Breaking Laces 2007's Astronomy Is My Life EP marked yet another level of growth for the Brooklyn based trio in the studio. After 5 years of trekking across America honing their craft and infectious live show at a 150 gig a year clip, the Laces sought out to bring to the studio the mix of electro infused pop rock they had gleaned on stage with the addition of live sampling and piano/synth padding and leads.
With each member often pulling double duty during a given song, their full and distinctive sound that had been deemed "enormously large" for a 3-piece, was translated onto tape for their first completely self produced release.
Ranging from heart on you sleeve acoustic tracks to EDM infused pop-rock, Astronomy received a rare mix of indie critical acclaim and listenability that would propel them to a fruitful year that included placing first in the Starbuck music makers competition and selling over 20,000 units at live shows alone.
Breaking Laces consists of:
Willem Hartong on Vocals and Guitar
Seth Masarsky on Drums, Percussion and Programming
Rob Chojnacki on Bass, Backing Vocals and Keyboards
Astronomy was produced by Breaking Laces
recorded and engineered by Seth Masarsky
mixed by Andrew Dawson (of Kayne West, John Legend fame)
mastered at Sony Studios NY by Andy Kadison and Seth Masarsky
Pop Matters Interview/Aarik Danielson August 2007:
The bio for Brooklyn trio Breaking Laces dares, literally, the listener or critic to peg the band’s sound. Perhaps this is with good reason as the band’s sound provides few immediate reference points; however, no matter which artists the group can or cannot be compared to, this six song EP offers much in the way of intelligent, melodic indie pop/rock. The band’s songs are well-crafted and cleverly articulate thoughts on relationships, religion and regret. The project’s best track is its first, the title cut, a satisfying shuffle which deserves significant play. Allowing acoustic instruments and folk rock textures to guide tracks like “Bad Believer” and “Holy Suburban Dividing Lines” adds color and shade to the album; the former has a funky beat and challenges the current climate of American Christianity while the latter is propelled by the quality of its melody and supporting vocal harmonies. “What You Can’t Take Away”, with its drive and soaring vocals, the song belies the nuanced sensibilities which grace the rest of the album, but serves as a welcome addition and offers a peak of the band's range. .