Posts Tagged ‘Bayonet Records’

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Indiana’s Kevin Krauter releases his debut solo LP, Toss Up via Bayonet Records, Kevin is a member of the band Hoops. Useful Solitude is the phrase Kevin Krauter uses to describe Toss Up, his full-length debut, both the conditions in which it was created and the prevailing theme of these nine iridescent indie-pop songs. In between tours the Indiana musician spent long hours in his basement, guitars and vintage keyboards his only company, and tested out ideas, explored new sonic avenues, savored new sounds, and taught himself how to play a few instruments. Toss Up builds on the sonic worlds of Krauters’ first releases, conveying a similar mood with a greater array of instruments and influences. An insightful songwriter with a lyrical style that is both economical and evocative, Krauter crafts unique soundscapes that scramble a range of influences—‘60s flower pop, ‘70s easy listening, ‘80s New Wave, ‘90s alt-radio, ’00s indie rock. The secret tension on Toss Up, the engine that drives these songs: melody propelled by rhythm, melancholy fended off by the exuberance of simply creating art


Released June 15th, 2018

All songs written & performed by Kevin Krauter 

Ben Lumsdaine, Synth:Drums: Bass: Guitar:
Keagan Beresford, Guitar:
Kristin Olsen Conga:


Here among these tracks is his first single “Rollerskate” from his latest album, ‘Toss Up,’ we are so excited to announce Kevin Krauter as the newest addition to the Bayonet Records roster! We are so thrilled to be releasing the breath taking solo album by the Indiana songwriter

The second single, “Keep Falling In Love” from Kevin Krauter’s new album is also included along with a music video! The track premiered on Beats1 and the video is up on Gorilla vs Bear website. Following up the first single “Rollerskate,” this new track showcases the melodic, personal side of Kevin’s songwriting on this album.


‘Toss Up’ builds on the sonic worlds of Krauters’ first releases, conveying a similar mood with a greater array of instruments and influences. An insightful songwriter with a lyrical style that is both economical and evocative, Krauter crafts unique soundscapes that scramble a range of influences—‘60s flower pop, ‘70s easy listening, ‘80s New Wave,‘90s alt-radio, ’00s indie rock. The secret tension on ‘Toss Up’, the engine that drives these songs: melody propelled by rhythm, melancholy fended off by the exuberance of simply creating art.

So far Kevin has released the album’s first single “Rollerskate,” as well as a second single “Keep Falling in Love” . You can still pre-order the limited edition color vinyl pressing of ‘Toss Up’ which comes with custom balsa air glider from the Bayonet Records webstore

Releases June 15th, 2018,
All songs written & performed by Kevin Krauter 

Kevin Krauter is a member of the band Hoops, who released a their debut album last year. Now he’s setting out on his own solo voyage with the debut album Toss Up arriving via Bayonet Records in June 15th.

The first cut to be previewed from Toss Up is the utterly charming ‘Rollerskate’, a song that glides on simplistic dreamy indie guitars and drums, then takes an uptick towards the sky on subtle synth melodies towards its conclusion. Through this dreamy haze, Kevin Krauter relays a tale of relinquishing anger in favour of peace – even though there are trigger points all around him as he makes his way through the day. But Krauter is determined to stay equanimous; ‘Toss Up’ builds on the sonic worlds of Krauters’ first releases, conveying a similar mood with a greater array of instruments and influences. An insightful songwriter with a lyrical style that is both economical and evocative, Krauter crafts unique soundscapes that scramble a range of influences


“As I slowly rollerskate through a wall of hate/ I was trying to save my soul/ but what’s it for?” Although Krauter often feels overwhelmed by life’s many tribulations, big and small, he still comes out of the other end with a tranquil mindset. Overall, ‘Rollerskate’ is a perfect vessel for this lightheartedness in times of trouble, as it’s absolutely impossible not to feel like you’re swimming through sunshine as you listen to the glistening melodies and Krauter’s playful lyrics like “feel like every single say is a piece of cake/ I was trying to take some home.”

Catching Up With Beach Fossils, New York’s Resident Daydreamers

You don’t need to be familiar with N.Y.C. to understand Beach Fossils’ long-time-coming new album, Somersault. But it doesn’t hurt. The rock band’s already-classic 2010 eponymous debut was hinged on a sleepy yearning for the pastoral, and their follow-up Clash The Truth channeled the jittery energy of a weird millennial house party. But Somersault, due out June 2nd on frontman Dustin Payseur’s own Bayonet Records label , is the aural equivalent of riding across the East River in a rickety subway car at sunset. It just feels like life in New York.

Here, the band’s usually cloudy production is crisper, and the arrangements are bigger than ever. That’s at least partly because the typically overprotective Payseur, 31, found himself more receptive to collaboration: with his bandmates Jack Smith and Tommy Davidson; and with a slew of guest musicians, like a string trio and indie rapper Cities Aviv, whose presence gives the record a cool, cavernous feeling.

You could imagine many of these songs — the twangy “May 1st,” or weightless closer “That’s All For Now” — being played on a big stage in Central Park, at the kind of concert where you could buy a loose pre-rolled joint without having to try too hard. , Payseur was at his small studio in Brooklyn to talk about depression, non-romantic friendship songs, and what it’s like making softer-sounding punk in politically fraught times.
Is “Down The Line” about a friendship?
It’s a lot about myself, I guess. It’s about me facing depression head on. I was trying to work on music and I was feeling so fucking low. Just like, in the dirt. I couldn’t get anything to happen. My creativity was completely zapped. I was kind of breaking down. I hadn’t really been sleeping. I started working on this song, and I really liked how it was feeling. I put lyrics down. I did the whole song really fast. It was one of the only songs on the record that I did in one or two sittings. I realized if I just kind of faced how I was feeling, I could use it to my advantage. I could let it out.

I remember reading once that William S. Burroughs considered all of his books part of one universe, and one story. They work all together; they’re not really separate. That’s what the songs that I’ve written for Beach Fossils are like. A very consistent theme throughout is me being open and honest about my personal life. It’s about my life, and about my friends

I think this one is me being more open about my own shortcomings and flaws. And kind of like, dealing with that. I’m not offering any sort of answer or solution — it’s just me, how I’m living now. These are the things I’m dealing with, with people in my life right now. It’s open and honest in a different way.

Beach Fossils “Down The Line” from their album “Somersault” out June 2nd, 2017.

There’s some big, baroque-sounding songs on the record. How did the string arrangements come together?

We wrote the string parts ourselves, in one session. It was completely insane and I can’t believe we actually did that. We spent 17 hours writing the sheet music. None of us had written it before, and we had a very, very basic knowledge of sheet music. We only had a few hours to sleep before we went to the studio, and I couldn’t really sleep be cause I kept thinking, Okay, I’m going to go into the studio, show these professional musicians this sheet music and they are gonna have no fucking idea what this is supposed to be. It’s gonna be a mess. But then they started warming up, and they started playing the parts. I was like, Holy fuck, that’s what I wrote. It was a very emotional moment for all of us.

Band Members
Dustin Payseur
Jack Doyle Smith
Tommy Davidson

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Today Beach Fossils roll out their new single “Saint Ivy.” The video pays homage to New York City artists.The featured dancers have all grown up through the NYC school system. Merrie Cherry is a Brooklyn-based drag queen. The directors and the band themselves are all based in NYC as well.

Beach Fossils encourage fans and viewers to make donations (if they are able) to two incredible organizations: National Endowment for the Arts and Center for Arts Education NYC (both falling victim in recent times to our current administrations’ budget cuts).

Brooklyn’s Beach Fossils traded the breezy, minimalist indie rock of their debut for a more aggressive, punk-inspired sound. Now, it seems, they’re opting for something both poppier and more heartfelt. On June 2nd, the band will release their third LP, “Somersault”, an album with which the band has, according to a press release, “channeled years of experimentation into expansion and reinvention.”

Strings aren’t the only new instruments you’ll find Somersault. Beach Fossils has also heavily incorporated piano, harpsichord, flute, and saxaphone into their arsenal. The album will be released on Payseur’s own Bayonet Records.

Along with the announcement comes the band’s first single, “This Year”, which elevates the jangly dream-pop of yesteryear with stirring string arrangements that reflect the band’s “expanded sonic palette” while providing an added heft to frontman Dustin Payseur’s hushed vocals. Of the song, Payseur says it’s about facing mistakes you’ve made, aiming to work on it and better yourself, but ending up making the same mistakes again. It’s kind of an endless loop. People always aim to make New Year’s resolutions, get a fresh start, but ultimately fall back into these old bad habits.”

Beach Fossils “Saint Ivy” from their album “Somersault” out June 2, 2017.

if there was a competition for the vocal of the year in 2016 Elaine Edenfield would already be dancing off down the aisle, arms raised to the sky,  The lead voice in Warehouse’s suitably dynamic indie-rock beast of a record, “Super Low”, Edenfield’s turn here is a miraculous effort, simmering above the rock-solid back-drop of twin guitars and percussion, and armed with the ability to breathe fire in the blink of a scorched eye. A beautiful collection of sprawling, jazzy, and jangley post-punk that paints a reflective and colorful sonic background behind the vocalist’s oscillating poetics. Couple that with the band’s ability to pen righteous hooks that add even greater weight to such aesthetics , the result is one of the boldest records in the American indie-rock frame.

Primal, precious, and consistently invigorating, Warehouse are the kind of band that to hear them once is to pin all your hopes and dreams upon them; a rabid and rousing unraveling.  ‘Super Low’ was “largely written in a notorious punk house that was torn down to build a parking garage” and the record comes wrapped in such new-world vexations, melding punk aesthetics with something endearingly humane.


Warehouse is Alex, Ben, Doug, Elaine, Josh

Warehouse 'super low' (pre-order)

Taking inspiration from the 1980’s Athens, GA scene (Pylon, R.E.M., The B-52’s) and having a mutual taste for Stereolab and Abstract Expressionist visual art, Warehouse invoke a post-punk style characterized by the spidery and interlocking guitar riffs of Alex Bailey and Ben Jackson, filled by the effortless drums of Doug Bleichner and the agile racing bass riffs of Josh Hughes. The full and textural sound provides a unique body for vocals, added by Elaine Edenfield, whose lyrics can be described as sidewinding and oblique, oscillating quickly between melodicism and contrary roughness, using vocals as more of a physical tool of expression than as a glossy harmony to the sound.


‘super low’ is a more concise continuation of ‘Tesseract,’ while still carrying the prior album’s organic and wildly sprawling nature. Largely written in a notorious punk house that was torn down to build a parking garage, the album was finished in a new environment: across from a food mart called ‘super low.’ The title connotes stark change, but it also hints at the additional psychological undertones of the album’s meaning, to move down into more darkly subconscious and deeply endogenous areas of yourself in order to work through them and out. Also contrastingly literal, it denotes Warehouse’s self-evident, uncontrived and rough-around-the-edges nature.


Frankie Cosmos ‘Fit Me In’ 7″ EP out 11/13/2105 via Bayonet Records. If you’re a big fan of quirky leading females like Lana or FKA Twigs, Frankie Cosmos is for you. Her songs have a dreamy feel to them and fit perfectly to what music needs right now. “Young” and “Sand” showcase her tunes and her major potential as an artist. Frankie Cosmos’ upcoming EP, Fit Me In, is a one-off experiment in “fitting” Kline’s songwriting into an electronic sound, characteristic of current pop culture. The EP is a collaboration with Aaron Maine of Porches, who produced the songs using mostly electronic equipment in place of the live band instrumentation. Frankie Cosmos’ forthcoming full length album will be the first made with four band members and is slated for release from Bayonet Records in 2016.

Frankie Cosmos 'Fit Me In'

Greta Kline, the daughter of ’80s-vintage movie stars Kevin Kline and Phoebe Cates, makes awesomely slapdash lo-fi indie-pop under the name Frankie Cosmos. “Zentropy”, her last proper album, came out in 2014, and she’s kept up a steady stream of new music since then, releasing the EP “Fit Me In” just a couple of months ago.Now she is set to release a new album called “Next Thing” this spring. Its first single is “Sinister,” a sparkly, bouncing jam that sounds very much like something that would’ve come out on K Records in the early ’90s.

Greta Kline, aka Frankie Cosmos has announced a new album. “Fit Me In” is out April 1 on Bayonet Records .


“Young” is the shining star of Frankie Cosmos’ Fit Me In, but the rest of the tracks are only a notch below that: The reworked “Korean Food” works well as a sleepy opener, and her love song in miniature “Sand” is a perfectly succinct ode to New York. Greta Kline’s making the lateral move to a more synth-based sound — just like her boyfriend Aaron Maine is with Porches — but she’s still holding onto the glowing intimacy of her earlier work. The cover art sees the two of them bundled up under the covers, lumpy and sticking out at irregular angles, but still fitting together snugly. Likewise, there’s not a discomforting note on the EP, which emanates a welcoming warmth as we move over to the colder months.