Posts Tagged ‘New York City’

New York’s very own Rebounder are releasing a new song every month as a part of their ambitious The 2020 Project. Like all prior songs, the band’s Noah Chenfeld self-produced the track in his bedroom and wrote it along with his brother Dylan Chenfeld.

“Lovers” is an ear-worm of a track with a big confident chorus that mixes elements of a more synth-based sound with the homegrown rock sound that is always found so fondly in Chenfeld brothers’ DNA.


Written, recorded in the east village of New York City. by Dylan Chenfeld & Noah Chenfeld

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Brooklyn post-punk outfit Public Practice built up a wave of buzz with their debut EP, Distance is a Mirror, back in 2018, and for good reason—its New Wave-infused post-punk was as sharp as it was funky. The band, which features members of Wall and Beverly, recently announced their debut album Gentle Grip is out on May 15th via Wharf Cat Records, and the news arrived with one of their best tracks yet, “Compromised”—a motoring punk-pop romp.

Public Practice is band based in New York City
Members include Sam York = Vocals, Vince McClelland = Guitar, Drew Citron = Bass/Synth/Vocals, Scott Rosenthal = Drums

From the debut album Gentle Grip out 5/15 on Wharf Cat Records.

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We have been quietly working on a lot this year and here’s the first taste we can share! Public Practice release their first new single ‘Disposable’ since their critically acclaimed EP ‘Distance Is A Mirror’. ‘Disposable’ is the first track they have recorded in their newBrooklynstudio where they are recording their first album. before hitting the UK at some point later this year.

The Brooklyn band have channelled existentialism and post punk witin favour of their new track. The question that put this project in motion was: “How do you fight something seemingly so much bigger than yourself, for someone else?” The B-side ‘Extra-ordinary’, their take on the Yukihiro Takahashi’s classic recreated some sounds of the original track with some own sound design.

Public Practice wanted to pay homage to the song but also to the original synth programming which blends in perfectly with the subdued minimalism of their sound. The lyricism and eerie but soothing vocals of Sam York can be contradicting at times but it’s just one facet of the many interesting things about Public Practice.

Public Practice is band based in New York City
Members include Sam York = Vocals, Vince McClelland = Guitar, Drew Citron = Bass/Synth/Vocals, Scott Rosenthal = Drums

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Brooklyn punk trio Thick have seen a lot over their six years as a band. They’ve seen venues close, and they’ve been repeatedly tokenized by men in the music scene, so they’re not sorry who’s offended by their in-your-face punk. Last year, they signed to Epitaph Records, and their debut album, “5 Years Behind”, is finally coming out on March 6th. Expect jumpy, melodic punk where the personal is political. Samples of men using phrases like “Girl bands are really in right now” characterize “Mansplain” while the rambunctious title track perfectly depicts internal combustion: “I wouldn’t feel so overwhelmed / If I didn’t let time take control.”

The band’s third EP and first release since signing to Epitaph Records, THICK bottles up the reckless energy of their live set and adds new textures to a gloriously scrappy sound they’ve labeled “girlwave.” The three-song release also reveals THICK’s particular brand of lyrical genius: calling out the stupidities of the status quo and claiming their own space apart from the masses.

THE BAND:– Kate Black, Nikki Sisti, Shari Paige

“5 Years Behind” by THICK from the album ‘5 Years Behind,’ available March 6th


Listening to Weeping Icon’s debut album is too enter a dim catacomb of psychical catharsis. Urgent yet calculated riffs rip through a thunderous pummel of percussion, with a blend of punk and psychedelic drumming which carries the songs with an atmosphere of organized chaos. Lyrically they are both serious and sarcastic, trading off vocalists to confront issues central to a generation, dosing listeners with the controlled sense of horror and humour like flavors in a dish.The band’s debut record “Weeping Icon” is a collection of 7 songs that archive the metamorphosis into heavier and more provocative territories.

In keeping with their live performance’s, a sequence of dystopian sound interludes complete the album, serving as guided meditations between the candid subversive fury of the main tracks. Recorded and mixed by Uniform’s Ben Greenberg and mastered by Jonathan Schenke in New York City.

Weeping Icon’s self-titled debut album, out now on Fire Talk and Kanine Records, is a chilling adrenaline rush. It’s the kind of record that will make you run faster out of fear. Their gothic psych-punk is a noisy, dark tunnel, and the only way you can get out is by riding their wave of pummeling rock ‘n’ roll.

It’s an undeniably underground record, and this trio’s maniacal cacophonies will appeal to those on the fringes, but all the better given that New York City has more than enough outsiders.

Weeping Icon’s debut self titled album on Fire Talk Records.

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Brooklyn duo Water From Your Eyes will surprise and delight you in equal measure. Rachel Brown and Nate Amos make up this experimental pop duo, and their strange textures and song structures make pinning them down almost impossible. There’s a harshness and a lightness to almost everything they do. Their latest album, 2019’s “Somebody Else’s Song”, available via Exploding in Sound Records, is an amalgamation of acoustic pop, bombastic ambient freakouts, a capella interludes and robotic dance-pop.

Adeleine” by Water From Your Eyes from their upcoming release, “Somebody Else’s Song” released last October 25th on Exploding in Sound Records.

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Ever since the release of their critically-acclaimed 2018 debut EP, “Distance is a Mirror”, it was pretty clear that Public Practice have something special. Featuring members of Wall and Beverly, Public Practice surfaced two years ago with a head-turning debut single, “Fate/Glory,” which later appeared on their EP. It turns out that the song’s rhythmic, incisive post-punk brilliance wasn’t just a fluke—Distance is a Mirror is a ravishing display of danceable New Wave punk and pointy post-punk. There’s no word on a full-length yet, but with a 2020 U.K. tour already booked, there’s likely something else cooking.

Tracks: 01. Fate/Glory – 00:00 02. Bad Girl(s) – 02:38 03. Foundation – 04:45 04. Into the Ring – 08:26

The full EP,  “Distance is a Mirror” by Public Practice,

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Peel Dream Magazine, the project of musician Joe Stevens, combines off-center dream pop with classic shoegaze soundscapes. Both their 2018 debut album Modern Meta Physic and forthcoming LP Agitprop Alterna (out on April 3rd via Slumberland Records) exude a hypnotic quiet-loud dynamic, often aided by blurry synths and serene vocals. Mixing the glaring with the pacifying, Peel Dream Magazine are an exercise in dazzling, retro-meets-modern drone. The band’s 2020 follow-up Agitprop Alterna is much broader, thanks in part to the live members that appear here like vocalists Jo-Anne Hyun and Isabella Mingione and drummer Brian Alvarez, and also due to its emphasis on a more dynamic sound. It’s a caressing record with satisfying moments that are felt long after they pass—take for instance the innocent, fluttering keys that close “Brief Inner Mission,” which transition into the wonderfully filtered vocals and blown-out guitars of “NYC Illuminati.” Agitprop Alterna is a loungey, droning, space-age odyssey that might help even the most anxious among us escape for a bit.

It’s not without good reason that people have been likening Peel Dream Magazine to My Bloody Valentine, Stereolab and Yo La Tengo. Helmed by Joe Stevens, one of New York’s finest contemporary players, the outfit makes music that’s tender but savage, powerful but delicate and packed with beautiful discordance hiding its sumptuous melodies. ‘Agitprop Alterna’ is their second full-length release and it certainly adds fuel to the argument that people need to take this lot very seriously. In addition to the aforementioned, here it nods to Velvet Underground (notice the tripped out, opiate-hazed interludes throughout the album) and krautrock-leaning art pop. The record drones, drives, grooves and perplexes on its course, but most of all it unarguably impresses. Or at least that’s what we’ve got to say on the matter

Agitprop Alterna is out everywhere today Shout to everyone who made this possible, most importantly Slumberland Records and Tough Love Records

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The thing you won’t be able to avoid on Bambara’s latest album “Stray” is death. It’s everywhere and inescapable, abstract and personified ,perhaps the key to the whole record. Death, however, won’t be the first thing that strikes you about the group’s fourth  and greatest  album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling and at times

Stand out tracks like “Sing Me To The Street” and “Serafina” simply overwhelming   Bambara are twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire – have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut Dreamviolence. That process greatly accelerated on 2018’s Shadow On Everything, their first on New York’s Wharf Cat Records and  a huge stride forward for the band both lyrically and sonically.

The album was rapturously received by the press, listeners and their peers. NPR called it a “mesmerising…western, gothic opus,” Bandcamp called the “horror-house rampage” “one of the year’s most gripping listens,” Shadow also garnered much acclaim on the other side of the Atlantic. Influential British 6Music DJ Steve Lamacq, dubbed them the best band of 2019’s SXSW, and Joe Talbot of the UK band IDLES said, “The best thing I heard last year was easily Bambara and their album Shadow On Everything.”

The question was, though, how to follow it?   To start, the band did what they always do: they locked themselves in their windowless Brooklyn basement to write. Decisions were made early on to try and experiment with new instrumentation and song structures, even if the resulting compositions would force the band to adapt their storied live set, known for its tenacity and technical prowess. Throughout the songwriting process, the band pulled from their deep well of creative references, drawing on the likes of Leonard Cohen, Ennio Morricone, Sade, classic French noir L’Ascenseur Pour L’Echafraud, as well as Southern Gothic stalwarts Flannery O’Connor and Harry Crews. Once the building blocks were set in place, they met with producer Drew Vandenberg, who mixed Shadow On Everything, in Athens, GA to record the foundation of Stray.

After recruiting friends Adam Markiewicz (The Dreebs) on violin, Sean Smith (Klavenauts) on trumpet and a crucial blend of backing vocals by Drew Citron (Public Practice) and Anina Ivry-Block (Palberta), Bambara convened in a remote cabin in rural Georgia, where Reid laid down his vocals.

The finished product represents both the band’s most experimental and accessible work to date. The addition of Citron and Ivory-Block’s vocals create a hauntingly beautiful contrast to Bateh’s commanding  baritone on tracks like “Sing Me to the Street”, “Death Croons” and “Stay Cruel,” while the Dick Dale inspired guitar riffs on “Serafina” and “Heat Lightning” and the call-and-response choruses throughout the album showcase Bambara’s ability to write songs that immediately demand repeat listens.   While the music itself is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. If the songs on Shadow On Everything were like chapters in a novel, then this time they’re short stories. Short stories connected by death and its effect on the characters in contact with it. “Death is what you make it” runs a lyric in “Sweat,” a line which may very well be the thread  that ties these stories together.

But it would be wrong to characterize Stray as simply the sound of the graveyard. Light frequently streams through and, whether refracted through the love and longing found on songs like “Made for Me” or the fantastical nihilism on display in tracks like the anthemic “Serafina,” reveals this album to be the monumental step forward that it is. Here Bambara sound like they’ve locked into what they were always destined to achieve, and the effect is nothing short of electrifying.

Their narrative-based songs may be completely out of step with what’s happening in music right now, but that leaves plenty of room for New York City outfit Bambara to shine. Their gothic rock is gripping and shadowy, and Reid Bateh unfurls lines about characters who are much the same. Their new album, Stray, follows 2018’s Shadow on Everything.

“Heat Lightning” is from the album “Stray” out on 14th February 2020 . Order your LP/CD/Special Edition LP now.

Sonny Vincent, known as the founding member of New York City punk heroes, The Testors has unearthed a collection of never-before heard recordings from his proto-punk days with this new LP collection. Compiling unreleased tracks from Distance (1969-71), Fury (1972), and Liquid Diamonds (1973-75), as well as one of the earliest Testors demos from 1976, this LP collection shines a light on one of New York City’s darkest corners of punk history.


Released January 22nd, 2020