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Passion Pit Show Poster

Passion Pit Tickets

In celebration of the release of their new album Kindred, out April 21, Passion Pit will tour North America this spring, playing intimate venues in the U.S. and Canada. The band will make stops including SXSW, Buku and Big Guava Music Festivals, Brooklyn’s Kings Theatre, two nights at Washington D.C.’s 9:30 Club and many more. Kindred was written by Passion Pit creative force and frontman Michael Angelakos and recorded in New York City. The album was produced by Angelakos alongside longtime collaborators and co-producers Chris Zane and Alex Aldi, as well as Benny Blanco. Angelakos’ songwriting process for Passion Pit has always been to filter and reshape. Many sounds on Kindred that one would assume are synths are actually Angelakos’ voice, manipulated by computers and pedals. Angelakos frequently repurposes sound: using Top 40 signifiers for outré ends, crushing weird natural and synthetic detritus together into pop (Brent Katz, liner notes, 2015).

This show is closed.

Performances ended on May. 11, 2015.

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About Passion Pit on Broadway

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Show Dates

Opening: May 11, 2015 • Closing: May 11, 2015
Off-Broadway

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Venue

Kings Theatre Kings Theatre
1027 Flatbush Avenue
Brooklyn , NY

Story

In celebration of the release of their new album Kindred, out April 21, Passion Pit will tour North America this spring, playing intimate venues in the U.S. and Canada. The band will make stops including SXSW, Buku and Big Guava Music Festivals, Brooklyn’s Kings Theatre, two nights at Washington D.C.’s 9:30 Club and many more. Kindred was written by Passion Pit creative force and frontman Michael Angelakos and recorded in New York City. The album was produced by Angelakos alongside longtime collaborators and co-producers Chris Zane and Alex Aldi, as well as Benny Blanco. Angelakos’ songwriting process for Passion Pit has always been to filter and reshape. Many sounds on Kindred that one would assume are synths are actually Angelakos’ voice, manipulated by computers and pedals. Angelakos frequently repurposes sound: using Top 40 signifiers for outré ends, crushing weird natural and synthetic detritus together into pop (Brent Katz, liner notes, 2015).

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