Posts Tagged ‘New York’

Sonic Youth uploaded another rarity to their ever-growing Bandcamp archive , sharing “Live In Bremen 1991”. Here’s what drummer Steve Shelley had to say about the latest release:

Live in Bremen was recorded at the Aladin Music Hall on August 27th 1991, just halfway through the 12 day European tour that would later become immortalized in The Year Punk Broke documentary directed by our friend Dave Markey. In Bremen we returned to the familiar – a smaller-sized indoor venue – after playing to gargantuan, surreal-sized audiences at the Reading Festival and Pukkelpop. The Aladin had opened in 1977 and had hosted bands such as Golden Earring, Foghat and Blue Öyster Cult, but on this night Sonic Youth, Gumball and special guests Nirvana were also on the bill. Two different bootleg SY records were released from this concert; The Mira Tapes, sourced from an audience recording and Live In Bremen, a semi-official bootleg picture disc with a Yoo-Hoo (a NJ-local chocolate beverage drink) bottle cap – supplied by the band – as the cover star.


This concert was also the source for some of the audio used for The Year Punk Broke film score and it’s subsequent short (This Is Known As) The Blues Scale. Now for the first time, and from our own audio source, the entire Sonic Youth in Bremen set (minus encore) is presented here (complete w/a tape-flip during I Love Her All The Time).

Listen to Live In Bremen 1991

On Stray, the third full-length album from the sneering post-punk trio Bambara, the band is running on a full tank of fears that live inside all of humankind, invite death into the passenger seat with a canister full of kerosene, set the world ablaze, and watch it all burn with a lust as they inch closer and closer to an inevitable end. Since uprooting themselves from Athens to Brooklyn, lead vocalist and guitarist Reid Bateh, drummer Blaze Bateh and bassist William Brookshire have discretely entwined their debonaire southern gothic of their early work under the street lamps of big city streets, but ultimately, it’s the wild and reckless nature that thrives in the Big Apple at nighttime that has truly sparked a fire to ravage through flesh and soul here on their best effort to date yet yet.

Stray is also a modern day blueprint on how to resurrect tired motifs of death into rock music through a spiritual energy that never lets on as cliche. Credit that to Reid Bateh’s wicked hand at storytelling, as he colors Bambara’s hue of darkness with figures often mysterious, dangerous, and capable of a supernatural allure. Alongside his ‘mates, they splatter the canvas of their sound with their own blood as well as those they encounter. He does this all with damaged detail, like on “Miracle” where his muse writhes around a pole between the rolling bombast of brass and white hot neon in sleazy pace that feels like One Eyed Jacks’s doppelganger. On the full throttle trinity of “Heat Lightning”, “Serafina” and “Ben & Lily”, Bambara find bad company that adds an accelerant to their mix, surfing unhinged on razorblade riffs and pressing down the gas pedal in a way that bites into vice akin to their UK peers Idles.


When Bambara leaves nothingness to smoulder, the results can render a duality in their violent romanticism, be it heavently (”Made for Me”) or full of fire and brimstone (“Machete”.) Maybe it is the Devil who should be asking Bambara what he desires in exchange for whatever they’re harnessing, because as Stray professes, any work that finds its way through the shadows and can stare death straight in the eyes without flinching is on the level of some kind of unholy godliness.

The album, Stray (out on Feb. 14 via Wharf Cat Records),

We are happy to welcome Knot to Exploding In Sound Records  with the announcement of their self titled debut LP, due out August 28th. The band is made up of our familiar friends Jonah Furman, Aaron Ratoff, Ian Becker (all of Krill) and guitarist Joe DeManuelle-Hall. In simple terms Knot is a bigger, more ruminative version of Krill, but it’s also something that’s distinct unto itself. And on the band’s debut album it’s easy to see that Knot has a perspective all its own. You can hear the first single “Foam” from the upcoming album


Releases August 28th, 2020
The Band Members
Jonah Furman: Vocals, Guitar
Joe Demanuelle-Hall: Guitar
Aaron Ratoff: Bass, Guitar (4, 9)
Ian Becker: Drums

Recorded by Julian Fader and Carlos Hernandez at The Honey Jar, Brooklyn, NY.

Zakk Sabbath is the Black Sabbath tribute band featuring guitarist/vocalist Zakk Wylde (Black Label Society, Ozzy Osbourne), bassist Blasko (Ozzy Osbourne, Rob Zombie) and drummer Joey Castillo (Danzig, Queens of the Stone Age), who have been constantly gigging since 2014 with their take on the Birmingham four’s early songs.

Legendarily recorded in a single day in October 1969, Black Sabbath’s self-titled debut was released on a Friday the 13th in 1970, and the world was never the same.

“We recorded a live EP and were wondering what we could do next as a cover band, so the 50th album anniversary came just at the right time”, explains Blasko regarding Zakk Sabbath’s decision to go studio. “Compared to ‘Paranoid’, which is almost like a best-of record, the bulk of the material on ‘Black Sabbath’ is deep-cut, really experimental stuff that was never thoroughly explored, so that was a challenge, not to forget that we wanted to meet our own high standards.”

Describing the DIY process as “very productive,” the three respectfully added their own flair to make for a slightly different flavor, also revisiting various live renditions and “extending a solo here or slowing things down because that’s what they tended to do on stage.”

Titled “Vertigo”, Zakk Sabbath’s ode to the masters won’t be available digitally, “to make the release feel authentic to the time when vinyl ruled the earth. It was such a cool time for those of us that grew up during that time. The fan experience with the physical product is irreplaceable with digital and streaming. We wanted to capture that authenticity.”

The songs were faithfully recorded in the spirit of the original – live in the studio and with a film crew documenting the process – culminating in a new celebration of the greatest heavy metal band of all time and the record that started it all.

Produced by Zakk Wylde.
Unlimited edition of ‘Vertigo’ packaged in a deluxe gatefold LP sleeve and pressed on purple vinyl,

releases September 4th, 2020

Sonic Youth’s summer instrumental EP, Perspectives Musicales is, at first glance, a full-blown tribute to the 20th century French avant guard. From the EP’s title, to the exquisitely, tottering pretentious song titles — “Anagrama,” “Improvisation Ajoutee,” “Tremens,” and ” Mieux: De Corrosion.” The connections don’t stop there, the vinyl is Coke can red, adding a whiff of both socialism and aesthetics (the best and most effective red-vinyl release I’ve seen since J. Geils’ 70’s album, Bloodshot.

But the connections do stop with the music. While the French avant-guard, from Celine to Sartre to Foucoult, focus on the Absurd and are always tinged with a hint of nihilism, all four of the tracks on Perspectives Musicales are melodious, if not always harmonious, celebrations, and instead of a reign of disorder, Sonic Youth creates beautiful, often exquisite order out of what seems like thin-air.

This first release since 1995’s not entirely satisfying Washing Machine is a wonderful example of what Sonic Youth does best. While cutting apart and putting back together beautiful, even poppy melodies, Moore, Gordon, Shelley and Ranaldo never sound as if they’re lost in some sort of psychedelic jam; in every step along the journey, there’s tremendous lyricism and harmony…which seem contradictory for a band whose trademarks include the meticulous musical dissection of harmonies. At their best, like on Washing Machine’s “Diamond Sea,” the results are glorious. And Perspectives Musicales, an all-instrumental effort in which all energy is focused on music and none of lyrics, is glorious. Perhaps only Genet could have appreciated music this celebratory.

The EP’s opener, the nine-minute plus “Anagrama,” sets the tone for what’s to come. Moore and Ranaldo weave around each other gently, slowing building to a peak; sometimes aggressively, sometimes downright prettily, they build droning melodies up to huge peaks and come back down again. Gordon and Shelley are working both as a rhythm section and also operate on their own level; on every song, Gordon’s bass-lines and Shelley’s drumming do as much to establish the melodic and harmonic structure of the song, and behind Renaldo and Moore, no strangers to melody themselves, that’s no small feat.


Perspectives Musicales is the first in a series of EPs Manhattan’s coolest hipsters are planning to release, according to Ranaldo. If they’re all as good as this, it’ll be a nice year indeed for Sonic Youth fans.

Originally released May 5th, 1997

This is a recording of the last show I played with my band before the world slowed down. I hope that it brings joy and a little solace where people need it most.

Lots of love and thanks to my bandmates, Erin Manning, J.R. Bohannon, and Bryan Bisordi, for taking the ride with me, for their fire performances, and to Brian Esselbrugge for engineering and recording this set! . And thanks especially to every fan who has made live music possible. This is such an intimate concert recording that it feels like Torres is singing directly to me. Torres sings her heart out, perhaps knowing that this would be her last show for a while.


All my love,

The Band:
Bryan Bisordi: drums
Erin Manning: Moog, synthesizers, vocal harmonies
J.R. Bohannon: pedal steel, guitar
Mackenzie Scott: vocals + guitar

Released July 3rd, 2020

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Torres has shared a new cover of Portishead track– hear her bewitching version of ‘Wandering Star’ .

The artist – real name Mackenzie Scott – is the latest musician to share a new cover while millions across the world self-isolate due to coronavirus.

The cover was recorded in London in 2017, with Scott calling the Bristol trio “one of my favourite bands in the world”. It was originally available only on Bandcamp (the website gave 100 percent of revenue to artists last Friday as a gesture of support), but is now available on YouTube too


Released March 20th, 2020

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Peel Dream Magazine is the musical vehicle for NYC’s Joe Stevens, who launched the band in 2018 with the critically acclaimed debut album “Modern Meta Physic,” a mysterious, liminal tribute to the hazy end of ‘90s dream-pop that found its place on numerous “Best of 2018” lists. Now Peel Dream Magazine are back with “Agitprop Alterna,” an album that pays homage to sonic and spiritual influences ranging from early Stereolab and Broadcast through stateside groups like Lilys and Yo La Tengo.. “Agitprop Alterna” finds Stevens channeling the collaborative spirit of the band’s live incarnation in the studio, deepening the connection between the existential and the interpretive first explored on “Modern Meta Physic.” It is a rejection of manipulation in all its forms and a buzz-saw against complacency; it’s a rare trick to agitate without being obvious, and perhaps that makes “Agitprop Alterna” the most Peel Dream Magazine-like statement yet.


A best of 2020! An Amazing blend of My Bloody Valentine, Stereolab, and Broadcast influences strewn across a collection of songs full of beautiful harmonies, organ loops, and distorted shoegazy chords. A wonderous effort from Peel Dream Magazine.From the first guttural guitar haze of “Pill,” you think you know what you’re getting. There have been lots of bands with that one perfect song capturing the bygone heyday of dream-pop and shoegaze. But across Peel Dream Magazine’s sophomore outing, the hits keep coming and the reference points keep collapsing in on each other. “Emotional Devotion Creator,” “Do It,” “Too Dumb” — each song finds the Peel Dream exploring different iterations of psychedelic music and blurring the boundaries between them. The hooks, history, and philosophy all become detritus swirling together into a kaleidoscopic reinterpretation you can’t look away from.

released April 3rd 2020

Joe Stevens – Vocals, Guitars, Organ, Synth, Drones, Drum Machine
Jo-Anne Hyun – Vocals
Brian Alvarez – Drums on Pill, Escalator Ism, Too Dumb, Do It, and Eyeballs
Kelly Winrich – Drums on Emotional Devotion Creator, Brief Inner Mission, NYC Illuminati, and Up and Up

All songs written by Peel Dream Magazine

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Despite being only 22, Samia has a self-awareness beyond her years. The indie singer-songwriter is masterful in her sharp lyrics, which capture common anxieties and frustrations with a poet’s charm. She finds painful moments and leans into their messy, ugly details, transforming them into defiant common touchstones speckled throughout life. One breakup song ends mid-sentence, evoking the discomfort and anticipation of separation, while another is inspired by a high-school memory of boys groping her breasts, using the experience to inspect the politics and power of women’s desirability.

But, the New York singer offers more than poignant confessional lyrics. She also crafts striking compositions, which range from dramatic, wailing folk ballads backed by simple piano or acoustic guitar accompaniments to gritty and grungy rock anthems. Always at the forefront is her crystalline voice, carrying each number with its deft transitions between ranges and its emotional power.

Using this idea of two distinct selves as framework, the indie rocker teamed with director Nick D’agostino to craft a music video that illustrates the disparity.  My first album is called “The Baby” and it’s coming out via Grand Jury on 28th August. made it with my friends caleb hinz, jake luppen, nathan stocker and lars stalfors kramer
2nd single off the record is called Fit n Full and i wrote it with Tom D’Agustino and it’s out now!!

Official music video for Samia’s “Is The Something in the Movies?,” from her debut album The Baby, coming August 28th.

Cigarettes After Sex is an ambient pop collective led by songwriter Greg Gonzalez & is currently based out of Brooklyn, NY.  “I’ve always avoided studios,” says Cigarettes After Sex frontman Greg Gonzalez. “There’s something special about recording out in the world, some kind of X-factor that comes from the character and atmosphere of wherever it is that you’re working that becomes essential to the feeling of the music.”

That marriage of sound and setting is the heart and soul of Cry, Cigarettes After Sex’s riveting sophomore album. Recorded in a stunning house on the Spanish island of Mallorca, the collection reflects the uneasy beauty, erotic longing, and stark minimalism of the space, all smooth lines and soft light. Energized by the fresh palette and setting, Gonzalez would write songs just minutes before recording them with the band—drummer Jacob Tomsky, bassist Randy Miller, and keyboardist Phillip Tubbs. He engineered and produced the sessions himself, with an emphasis on capturing live performances and exploring the material together in dialogue with the house and with each other.

Clocking in at nine songs, Cry is a compact collection, but its brevity belies its depth. While the band’s sound may be most associated with the romantic pop music of the late 50’s and early 60’s, Gonzalez pushes into more unexpected sonic territory on Cry, reaching back to his childhood in El Paso, Texas, to draw subtle melodic influence from 90’s Tejano stars like Selena and mainstream pop country artists like Shania Twain. Gonzalez pushes himself lyrically on the album, too, tackling sex with the graphic frankness of Henry Miller or Leonard Cohen as he renders unabashed, sometimes explicitly erotic scenes with a casual candor. Writing with a filmmaker’s eye, he captures tiny moments with a rich, cinematic detail that manages to locate the profound within the mundane.


Cigarettes After Sex return with their anticipated sophomore album – Cry via Partisan Records. Recorded during night time sessions in a mansion on the Spanish island of Mallorca, the album is a lush, cinematic meditation on the many complex facets of love – meeting, wanting, needing, losing…sometimes all at once. The album was self-produced and engineered by Greg Gonzalez, and mixed by Craig Silvey (Arcade Fire, Yeah Yeah Yeahs).