bonnie whitmore music magazine

Best described as a roots or Americana artist, Austin, Texas’ Bonnie Whitmore is a veteran musician who has trod the boards throughout North America as an in-demand session and stage bassist for more than two decades. But she has also developed a unique musical compositional style all her own – one that combines many elements of the music she loves, regardless of genre, and a lyrical directness and powerful honestly that makes for a truly compelling listening experience.

Whitmore released her latest album, “Last Will & Testament” in October, through her own label, and Whitmore herself co-produced the 10-song release alongside Scott Davis, working out of the Ramble Creek Recording Studio. Although the word eclectic can sometimes be over-used or mis-used, it is rather appropriate for Last Will & Testament, as Whitmore is unafraid to mix and meld styles and genres to suit the emotional and lyrical tapestry she weaves with each individual song.

“To me as an artist, it’s about the creation of whatever it’s going to be, and not to make it form into something that’s supposed to be more marketable, which I know goes against everything you’re supposed to be doing in music if music is your livelihood,” she said, from her home in Austin, where she is doing her best to stay busy writing new material and promoting the album during the Covid-19 lockdown.

“I think I have a very eclectic taste, so I am not surprised that my music is eclectic within itself. I do like to take things that are sort of polar opposites of each other and mix them together. As a bass player, my influences are [legendary session player] Carol Kaye and Kim Deal of the Pixies – very different bass players, but both are integral parts of where I come at it musically. Americana is just sort of the all-encompassing, ‘everybody’s welcome,’ kind of genre, because they accept everybody into it.”

With the release of Bonnie Whitmore’s latest record, the celebrated Texas-based singer-songwriter and multi-instrumentalist borrows just enough stylistic “ingredients” from just enough musical “neighbours,” she succeeds in baking one of the tastiest confections of 2020 — a soaring seduction that owns roadhouse authenticity and drips cathouse allure. Among the record’s many highlights, “Time to Shoot” shines brightly. 

Written by Bonnie Whitmore From the album “Last Will & Testament” (2020) CD Baby (on behalf of Aviatrix Records)

With comparisons to bands like DIIV, Beach Fossils, Deerhunter, The Cure, Radiohead, and Ride, I think the best descriptor for the band could be something like: “BDRMM: Recommended if you like good music.” In all seriousness, though, BDRMM frontman Ryan Smith started writing his early material solo in his bedroom. Smith then added his brother Jordan on bass, Joe Vickers on guitar, Danny Hull on synths, and Luke Irvin on drums. This current five-piece British band with an ear for atmospheric dream-pop is one of THE bands to watch in 2020.

All BDRMM physical product has been selling out online as quickly as it can be produced. To my ear, the ten tracks on Bedroom draw inspiration from all the best elements of the shoegazer bands dominating the UK alternative scene from 1990-1993. Anyone into shoegazer will love this record a minute into “Momo,” the first track on the album. Crank it up and let that hair fall forward over your eyes!!

We’re delighted to announce our new 7-track EP, ‘the bedroom tapes’ out on Sonic Cathedral on white 12” vinyl and black cassette, released on october 23rd. The five-piece guitar driven rockers bdrmm blend nineties inspired songcraft and lush contemporary production to create an exhilarating blend of shoegaze, dream-pop and new wave. The second single taken from bdrmm’s debut album ‘Bedroom’.

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Speaking on July release A Reason To Celebrate, bdrmm’s Ryan Smith explains: ‘The lyrics come from a place of realisation and understanding. It’s a battle between what you want and what you need to do. It’s about proudly, yet stupidly, letting go – and the voice in your head giving you all the different reasons why you should.’ This features 4 stripped down versions of previous releases that were recorded during lockdown between Ryan & Jordan, they are the most natural and raw versions of themselves they possibly can be, which we felt was fitting for the current situation,

On the b-side, we have included all the remixes that we have been blessed with by some outstanding artists, including Andy Bell, DITZ and International Teachers of Pop.

the artwork, as always (col), is a gorgeous creation from our very own jordan!
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Monica Sottile, co-lead singer and songwriter in Brisbane trio Sweater Curse, describes Australian indie rock as “an extension of domestic life.” There’s certainly truth to that assessment, as the country has a great tradition of guitar-pop songs about charming, comforting scenes. Brisbane indie trio Sweater Curse released their debut EP See You in 2019, which featured the girl-boy lead vocals of bassist Monica Sottile and guitarist Chris Langenberg, and their versatile sound that ranges from distorted and punk-ish to sweet and sentimental. They followed it up with a 2020 EP titled Push/Pull, which packs their best songs yet. “Close” is a succulent indie-pop gem with an unforgettable chorus, and “All The Same” is a serrated rock rollercoaster.

The Go-Betweens sang about “fireplaces and rocking chairs” and “showering for an hour,” while contemporary acts like Rolling Blackouts Coastal Fever and Courtney Barnett write about things like “satin sheets” and “Vegemite crumbs.” Sweater Curse don’t write songs with that kind of precision, but they do write about the haunting thoughts that exist in those spaces—when you’re tossing and turning at night, making French press coffee in the morning or leaving a house party more lonely than when you arrived.

For their second EP “Push/Pull”, Sweater Curse really come out of their shell, amplifying their faint post-punk tinges and sky-high pop hooks.

New York quintet Store Front featuring Amy Rose Spiegel (vocals/lyrics), Peggy Wang (bass, formerly of The Pains of Being Pure at Heart), Bob Marshall (guitar), Brandon Louro (guitar) and Chalky Edwards (drums)—released their debut EP Task in February. 

The five-track release’s lovely opening cut “Rip the Price Off” sets the tone for an EP that tries to find the joy in struggle, as Spiegel explained in a statement: “Task is about making private jokes in your head about all the big concerns you’re trying to keep track of, especially in the cases when those things are supposed to feel gravely serious,” she says. Anchored by Wang’s bass, and Marshall and Louro’s dreamy dual-guitar work, “Rip the Price Off” finds Spiegel exploring the dehumanizing effects of capitalism, which ties our self-worth to the work we do and what we’re paid for it. “When it comes to my job, look, I slack off / I don’t try too hard / Even writing this song, I wanted to do / the bare minimum,” she sings, finding the sardonic humour in being behind the eight ball, “broke and lazy.” It’s a funny and relatable sentiment, couched in the kind of gorgeous instrumentation you can’t put a price tag on, and on Task, it’s only the beginning. 

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released February 14, 2020

Vox: Amy Rose Spiegel
Guitar: Brandon Louro
Guitar: Bob Marshall
Bass: Peggy Wang
Drums: Chalky

From their EP “Task” Out February 14th

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New York’s Maxband, the newest project featuring Max Savage of Parquet Courts and Patrick Smith of A Beacon School, first debuted in 2018 with its low-key tape release Perfect Strangers. The band has since played support slots for Sports Team, Bambara, Tokyo Police Club, The Men, and others. The band recently returned to the studio to record their forthcoming EP, Top of The Stairs, out November 20th, and have released the first single from the project, “Cut It Loose”.

Savage, the longtime drummer of Parquet Courts, takes the lead with Maxband, playing guitar and splitting vocal duties with Patrick Smith who also plays bass. Long time friends Tim Nelson and Eric Read fill out the line up on lead guitar and drums respectively. Considering the band sports his name, it would be easy to pigeonhole Maxband as a Max Savage showcase yet, if “Cut It Loose” is anything to go off of, the band seems to be taking a more collaborative approach while carving their own lane independent of the nervy punk rock of Parquet Courts.  

The rapid-fire palm-mutes and clean guitar tone give the track a bright indie flavour, bolstered by Smith’s buoyant vocals. Savage’s vocals on the chorus offer a strong counterpoint, sounding not unlike his brother Andrew’s vocals with Parquet Courts. Add in some razor-sharp call and response guitar leads and the track has an undeniable hook. At the climax, the hook gains even more urgency as the whole band locks into the groove, and Savage’s vocals gain even more of a punk edge. Yet, the band keeps the energy locked down, striking a perfect balance between breezy and fervent attitude.

The band says, “‘Cut It Loose’ was the first song we wrote for Top of the Stairs, and it functions as a good mission statement for where we are as a band: it was our first fully collaborative effort that was fleshed out from an idea that Patrick brought into a practice space, and the first song where Max and Patrick split vocal duties.”

The New York City outfit released their debut EP “Top Of The Stairs” via Holm Front, a label run by U.K. indie band Sports Team. Maxband features lead vocalist Max Savage (Parquet Courts), bassist/vocalist Patrick Smith (A Beacon School), along with drummer Eric Read and lead guitarist Tim Nelson. The five-track EP was produced by Doug Schadt (Maggie Rogers, Ashe), and recorded in Brooklyn in late 2019 and early 2020. It follows their 2018 debut album Perfect Strangers. Top Of The Stairs is imbued with an effortless confidence. Both their vocals and guitars oscillate between gentle and vehement, creating this satisfying contradiction of steady and unsteady. With shades of misty indie rock and driving post-punk, Maxband create something special out of familiar elements. 

From ‘Top Of The Stairs’ EP out November 20th

The band Horsegirl, a trio of high school friends, is (from left) Nora Cheng, Gigi Reece and Penelope Lowenstein.

Horsegirl is on a race against the clock. The aim to release the trio’s debut album. For one, there’s a pandemic raging all around them. For a relatively new band (they only began playing their first shows in mid 2019), that means their in-person performance and rehearsal time has been drastically altered.

But looming largest of all is the reality of their ages. Band members Gigi Reece, Nora Cheng, and Penelope Lowenstein are all still in high school. And as graduating seniors, Cheng and Reece will likely be someplace else (New York City, if they have their way) come fall 2021. None of this has escaped the band members’ minds these last few months.

Horsegirl’s this Chicago trio sounds like they’ve been plotting their rise forever. The band released a collection of their first three singles on Bandcamp, in which they dive headfirst into heartfelt indie and eccentric noise rock. Their songs may evade big hooks, but they’re so magnetizing that you’ll hardly notice. With immense depth and a palpable sense of cool, Horsegirl share raw scribblings over clamorous guitars, and the result is exhilarating friction

Horsegirl are a Chicago band, through and through. All three members were raised in the city and cut their teeth in the city’s abundant youth performance programs. “I’ve gone through all of the Chicago institutions, I feel — Old Town, the Wiggleworms classes, Girls Rock Chicago,” said Lowenstein. “After taking guitar lessons for a long time, I was like, ‘In high school, I have to be in a band.’ It’s what I wanted to do.”

Lowenstein comes from a “total music nerd family,” she said, with a “crazy good” brother who plays the drums and a father who plays guitar and introduced her to Sonic Youth. Cheng began playing music from a young age and said she grew up on classic rock ’n’ roll. But after ditching music for a bit, it wasn’t until the summer before 8th grade, in 2016, that she joined School of Rock and began playing again.

“Sea Life Sandwich Boy” on Dropkick Records Released on: 2020-01-31

Dummy is five people in Los Angeles making music informed by motorik pulse and minimal composition like the Velvet Underground and Cluster before them. Across five tracks, experimental noise and ambient soundscapes intertwine with hypnotic drone-pop and avant-folk.

Earlier this year, Los Angeles noise-pop band Dummy shared their debut release, “Dummy EP”, via Pop Wig Records. In November, the group put out their second release, EP2, available now on cassette via Born Yesterday Records. They shared the song “Pool Dizzy”—which was the first taste of EP2. Their debut was rooted in krautrock and synth-laden noise pop, and they even threw in a foggy folk tune and an eight-minute new age-esque closer. EP2, on the other hand, leans more on hypnotic synths than driving guitars—apart from “Pool Dizzy.” The track’s throbbing beat, murky guitars and retro keyboards are rejuvenating, and their heavenly, overlapping vocals are the cherry on top. It’s the sound of droning pop euphoria.

Dummy returns five months later after “EP1” with “EP2”, their second release of 2020. Featuring a mix of screeching feedback-laden pop songs woven with non-sequitur ambient soundscapes, “EP2” sees the band further developing their drone-pop style with inspiration taken from kosmische, Japanese ambient, new age, and video game music. Recorded mostly at home using freeware and a smartphone, the six tracks forgo polished production in favour of a kaleidoscopic collage of improvisational sketches. Mixed by Joo-Joo Ashworth and mastered by Greg Obis. Available on cassette from Born Yesterday Records.

Dummy – Dummy EP2 (2020) Thursday Morning 00:00 Pool Dizzy 04:35 Nuages 07:31 Mediocre Garden 10:38 Second Contact 14:52 Prime Mover Unmoved 17:04

The entire sequence of EPs is available as a single cohesive twenty-song anthology. Titled “5EPs”, the collection spans the existential folk of Windows Open sung by Friedman, Douglass’s future soul on Flight Tower, Longstreth’s endless melody on Super João, and the recomposed orchestral glitch that backs Slipp across Earth Crisis. As everyone trades verses on Ring Road, these closing four songs serve as conversations among a group where “every member is talented enough to be the lead” (Time). With three- and four-part harmonies, dual guitar lines, ecstatic hooks and the propulsive drumming of Mike Johnson, the emotional and sonic threads of the previous entries are filtered through classic signatures of full-band Dirty Projectors. As Entertainment Weekly says, “[5EPs] captures a more intangible motif: the celebration of creativity and the fortuitous bonds that form.”

It’s a strange coincidence that Dirty Projectors’ founder and sole core member David Longstreth would switch up his approach in 2020. As a musician and songwriter whose defining modus operandi for the last eighteen years has been that of multi-personnel collaboration (save for 2017’s self-titled, which is the project’s only solo album to date), he found himself increasingly drawn toward changing the band’s sound to one that emphasizes its individual members, rather than the sum of its parts, following the release of 2018’s Lamp Lit Prose. 

This question of whether “[everyone] could be the lead singer of this band” eventually fermented into the project’s latest release, 5EPs,wherein Longstreth sat for individual sessions with each of the group’s singing members, working both musically and lyrically to create four-track extended plays that highlight each performer’s abilities. The end result is a varied final effort, one that represents the project’s most diverse offering to date. From the stripped-down acoustics of Maia Friedman’s Windows Open, to the cool electro of Felicia Douglass’ Flight Tower, to the glitching orchestral fanfare of Kristin Slipp’s Earth Crisis, the landscape of 5EPs feels like a decidedly focused experiment in honing the outfit’s scattered, genre-averse sound into concise suites.

Moreover, 5EPs represents, in Longstreth’s view, a novel approach toward song writing, one that involves “trusting where the words fall” and enabling lyrical improvisation that’s porous and non-meticulous—a decisive break from his methods on the last two records.

Documenting a series of slow-motion smiles, spinning heads and splashes of water to the face, “My Possession” marks the sixth official music video Dirty Projectors have shared since the start of this new chapter. They’ve also released a breathtaking short film for Earth Crisis, remixes from Chromeo and Felicia’s father Jimmy “The Senator” Douglass, a timely and tasteful cover of John Lennon’s “Isolation,” and a multitude of live performances ranging from pre-pandemic acoustic jams in Dave’s living room to remotely-recorded productions for Full Frontal with Samantha Bee, NPR’s Tiny Desk (Home) Concerts and more.

5EPs was produced, mixed and recorded by Dave Longstreth, and lyrics were written in collaboration with the respective band member featured on each installment. While the limited edition, foiled and numbered box set has now sold out, 5EPs is available as a standard black double LP,

Band Members: Mike Johnson (drums), Felicia Douglass (percussion/vocals), Maia Friedman (guitar/vocals) and Kristin Slipp (keyboards, vocals), and David Longstreth (bandleader, guitarist, and lead vocalist).

Dirty Projectors – My Possession (Official Video) Out now on Domino Record Co.

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Matthew Sweet fans have something to look forward too on January 15th, the day his much-anticipated album “Catspaw” album is due out on Omnivore Recordings. Rather than wait for release day to get here, Sweet is bridging the gap between then and now with the release of his new single “Stars Explode” .

One hand washes the other. What goes around comes around. The cliches can be endless but in essence, that’s exactly how the new single’s title came to be.

“Recently, I heard a song called ’Matthew Sweet’ by a band from Chapel Hill, N.C. named The Stars Explode,” says Sweet from his home in Nebraska. “I was flattered and liked the song and their band name, so I decided to use it in my song ‘Stars Explode.”

While the name may have been a smiled volley, the song itself has nothing to do with the band. Instead, the alt-rock, singer songwriter’s hook heavy, radio ready song is set in the stars and built on sparkling guitars, and his signature stacked harmonies. Side note: while on a self-described, semi-permanent hiatus, the North Carolina rockers were pretty damn good and would have fit in fairly well with Matthew Sweet fans.

The music ‘arrived,’ so to speak, together with the title. I’ve always been interested in Space and that greater nature of things; I love the concept that “we are all stardust.” I explored that idea in the lyrics. ‘Stellar winds she comes riding upon / with a nebulous intent…’ The female character here is sort of a Mother Nature of the Cosmos—maybe the queen of the universe!

“The way I come in singing that repeated note in the first verse reminded me a little bit of something Neil Young might do melodically. I had a lot of fun with the lead guitars on this one too.” 

Though Sweet steps into the spotlight to take on the lead guitar duties, a first for him, that isn’t the only new territory he explores. With the exception of the excellent drumming by long time collaborator Ric Menck (Velvet Crush), Sweet handled the rest of the duties on Catspaw including Höfner bass, electric guitars and backing vocals. Even the recording and mixing was done at his beloved home studio, Black Squirrel Submarine.

Stars Explode · Matthew Sweet under exclusive license to Omnivore Recordings. Released on: 11th december 2020

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Tom Petty & the Heartbreakers played their first show of 2015 on December 19th – a surprise set during Mike Campbell and Jonathan Wilson’s fourth annual Merry Minstrel Musical Circus: A Holiday Gathering & Jamathon at the Troubadour in Los Angeles. Joining Petty onstage was none other than longtime Petty collaborator Jeff Lynne.

Since regular Heartbreakers drummer Steve Ferrone was unavailable, Dirty Knobs drummer Matt Laug filled his role for tunes like “Mary Jane’s Last Dance” and classic rock covers like “Little Red Rooster” and “I’m A Man.” 

The night also featured the rest of Campbell’s side band Dirty Knobs, Dawes, Jackson Browne, Duane Betts, and members of My Morning Jacket.

Jeff Lynne had recently powered up ELO after a much too long hiatus (since re-named Jeff Lynne’s ELO) and had released Alone in the Universe in November 2015.

This was the 4th annual Merry Minstrel Musical Circus at the Troubadour in Hollywood, CA. This show is put on by the Tazzy Fund (tazzyfund.com)& Rock the Dogs (Mike & Marcie Campbell) and Jonathon Wilson, on behalf of musical education within the LA Unified School District.SHOW LESS