Posts Tagged ‘Brooklyn’

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Brooklyn alternative-pop duo Overcoats announced a new EP released on April 7th, featuring a new single with fellow pop innovators Tennis. “Used To Be Scared Of The Dark” features contributions from Middle Kids, Lawrence Rothman, and Ryan Hahn of Local Natives.

The EP is based on self-growth and the quest for stability, and all of the collaboration was done remotely to show how trust transcends physicality. Lead single “The Hardest Part” is a summery folk-pop jam aided by Alaina Moore of Tennis’ buttery-smooth vocals and sparkly keyboards to create immersive harmonies that are easy to get lost in. Reflecting on the making of the song, the Overcoats said: “This song is about coming to terms with a relationship being over. And the hard reality that you may never know where that person ends up or what they do. It’s about letting go. We brought this song to Tennis because it needed their nostalgic retro pop sound to help tell this story. And it needed to be cooler.”

Used To Be Scared Of The Dark EP out June 4th! Listen to “The Hardest Part [feat. Tennis]”, out now

We got to make an EP with some of our favourite artists! Used To Be Scared Of The Dark is out June 4th 2021 on Loma Vista Recordings.

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<img src="https://cdn.pastemagazine.com/www/articles/2021/05/10/bigthief-robbiejeffers-main.jpg&quot; alt="Big Thief Announce Fall Tour, Release <i>Live at the Bunker Studio

Big Thief has announced dates for an upcoming North American tour this fall. In addition, they have announced “Live at The Bunker Studio”, a recording of their 2019 session in Brooklyn, N.Y. Footage of all the songs is also available.

The Brooklyn indie-folk outfit will be back on the road this fall. The band, whose 2020 tour dates were cut short due to the coronavirus, are slated for a busy September, including their recently announced slot at this year’s Governers Ball.

While we’ve gotten sneak peeks from The Bunker Studio in Brooklyn before with the videos for “Not” and “Cattails,” the sheer power and chemistry captured during this session serve as compelling reminders of why Big Thief was one of the Best Live Acts of 2019.

The tour will kick off on September. in Louisville, Ky. at Headliners Music Hall. Other notable shows include a date at Nashville’s Ryman Auditorium on September. a performance at New York City’s Governors Ball Music Festival on Sept. 25 and a gig at South Burlington, Vt.’s Higher Ground on Sept. 28. The tour will conclude with an Oct. 1 show in Philadelphia at Union Transfer.

Big Thief is an American indie rock band with folk roots based in Brooklyn, New York, United States. Its members are Adrianne Lenker (guitar, vocals), Buck Meek (guitar, backing vocals), Max Oleartchik (bass), and James Krivchenia (drums). All four members attended the Berklee College of Music, but only formed a group after each had graduated.

Live at The Bunker Studio mostly features songs from Big Thief’s 2019 albums U.F.O.F. and Big Thief, as well as “Black Diamonds” from CapacityAccording to a press release, “this collection was originally previewed with live videos of ‘Not’ and ‘Cattails,’ but now the whole session is available to listen to and view.”

The videos were directed by Marisa Gesualdi.

The Brooklyn-based quartet discuss creating their own musical language, whether their songs are fit for hallucinogenic experimentation, and the importance of staying independent,

Crumb, four twentysomethings who sit inconspicuously in the centre of the room. Bassist Jesse Brotter picked the spot he says that his grandfather once came here and ate a full plate of herring after a funeral. Luckily, the mood today is not so morose. As the band peruses the menu, they display a quiet but goofy camaraderie, giggling nervously; they haven’t done many interviews.

The quartet’s ambitions for Crumb were always humble, and on the surface, at least, their music is equally subtle—the type of soulful psychedelia that’s ideal for introspection. Yet without any explicit push—no label, no management, no booking agent—Crumb’s streaming numbers surged with an intensity that countless unsigned bands crave following their 2017 EP, “Locket”. Currently, their most popular song boasts 11 million streams on Spotify, an almost unimaginable number for a new independent rock band. “I try not to look up the numbers because they sometimes freak me out,” singer, guitarist, and lead songwriter Lila Ramani shyly admits.

Because of their streaming success and unobtrusive sound, it could be easy to peg Crumb as just another band churning out “chill” playlist music that is made to lure listeners into easy-going apathy. But while Crumb’s work presents a heady front, little about it encourages actual emotional disconnection; subtle curls of detail—the distant bleat of a saxophone, a quivering synth note, a bowed guitar warble—emerge and ensnare the ear before fading back into the fray, never distracting from the overall mood. “A big part is making things shift in ways that are intentional but that you would never think about as a listener,” says keyboardist Brian Aronow. “I don’t want to do something that makes you think about a choice we made, but hopefully it made you feel something under the surface.”

Ramani’s opaque lyrics, meanwhile, are more haunting and anxious than calming. In a cool murmur, she sings of cracking up or fading away, demons invading her dreams, of dark spirits appearing at shows. “I feel trapped, my mind, the impending doom,” she frets on the group’s debut, self-titled EP from 2016. Forking a pierogi in the restaurant, Ramani attests, “I wouldn’t want to chill to our music.”

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Crumb’s elaborate visuals have also undoubtedly helped to extend the band’s reach. Working alongside a Brooklyn-based director who goes by Haoyan of America, their trippy videos translate Crumb’s low-key psychedelia into hallucinogenic odysseys. In their first video, “Bones,” Ramani soaked in a tank of feeder fish for hours. For 2018’s “Locket,” a 360-degree camera warps the band like a funhouse mirror. Crumb are quick to add that though the videos appear incredibly professional, the process behind them is decidedly DIY, with the band often serving as both cast and crew.

The comments on these videos teem with listeners thanking Crumb for making music that gloriously complements certain types of hallucinogenic experiences. The band chuckle when I bring this up. “I wanna call a bluff on that,” drummer Jonathan Gilad says with a laugh. “There’s no way people are just dropping acid all year, all the time—if you are, we wanna see the video proof.” But they can understand why their songs would have such an effect. As Aronow explains, “A big part of the music is about being detached and taking you to a specific place in your own mind.” More than anything, though, Ramani proposes that Crumb’s music is defined by its insular universe. “One of my friends recently told me that she would categorize our music as ‘music you listen to when you’re by yourself,’ which I felt was very accurate.”

With the full band now living in Brooklyn, Crumb holed up with producer Gabe Wax (Fleet Foxes, Soccer Mommy) for a month last summer to record their first LP, “Jinx”. The title feels fated: On the first day of the sessions, Brotter tripped and broke his kneecap. Though Crumb spent an extensive amount of time fine-tuning Jinx’s understated complexities, the record never sounds taxing. As Brotter tells me, “It’s is a culmination of these songs pinging around our little universe for so long.”

In mid-march last year, we halted production of the album. We’d been recording it for weeks and had nine days left to finish. For the next few months, we hunkered down and waited in our spaces far from home – Jesse and Bri in an extended airbnb, Jonathan with his parents, and me in a room I was subletting. That period of uncertainty and deep reflection fed the energy that we put into finishing the record. “Ice Melt” was a rare and precious escape from the idleness and chaos of the year; at times it felt like the songs were the only things grounding us to this earth, a living breathing vestige of our pre-pandemic lives.

Thank you sm to everyone who stuck it out with us and helped us create this thing.- Lila

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This is the first single off Caged Animals’ upcoming “Underneath The Spell” album. Caged Animals is the recording project of Jersey-born, Brooklyn-based songwriter Vincent Cacchione. Cacchione emerged from his role fronting Soft Black (whose members included DIIV’s Zachary Cole Smith) to form Caged Animals alongside his sister Talya, partner Magali Charron, and childhood friend Patrick Curry. Since 2011 they have released three LPs of their soulful and noir-tinged indie-pop.

Trading Soft Black’s live-to-tape psychedelia for a meticulous, bedroom-born style, Caged Animals make soulful, character-driven pop for an increasingly digital time. The live show is a family affair with a band comprised of Vin’s sister Talya, partner Magali Charron, and childhood friend Patrick Curry. On their upcoming fourth record, Underneath The Spell, Caged Animals have crafted their first “band album” during the least band-friendly moment.

Although the recordings began in 2019, the project took a long pause when the COVID-19 pandemic took hold and Vin and his family unintentionally relocated to his wife’s Canadian hometown in Sackville, New Brunswick. What began as a pre-COVID family visit turned into a major lifestyle change when the virus and a closed international border conspired to keep Vin’s family within the safer confines of “The Atlantic Bubble.” Having left their Brooklyn apartment with just travel bags, the young family and musical couple had to get creative about life and art.

Through the kindness of Sackville’s creative community the Caged Animals crew landed on solid ground. Underneath The Spell got its finishing touches in late 2020 after Canadian musician Jon Mckiel helped Vin and his family find a place to live and work.

While the project’s sonic palette has expanded, the homemade spirit remains intact. It features the core Caged Animals lineup plus the spacey guitar of Dane Zarra, hypnotic alto-sax of Jeff Tobias (Sunwatchers, Modern Nature), and psychedelic pedal steel of Jon “Catfish” DeLorme (Psychic Ills).

Underneath The Spell’s ten songs feel oddly tuned to the frequency of our shared, strange moment, building a cinematic world out of contemplative moods and isolated characters. From the foxhole spirituality of “The Ghost Of Jesus” to the mournful solitude of “The Coldest Place On Earth,” the album weaves its narrative on a thread of alienation and yearning; each character and melody pushing for renewal. It was born in a moment of slowing down, as Vin became a father and began to look back on the moments that shaped him.

On the title track, Vin’s character laments a life lived “in a circle, underneath the spell,” evoking our current Groundhog Day reality but hinting at the possibility of release each time Dane Zarra kicks at the fuzz pedal. For “My Friend Dave,” Cacchione delivers a drone-kissed elegy mourning the loss of a departed friend: singer-songwriter Dave Deporis. “The Coldest Place On Earth” is a plainspoken remembrance of his father, while “Mirage” delivers a pop duet lit by headlights, as Vin and Magali trade verses about a romance on the brink.

On the serpentine “Dream World,” a lush, somnambulant landscape unravels over looping arpeggios, a sample of Vin’s daughter Alaska, and the album’s most hypnotic groove, pushing towards one of Spell’s most poignant conceits: “we’re living in a dream world but we’re running out of night.”

In addition to Caged Animals, Vin Cacchione is an esteemed collaborator in the contemporary fiction podcasting scene, working with John Cameron Mitchell on his ground breaking Anthem: Homunculus podcast, as well as shows by Julian Koster of Neutral Milk Hotel, and John Darnielle of The Mountain Goats. Caged Animals music has been used in popular podcasts like Conversations With People Who Hate Me and Welcome To Night Vale.

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Cacchione also produced the critically acclaimed debut album of author, Bob Dylan cohort, and John Cale collaborator, Larry “Ratso” Sloman, a record which gave him the chance to work with Nick Cave, Warren Ellis, and Yasmine Hamdan.

Vincent Cacchione – Voice, Guitar, Keys
Talya Cacchione – Bass
Magali Charron – Keys, Voice
Patrick Curry – Drums and Loops
Dane Zarra – Guitar

with
Jeff Tobias – Alto Saxophone
Jon “Catfish” DeLorme – Pedal Steel
Alaska Cacchione – Dream Recitation
Bertholet Charron – Lullaby

All songs by Vincent Cacchione, excluding “Au Clair De La Lune

“Like a hip-hop influenced Velvet Underground” – The New Yorker

“If Alan Vega was 40 years younger, he’d be doing this. Or if they remade Blue Velvet, this could work as the soundtrack.” – The Guardian

“Beneath the japing lies a searing emotional truth.” The Sunday Times

“The heart of Vincent Cacchione’s newest project continues to pump blood through the veins of poetic narratives and escapism.” The Line Of Best Fit 

releases June 25th, 2021

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Brooklyn alternative-pop duo Overcoats have announced a new EP, featuring a new single with fellow pop innovators Tennis. “Used To Be Scared Of The Dark” features contributions from Middle Kids, Lawrence Rothman, and Ryan Hahn of Local Natives. The EP is based on self-growth and the quest for stability, and all of the collaboration was done remotely to show how trust transcends physicality.

“The Hardest Part” is a summery folk-pop jam aided by Alaina of Tennis’ buttery-smooth vocals and sparkly keyboards to create immersive harmonies that are easy to get lost in. Reflecting on the making of the song, the Overcoats said:

This song is about coming to terms with a relationship being over. And the hard reality that you may never know where that person ends up or what they do. It’s about letting go. We brought this song to Tennis because it needed their nostalgic retro pop sound to help tell this story. And it needed to be cooler.

“Used To Be Scared Of The Dark” is out June 4th via Loma Vista.

The band will be launching Overcoats – Spotlight Sessions, a series of conversations about each song with their collaborators. You can catch the first episode featuring Tennis on April 14 via Spotify.

I’d never heard of Brooklyn’s Cassandra Jenkins before her latest album, but she’s well-credentialed. She was set to tour with Purple Mountains before David Berman’s suicide and has also worked with The Hold Steady’s Craig Finn and The Fiery Furnace’s Eleanor Friedberger. Berman is referenced on ‘New Bikini’ – “After David passed away/My friends put me up for a few days/”

An Overview on Phenomenal Nature” sounds dubious on paper, an indie-folk record that celebrates nature, adds monologues about how men have lost touch, and incorporates the kind of new-age textures you’d expect on a 1980s Van Morrison record. But it’s lovely in practice, pretty and warm. Jenkins’ vocal is intimate and she’s a good enough lyricist to keep things interesting, casually dropping the word “panoply” into ‘Crosshairs’ and titling a song ‘Ambiguous Norway’.

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Jenkins’ main collaborator is producer and multi-instrumentalist Josh Kaufman. Kaufman’s a member of the amazing Bonny Light Horsemen and who has worked with The National, Taylor Swift, and Josh Ritter. The arrangements are often key with lovely woodwind parts, while the dual lead guitar parts on ‘Ambiguous Norway’ are gorgeous.

A gorgeous, shimmering set of songs that combines ultra-smooth pop sounds (recalling the softer moments of Destroyer’s “Kaputt”) with sweet ambient textures. Fantastic song writing work, as well. A joy to listen to, and a clear early contender for 2021’s album of the year. 

For UK Dinked special edition, go here: dinkededition.co.uk/cassandra-jenkins-an-overview-on-phenomenal-nature

The Band of Musicians:

Cassandra Jenkins– vocals, guitar
Josh Kaufman– guitar, voyager, harmonium, banjo, synth, bass, piano, organ
~and~
JT Bates– drums, auxiliary percussion
Eric Biondo– drums
Michael Coleman– synth
Stuart Bogie–  flutes, saxophone
Doug Wieselman– sax
Oliver Hill– violin, viola, string arrangement  
Annie Nero– bass
Aaron Roche– synth
Will Stratton– guitar
Ben Seretan– drone

All songs written and performed by Cassandra Jenkins
Produced and mostly engineered by Josh Kaufman
at The Boom Boom Room, Brooklyn, NY

Released February 19th, 2021

Worriers are a band from Brooklyn, New York, centered around the songwriting of Lauren Denitzio, with the help of friends Mikey Erg, Nick Psillas, and more. They released their 2nd LP Survival Pop w/ SideOneDummy Records and have toured with John K Samson, Against Me!, Julien Baker, Anti Flag, and more. Worriers‘ debut album “Imaginary Life” was produced by Laura Jane Grace of Against Me! .

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This song was originally recorded for a Rancid “…And Out Come The Wolves” tribute comp which will be released later in 2021.

From The Old Friends EP, track releases March 5th, 2021
Performed by Worriers

 

Juliet Quick builds worlds. Her songs are stark, sweet, weary, frank, immediate, vulnerably plainspoken, always sharply observed. On her forthcoming “Glass Years” EP, she carves out a space of her own by combining spare acoustics, playful synths, frenetic strings, and weeping lap steel. With these tools, the Hudson Valley-born, Brooklyn-living singer and songwriter reflects on climate terror, misogyny both subtle and unsubtle, self-interrogation, and holding on to hope.

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Nathan Kamal (violin, mandolin)
Philip Joy (drums, synth)
Josh Marre (lap steel guitar)

Releases March 5th, 2021 Substitute Scene Records

All songs by Juliet Quick

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It might be a stretch to say Psymon Spine is a group inspired by LCD Soundsystem, as the boisterous, colourful sound they create as a unit stretches well beyond the parameters of James Murphy’s discography. With the gleaming, taffy-like synths that open Psymon Spine’s sophomore album Charismatic Megafauna, the Brooklyn-and-Berlin quartet flexes a muscle it previously showed only occasionally. Although the band’s 2017 debut LP You Are Coming to My Birthday often comprised muddy, thickly overdriven rock experiments, the edges of tracks such as “Transfiguration Church” and “Shocked” glowed with traces of sugary psychedelia. This melty, gooey sound comes into full view on Charismatic Megafauna lead-off “Confusion,” which springs vividly from the uniquely joyous soil where the roots of psychedelia and pop wrap around one another. It’s a fitting intro: Charismatic Megafauna is far more vibrant and colourful than its challenging, formidable predecessor

The latest sample from their forthcoming Charismatic Megafauna is PS at their most extreme—particularly signified by the strained vocal performance from Noah Prebish (who you may also know as a member of Barrie). “‘Channels’ was written in Acadia National Park, Maine, where we stayed for a few weeks to begin writing Charismatic Megafauna,” Prebish shares of the cathartic recording experience. “We spend the majority of our time in Brooklyn, NY absorbing energy, stress, and excitement, then go into the middle of nowhere to process all of those feelings through writing/recording. 

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Additional composition, keys, and vocals on ‘Milk’ by Barrie Lindsay. Percussion on ‘Modmed’, ‘Jumprope’, and ‘Channels’ by Pablo Eluchans. Violin on ‘Different Patterns’ by Ruby Z Wang.

Released February 19th, 2021

All tracks written and performed by Noah Prebish, Peter Spears, Brother Michael Rudinski, Sabine Holler, and Nathaniel Coffey.

Holy Sons from Brooklyn, New York, The music of Emil Amos is at once intimate and expansive. Under the name Holy Sons, as well as with bands OmGrails, and Lilacs and Champagne, Amos harnesses boundless sonic textures to embellish delicately crafted songs. His music balances cues from classic and indie rock traditions with a tenderness and sense of foreboding through unparalleled artistry. Holy Sons’ first double album “Raw and Disfigured” showcases Amos’ mastery of songcraft through a seemingly impossible combination of subtle yet potent gestures, bold arrangements and resolute vulnerability. Raw and Disfigured stands as Amos’ most ambitious and comprehensive album yet, a panoramic gallery of songs as beautiful as they are crushing. 

Raw and Disfigured draws thematically from the archetypal tale of Quasimodo and classic ghost story imagery to illustrate the “hero’s journey” in the time of a coming apocalypse. Album opener “The Loser That Always Wins” acts as the album’s thematic thesis and traces the tale of an underdog triumphing against all odds. From the opening swells, Amos creates a sense of mystery and tension. Melodic sections pierce through the thick fogs of unease with gliding choral harmonies and guitar lines. The looming threat of apocalypse hangs in the air of “Cast Bound King” and “Permanent Things” which gives way to sun dappled catharsis.

Songs like “Lady of the Hour” and “Transformation” serve as vistas amidst the gloom with sweeping pastoral layers and melodies that grasp towards hope rather than resignation. Amos pays homage to one of the greatest champions of the underdog in outsider pop music with an anthemic cover of Daniel Johnston’s “Held the Hand.” Closing piece “Bloody Strings” quietly draws the curtains on the album, borrowing melodic phrases from “Permanent Things” and reconfiguring them into a funeral march towards acceptance of our inevitable decay.

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The recording of Raw and Disfigured took place largely at Sonic Youth’s studio Echo Canyon West. Amos, who plays the bulk of the instruments and sings the majority of the vocals throughout the album, is joined on a few pieces by drummer Steve Shelley (Sonic Youth), as well as album and WFMU in-house engineer Ernie Indradat. The swirling atmospheres of “Lost in the Fire” and “Slow To Run” (featuring Shelley) invoke the spaced-out textures of Spacemen 3 to colour Amos’ moving pop structures. “Coiste Bodhar” buttresses the album’s cinematic undercurrent across nine minutes of instrumental grandeur as affecting as the touchingly raw electric piano and voice duet of the album’s final minutes.

Holy Sons’ songs contain entire epochs, elegantly stretching the bounds of pop songs. Amos’ lyrics are as immediate as they are haunting, spilling out across the expense of entire lifetimes. A keen observer, Amos describes the world from the darker side. Rich vocals draw you into an exotic atmosphere of mystical musical sounds, while classic lilting guitar lines entice you further. Raw and Disfigured proves the enduring power of the rock ballad without dwelling on the nostalgic tropes. The ballads of Holy Sons are ballads for these dark times.

Emil Amos’ (Grails, OM) fantastic double LP from last year, “Raw and Disfigured”, is back on orange wax.
The first press of this sold out super quickly, 

Releases October 30th, 2020