsyth & the Solar Motel Band and Mind Over Mirrors. The show is open to everyone 21 and older.

Thu., Feb. 5, 9 p.m., 2015



For Adam Schatz — visionary architect of the annual Winter Jazz Fest spectacular that took over downtown just over a week ago — there’s nary a minute to revel in the bacchanal’s latest triumphant turn. Schatz is back onstage with Farfisa and electronic gadgets in tow and fronting Landlady, his DIY-or-die, melody-laced art-pop collective. On last year’s terrific and eclectic Upright Behavior, the perpetual charmer Schatz, always with heart on sleeve, led his troupe through a colorful set of precise yet elastic soul-jazz. With Schatz’s husky croon taking center stage, Landlady’s stadium-sized, hook-dripping Stax Records–influenced rock fuses elements of Talking Headsian African rhythms (their double-drummer percussive attack is lethal) and TV on the Radio–like electro-r&b, a combo exuding the community-minded spirit the frontman is known for. Fellow Brooklynites and pop darlings Leapling also lay the melodies on delightfully and contagiously thick. On the forthcoming revelation Vacant Page (due February 10 via the ascending Exploding in Sound label), the quartet — led by singer-songwriter Dan Ames — weave a majestically orchestral, jangly and jazzy dream-pop that’s as soothing and complex as their kindred spirits like Broadcast, The Sea & Cake, and Portishead. Heaven for Real open the show, which begins at 9 p.m. Cover is $10.

Wed., Jan. 21, 9 p.m., 2015


Lee Ranaldo & the Dust

There are many sides to former Sonic Youth guitarist Lee Ranaldo: noise harrier Lee, alt-rock balladeer Lee, experimental sound-sculptor Lee, notepad-burnishing poet Lee. On his two recent LPs for Matador – the first solo, the second billed alongside backing band The Dust – we’ve borne witness to classic-rockin’ Lee, an untucked purveyor of casual axe wizardry who doesn’t shy away from sparkling feedback but isn’t necessarily interested in upending the rock’n’roll paradigm. Hardcore SY traditionalists have been vocal in their disappointment, but to these ears, the end of the Yooth find Ranaldo more intrinsically himself – in an unabashedly Grateful Dead sense – than he’s ever sounded.

Sat., Sept. 27, 9 p.m., 2014


Shannong & the Clams

Summer is almost over but Bay Area boobies Shannon and the Clams are still on their never-ending hunk hunt, winking their way to the Big Creepy Apple for three nights of terrorizing greasy retro rock. Channeling the Shangri-Las and surfy psych rock, the crusty Clams whoop and ooga booga in the ultimate embodiment of punks at a sock hop. Like an acid trip bizarrely brought to you by the campiest of John Waters clips, they turn on the steam with songs like “Rip Van Winkle” and “Rat House,” buoyed by lead singer Shannon Shaw. After three albums of familiar Muppet-style punk, (especially 2013’s critically acclaimed Dreams in the Rat House), they’ve earned the reputation for putting on the kookiest, wildest live shows around. Go boogie with them.

Tue., Sept. 9, 9 p.m., 2014



Alvarius B is the nom de guerre of Alan Bishop, formerly of the Sun City Girls and a potent force of disinfo-tainment in his own right. Bishop is a spellbinding sit-down tragi-comedian who specializes in a sort of rock in opposition – often to his audience. But under his gruff yet lovable exterior lies an intrepid musical explorer (and owner of the unashamedly exotic Sublime Frequencies label) who mixes everything from Cambodian love duets (delivering both male and female parts), ersatz English folk music, and Italian film nuggets into the Hunter S. Thompson–meets–William S. Burroughs persona he long ago perfected. He’s joined tonight and tomorrow by Egyptian psychedelic surrealist Sam Shalabi and gimlet-eyed spoken-wordsmith Byron Coley, accompanied by artist-guitarist Gary Panter.

Thu., Aug. 14, 8 p.m., 2014



The Brooklyn Comedy Festival returns for a second edition this year, offering a week-long schedule of shows and events at a number of locations, including Spike Hill, Brooklyn Brewery (one of the fest’s main sponsors), and Glasslands. Last year’s inaugural festival featured such comics as Mike O’Brien, Jim Tews, Josh Rabinowitz, and Hari Kondabolu; this year’s local lineup still has some TBA slots, but Rabinowitz, Matteo Lane, and the Lucas Bros., fresh off their scene-stealing work in 22 Jump Street, are among those already scheduled to perform. Tonight’s festivities begin with “Game Night” at Spike Hill and “Broken Comedy” at Bar Matchless, before concluding with an opening-night party at Union Pool.

Mondays-Sundays, 6 p.m. Starts: Aug. 18. Continues through Aug. 24, 2014



Union Pool’s stellar Summer Thunder series continues with Brooklyn’s own grizzled chuggers Obits invading the backyard. Led by raspy-throated wailer Rick Froberg, a dude who has amassed enough to die for punk cred and indie punk godheadness to make your head explode. In the 90’s, Froberg tore both math-rock and post-hardcore a new a-hole on the left coast with Drive Like Jehu and Hot Snakes. Since 2008, he’s led Obits through a killer LP trifecta of 60’s-damaged blooze and mangled surf-punk junk-fi anthemry. So soak in the sun, drink a beer and “taste the diff” while grooving to cuts from Obits’ most recent rad riffer, Bed & Bugs.

Sat., July 19, 2 p.m., 2014


White Magic

What’s bewildering about Brooklyn’s White Magic: a meager trickle of recorded material. What’s awesome about White Magic: what material does exist – including an album here, buncha EPs there, some singles – is amazing in a “psychedelic baroque gin-joint” kind of way, with Mira Billotte’s strident chants and and math-piano moxie burrowing in through your third eye. This music is a contradiction: noose-tight and flower-child billowing. It’s makers deserve more respect, and a boundless cult.

Wed., June 25, 9 p.m., 2014


Jolie Holland

The mesmerizing Texas singer-songwriter sounds like she’s just barely weathering the elements on her emotionally turbulent new Wine Dark Sea. Flanked by an ominously skronking guitar and a yakety sax, Holland applies her distinctive plangent warble to songs about love, drink, and escape hatches of every variety. Benignly art-popping Brooklyn foursome People Get Ready open for the first of Holland’s three Tuesdays here.

Tue., April 29, 9 p.m.; Tue., May 6, 9 p.m.; Tue., May 13, 9 p.m., 2014