Posts Tagged ‘Brooklyn’

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Bodega’s debut single “How Did This Happen” is packed with driving guitars and droll lyricism. After appearing at SXSW in Austin this March and supporting Franz Ferdinand in the U.S., they’re set to release their debut LP, Endless Scroll, via What’s Your Rupture. (The album was produced by Parquet Courts’ Austin Brown.) The quintet’s experimental, fluid sound includes a bit of everything from post-punk and pop to hip-hop and krautrock.

Brooklyn’s finest release their fantastic debut album. With wild minimalism and sharp wit, they revitalize the rock and roll vocabulary under the influence of post punk, contemporary pop, hip-hop, kraut rock, and folk-derived narrative songwriting. it’s itchy, scratchy perfect pop that makes you want to sing along..even without knowing the words. Bodega’s debut LP Endless Scroll is a collective dialogue with the machine and the public. Ping-ponging vocals are set to Ben’s deconstructed guitar, Nikki’s samples of old and new technology, the driving minimalism of standing drummer Montana Simone (IDIO Gallery), the angular spasms of lead guitar Madison Velding-Vandam (The Wants) and the tight, hypnotic bass lines of Heather Elle (Please No Radio). The LP’s fourteen songs offer a high-energy, humorous but earnest thirty-four minutes. For fans of Parquet Courts, The Fall and Wire.

Band Members
Ben Hozie,
Nikki Belfiglio,
Montana Simone,
Heather Elle,
Madison Velding-VanDam,

The Brooklyn-via-Omaha indie-pop quartet are set to release their debut full-length album,”Poach”, later this year on Modern Sky USA. The 14-track LP was mixed and mastered by none other than guitar maven Delicate Steve, who was an early champion of the band. In 2016, Navy Gangs released a self-titled EP highlighted by the punchy guitars and beautiful vocal interplay of “Special Glands” and the hazy, relatable jangle pop of “Mondays.”

Native Sun - Songs Born From Love and Hate

Native Sun’s debut EP, Songs Born from Love and Hate, showcases the band’s untamed energy and garage-rock bona fides. They were among the best Paste Studio sessions of 2017 list. Matthew Oshinsky wrote, “This quartet from Brooklyn has been around for all of six months and positively gives no fucks—and that’s what you need in a young band: hunger, amplifiers, and something to scream about.” Watch them rip through the song “Blow” at the Studio.

Native Sun blend chunky, Stones’ chord riffs, acidic Alice Cooper-esque vocals, and heaping spoonfuls of mid-70s raunch and roll and you get Brooklyn’s quartet Native Sun, a swaggering group that wears its influences proudly on its sleeve. Their five-song EP debut Songs Born From Love and Hateis a promising offering.

A band could do so much worse than modeling their sound on an epic era in rock music, wherein blues added some heft and glam, then gave birth to punk. All of that is spread generously across this energetic set. Crunching guitars, layered one upon another, whine and shred while choruses shout out anthemic slogans like “I really want it again,” “I don’t mind,” and “I get what I want right now!”

However, it’s on the final two “Blow” and “Pink Sky” that the band seems to take steps toward uniqueness, with the addition of the alchemy ingredient: a gram or two of psychedelia.

Native SunBlow Recorded Live: 12/20/2017 – Paste Studios – New York, NY

Check out Brooklyn’s, NY’s BOYTOY and their latest album, “Night Leaf”.

Formed in 2014, BOYTOY combine luscious vocal harmonies and wavy bass lines for a sound that is equal parts surfer waves and dusty trails. On their sophomore full length, Night Leaf, released earlier this year on Stolen Body Records, the band exhibits polished and cohesive songwriting that is both fun and strong, while also betraying raw emotional edges.

The album’s opening track, It’s Alright, may chronicle the messiness that comes at the end of love, but it makes it feel so right. Mary Anne instantly grabs you with its plaintive appeals to the title character, while I Get Distant offers its perfect counterbalance with a chorus of “Dying alone. Make up my mind, I need you I don’t”. Echoing with late 80s/early 90s power pop influences, other highlights include Static Age, Pretty One, Juarez, and Cold Love.


Nation Of Language share new single “Reality”

Led by singer-songwriter Ian Devaney, Nation of Language evoke a nostalgic ‘80s new-wave sound mixed up with modern appeal. In January, the band released a darkly romantic new single, “On Division St.” They recently supported The Wombats in the U.S. and even managed to recruit The Strokes’ Fab Moretti for another single, the bouncing “Indignities.” . Their new single is a punchy electro-pop tune with Ian Devaney lamenting the monotony of life (“He’s sick of waiting for the sound of something more / That’s the only certainty”) and the surreal nature of reality (“Reality is nothing to me / Where I won’t be as hopeless as I seem / Some kind of waking dream”).

Based in Brooklyn synth rockers Nation of Language craft intoxicating new wave music that nods to the past while locking eyes on the future. Today, the band have shared another track and new single “Reality,” and it’s got all the hypnotic makings of a late night gem. Frontman Ian Devaney describes the song as “revolving around a person whose everyday life has become so mundane and frustrating that they retreat into their own head.


Katie Von Schleicher follows up her 2017 album “Shitty Hits” with “Glad To Be Here”, available now and as a 7″ on May 4th just in time for her upcoming US and European tours. Produced & engineered by Von Schleicher, herself , Glad To Be Here incorporates the warmth and saturation of Bleaksploitation and Shitty Hits, while nodding towards what’s next.  “On a break from touring this winter I went back to my childhood home in Maryland. I built a fire, set up my gold drum kit, saw a ton of stars and felt  smushed by silence. It was lonely, so I made these songs. ‘Glad to Be Here’ is where I find myself right now. ‘Party Dawn’ is tied to Maryland, to a dear friend and our adolescence,” says Von Schleicher. Bringing the songs back to New York, she finalized them with collaborator Adam Brisbin (Sam Evian, Jolie Holland, Buck Meek) and mixed them with Julian Fader (Ava Luna, Frankie Cosmos, Nadine, Palehound).


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Cut Worms is the nom de plume of songwriter Max Clarke, whose debut LP “Hollow Ground” will seduce you right off the bat with its sparkling opening track, “How It Can Be.” With his intimate indie voice and facility for instantly memorable melodies and guitar lines, Clarke conjures a kind of garage-tested Everly Brothers, reminiscent of early Shins, with breezy pop ballads just tart enough to soundtrack lonesome summer days. Hollow Ground was recorded in the L.A. home studio of Foxygen’s Jonathan Rado, and in New York with Jason Finkel at Gary’s Electric. Check out the animated video for “Don’t Want To Say Good-bye,” and prepare to hum it for the rest of the day.

The first “official” single, Don’t Want to Say Good-bye, from the long lost/rumored/awaited Cut Worms album Hollow Ground

Brooklyn singer-songwriter Max Clarke relocated from Chicago to New York City in October 2015 and wasted no time breaking into the music scene with the release of his EP Alien Sounds in 2017. Listening to his unique style was like opening a time capsule from the ’60s and ’70s, and we were immediately hooked. Cut Worms creates a vintage ambiance that lowlights Max Clarkes’ bright and buoyant performance.

Cut Worms a carefree, wholesome sunniness that beckons to mind The Beach Boys gives Cut Worms a retro sound you didn’t know you’ve been missing.  Beatles-esque vocals, adding to the thrifty aesthetic. Cut Worms has flawlessly managed to capture the lo-fi nostalgia of a youthful counterculture, and we can’t wait to keep travelling time through his music. His full-length LP is scheduled for a May 2018 release and you can catch him on tour.


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Brooklyn’s Parquet Courts are the rock ‘n’ roll band we deserve in 2018, and “Wide Awake” is a major stylistic stride in the band’s growing discography. On the album’s title track, singer Andrew Savage’s decisive vocals guide a danceable beat in the spirit of David Byrne, with globally minded percussion and bells and whistles galore. Gritty bass lines from Sean Yeaton are crisp and prominent, alongside everything from Afro-beat rhythms to stoner-punk anthems. With production by Danger Mouse, this is some of the most intriguing rock we’ve heard thus far this year.

Parquets Courts‘ fifth album Wide Awake! – produced by Danger Mouse – is a groundbreaking work, an album about independence and individuality but also about collectivity and communitarianism. The songs, written by Andrew Savage and Austin Brown but elevated to even greater heights by the dynamic rhythmic propulsion of Max Savage (drums) and Sean Yeaton (bass), are filled with their traditional punk rock passion, as well as a lyrical tenderness. The record reflects a burgeoning confidence in the band’s exploration of new ideas in a hi-fi context.

From Parquet Courts’ album ‘Wide Awake!’, out 18th May on Rough Trade Records.

Half Waif brims over with sounds: underwater echoes of Celtic melodies; mossy, blinking electronic soundscapes; the ultra- sad chord changes of 19th-century art music; and eternal, unending bhajans. A finely crafted glass menagerie of song…


I keep replaying the Keep It Out Video on youtube and continue to be intrigued by the feelings and new intricate details that I had missed previously. a song to be cherished on it’s own but the visuals of the video and messages its speaks to me adds depth and layers to the sounds I am not sure I would have appreciated as much otherwise. definetley feeling the ” magic contact” both audio and artistically visually with the video.

Half Waif are:

Vocals & keys: Nandi Rose Plunkett
Bass & guitar: Adan Carlo
Live drums: Zack Levine

released April 27th, 2018

Songs written by Nandi Rose Plunkett
Produced & arranged by Nandi Rose Plunkett with Adan Carlo & Zack Levine

The ‘Nihilism’ EP comes hot on the heels of 2017’s critically acclaimed LP ‘Door Girl.’ Inspired by and written after binge watching the Grateful Dead documentary series Long Strange Trip, her original song “Shoot This Dying Horse” is a rainy day waltz about how bad things can happen to anyone, at any time in the most random and meaningless ways. More specifically, it’s about getting dumped at a bar two days before Christmas. No horses were harmed during the writing and recording of this track. Musically this was a lot of fun to write and arrange.

Shilpa comments “I had binge watched Long Strange Trip, the Grateful Dead documentary series, and immediately began to mess around with the chord changes for “Shoot This Dying Horse.” I’ve never considered myself to be a dead head but there is something in their music that makes me want to write.

Additionally, Shilpa decided to cover Alice Cooper’s “Is It My Body” after spinning a lot of Cooper in the tour van while on tour in support of ‘Door Girl.’ She explains, “When I paid closer attention to the lyrics, I realized if sung by a woman this song could be a feminist anthem. Who knew Alice Cooper wrote feminist anthems?”

releases May 16th, 2018

“Shoot This Dying Horse” written by Shilpa Ray 2018
“Is It My Body” written by Alice Cooper, Dennis Dunaway, Michael Bruce, Neal Smith + Glen Buxton 1971

Music performed by

Shilpa Ray , Vocals, Wurlitzer, Rhodes, Farfisa

Alistair Paxton, Guitar

Turner Stough, Bass

Richard Hutchins, Drums, Percussion

Christian Lee Buss,Backing vocals, Farfisa, Synth