Posts Tagged ‘New York’

Rebirth takes place when everything falls apart. DIIVZachary Cole Smith [lead vocals, guitar], Andrew Bailey [guitar], Colin Caulfield [vocals, bass], and Ben Newman [drums]—craft the soundtrack to personal resurrection under the heavy weight of metallic catharsis upheld by robust guitars and vocal tension that almost snaps, but never quite…

The same could be said of the journey these four musicians underwent to get to their third full-length album, “Deceiver”. Out of lies, fractured friendships, and broken promises, clarity would be found.

“I’ve known everyone in the band for ten years plus separately and together as DIIV for at least the past five years,” says Cole. “On Deceiver, I’m talking about working for the relationships in my life, repairing them, and accepting responsibility for the places I’ve failed them. I had to re-approach the band. It wasn’t restarting from a clean slate, but it was a new beginning. It took time—as it did with everybody else in my life—but we all grew together and learned how to communicate and collaborate.”


A whirlwind brought DIIV there.

Releases October 4th, 2019


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As sad it was to hear about the demise of The Jeanies, by far NYC’s most addictive power pop band of the last half decade, we’re happy to announce their re-emergence as Velveteen Rabbit, now with far more polish and panache and pushing the boundaries of glam pop to unimaginable levels of euphoria. Whereas The Jeanies had a more ragged American pop feel like early Tom Petty meets Gentleman Jesse, Velveteen Rabbit are pure gloss & glam and far more fey, yet no less ferocious. Far less flavor of The Fevers here and more aligned with the breathy pop syrup of the gone-too-soon Brett Smiley, Velveteen Rabbit are one of the finest examples of modern glam, a genre soaked in 1970s over-production that’s virtually impossible to pull off in most cases. But sure enough, these two incredible songs are proof positive that it can be done, both massive tracks with deep, cavernous production and the impossibly great songwriting you’ve come to love seeping out of every pore.


Hopefully this smash hit single is the first in a long line of many more hypno-boogie hits from Velveteen Rabbit, a band that truly understands how the craftsmanship of impossibly great pop isn’t an easy job to pull off, and definitely a shot in the arm to glum-glam/lazy-pop psych-a-like crowd. Everything is mastered to maximum thickness and pristine, glistening tonality, with both tracks instantly competing to be your favourite.

Joanna Sternberg recently shared “This Is Not Who I Want To Be,” It’s our first taste from the New York-based musician’s debut album “Then I Try Some More”. Its released this week Sternberg has already lined up a stint opening for Conor Oberst this summer and has another single, “For You.”

Sternberg has a way with simple stories and melodies that feel eternal, and “For You” falls into that category. It’s little more than Sternberg and a gently galloping guitar, but it gets at something universal: not seeing humanity reflected in another person’s eyes. “With a smile like yours, you could get away with murder, so I will not trust you,” they sing. “With a face like yours, you will know no suffering, I can’t connect with you, although I’ll try each time though I don’t know why.”

Here’s Sternberg with a statement on the song:

This song is about being in any sort of a relationship with a narcissistic person who does not care about you. I have always wanted to be friends with everyone, so it has been difficult to say goodbye to these people. I wish all of them well. I wrote this song as a reminder to surround myself with people who reciprocate my love. I am sorry about the judgmental tone of this song, because I know that everybody feels pain and it is impossible to see into anyone’s mind, body or heart … but I guess life is full of fleeting emotions so if this song is too negative, maybe you will give me another chance and listen to “Pimba” (my song about a baby penguin) which is the next track on the album!


Released July 12th, 2019

All songs written and performed (vocals and all instruments) by Joanna Sternberg. 

Hey buds, dig into these summer jams and cool off your mind.

The BBiB 2019 Summer Jam Sampler is $5 minimum BUT all proceeds will be going to RAICES, the Refugee and Immigrant Center for Education and Legal Services; a nonprofit that promotes justice by providing free and low-cost legal services to under-served immigrant children, families and refugees in Central and South Texas.
AND anyone who pays $10 or more, will be entered to win several prizes that range from vinyl to BBiB t-shirts to tote bags to test pressings! We will have several winners. And you can feel good about your donation to RAICES. Obviously it’s money that is much needed right now.


Released July 15th, 2019

Watch Lou Reed Perform "Walk on the Wild Side" & More in 1986

Lou Reed’s solo work has been argued about for decades. Is 1973’s Berlin the stuff of genius or a paranoid lunatic? Is 1975’s Metal Machine Music groundbreaking or truly unlistenable? That’s up to the listener to decide, but whatever you think about Lou Reed’s solo material, you have to applaud his creative ambition.

If you can’t wrap your head around some of Reed’s stranger material, there are songs from 1972’s Transformer that everybody can get behind. The David Bowie-produced Transformer featured some of the greatest songs of Reed’s career like “Walk on the Wild Side,” “Satellite of Love” and “Vicious.”

This day in 1986, Lou Reed performed at the Ritz in New York City to promote his 14th album Mistrial with a four-piece backing band—Woody Smallwood (keyboards), Rick Bell (saxophone), Fernando Saunders (bass) and J.T. Lewis (drums). Reed performed selections from Transformer, Mistrial and even Velvet Undeground’s Loaded.

Setlist: 0:00:00 – Real Good Time Together 0:06:02 – Sweet Jane 0:11:29 – Turn To Me 0:17:09 – New Sensations 0:24:51 – Satellite Of Love 0:30:19 – Satellite Of Love cont’d 0:32:09 – Underneath The Bottle 0:35:38 – No Money Down 0:39:34 – Mistrial 0:44:17 – The Last Shot 0:52:26 – Walk On The Wild Side 0:59:47 – Street Hassle 1:04:33 – Tell It To Your Heart 1:14:41 – I Remember You 1:19:32 – I Love You Suzanne 1:23:29 – The Original Wrapper 1:30:59 – Doin’ The Things We Want To 1:39:22 – Video Violence 1:47:57 – Legendary Love 1:51:27 – Vicious 1:54:54 – Down At The Arcade 1:59:34 – Rock & Roll

All 27 minutes of Patio’s debut album “Essentials” are artful and purposeful. This Brooklyn three-piece—Alice Suh, Lindsey-Paige McCloy and Loren DiBlasi—aren’t the most adroit post-punk band going today, but what they create out of sparse sounds is impressive. The satisfying contrast between DiBlasi’s pointed deadpan and McCloy’s soft vocalizing is just one reason for their intrigue. The vocal interplay between DiBlasi and McCloy on “Boy Scout” is the best example, and it also displays the full range of their lyrical charm. Lines flicker between self-deprecating or violent to wry or just plain sad. DiBlasi sings, “I just feel like I always lose / I think I’m going to go home and listen to Washer / Instead of spending any more time with you.” McCloy’s delicate vocal harmonies on “End Game” are welcome pillows of melodic pop, and DiBlasi’s punky, disconsolate grandeur on “Open” struts slowly with grace.

Inspired by classic British post-punk, the songwriting of Cate LeBon, and the close-knit Brooklyn DIY community from which the band first sprouted, Patio now release their long-awaited debut full-length Essentials, a fundamental collection of new music for 2019. Building upon the delicacy of the band’s prior work, Essentials presents fuller sounds, heightened emotions, and grander thematic complexity. Its 10 tracks are dark and introspective, yet hopeful, and often humorous—from rambling spoken word meditations to sparkling melodies and soaring riffs. Melodramatic and grotesque expressions abound, as do soft, subtle moments of quiet self-examination. Mixed by Amar Lal (Big Ups, Ovlov) and mastered by Sarah Register (Protomartyr, US Girls).

Provided to YouTube by Redeye Worldwide Split · Patio EssentialsFire Talk Released on: 2019-04-05


released April 5th, 2019
The Band are:
Alice Suh – drums
Loren DiBlasi – bass, vocals
Lindsey-Paige McCloy – guitar, vocals

While listeners have previously described Field Mouse’s sound as something akin to a shoegazey dream pop, “Meaning” marks a decided turn to less obscured realms, boasting 11 songs about finding meaning at the end of the world.

“A lot has happened in the three years since our last record came out. While there is far too much to say about it all in one place, we wrote this album anyway. What are the broad strokes, you ask? It’s more or less about the end of the world and all of the ways that it seems to be happening, but also about making peace with former selves and growing as a person despite the feeling of global entropy. Also: strange internet versions of our friends and selves, bouts of insomnia and picking through the dreams that followed, the importance of forgiveness, and creating meaning in a world that increasingly feels like total chaos. What is the function of art in a place like this? Is anything we make going to last? I am not sure, but here are 11 songs looking for the answer. What I do know is that art connects us to each other and to our feelings and our selves. It is a liferaft, and I hope that we can all continue to put it into the world, appreciate it, and share it indefinitely.”
Rachel Browne

“Meaning”, the third full length album by the Brooklyn– and Philly-based indie rock group Field Mouse, out August 16th, 2019 on Topshelf Records.

Rachel Browne – vocals, guitars
Andrew Futral – guitars
Saysha Heinzman – bass, harmonies
Zoë Browne – keyboards, harmonies
Anne Dole – drums

The pseudonymme of DIY pop diva/producer Kelsie Hogue, aka Sir Babygirl mixes and matches inspirations as sundry as Charli XCX, Hole, Hey Arnold!, and Tim And Eric Awesome Show, Great Job! into unabashedly bubblegum, unashamedly queer pop for a future free of genre boundary and the gender binary.

Dusting off the Bandcamp fan messaging system this Friday afternoon to let you know that Sir Babygirl has a new track out everywhere today. Listen to “Praying”, SBBG’s cover of the Kesha song of the same name, here on Bandcamp


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Listening to Mal Blum’s music, you might grow a bit jealous of the people who get to actually hang with the singer/songwriter in real life. Thanks to their wry one-liners and their ability to create joyful sounds out of relentless self-scrutiny, it’s easy to picture Blum sliding up to brunch or a beach day dispensing a fluid mix of slightly weird yet perceptive jokes and deep insights about the endless struggle to understand oneself and others. These registers—humor and world-weary musing—converge on Blum’s latest record Pity Boy, bringing levity to songs about mental health, the limited resources we have to care for one another, and the grace to be found in taking responsibility for hurting others. Even when Blum’s themes shade darker, the music allows slants of brightness to permeate the gloom and offers frequent opportunities to jump up, dance around, and forget whatever problem might have initially inspired a song.

Opening track “Things Still Left to Say” summarizes what distinguishes Blum’s music from others working at the nexus of punk, pop, and confessional songwriting: specifically, Blum’s ability to diffuse difficult thoughts with humor (“Should I explain myself? / I’d rather read the dictionary!”) and their fascination with the metaphysical gap between one’s presence among others and one’s internal experience of that togetherness. “Do you miss me when I’m not around?” Blum sings, “Because you don’t see me when I’m here”.

In their refrains, Blum’s songs often rely on repetition but not in a way that grows annoying or rote. Rather, the strategy lets Blum turn a thought over and over, drawing different meanings out of it. The refrain on “Things Still Left to Say” goes, “I’ve got things still left to say / I’ve got phrases, I’ve got phrases”—and the contrast between the colloquial construction “I’ve got” and the pretentious word “phrases” strikes a somewhat hilarious, self-deprecating tone. Through this choice, the refrain both mocks the self-indulgent impulse to express oneself and insists on its importance. Blum never specifies what “things” they have to say, but that evasion is exactly the point. Sometimes we feel moved to speak but don’t quite know what to say.

Pity Boy is the first album that Blum recorded with their longtime touring band, The Blums, which includes Audrey Zee Whitesides on guitar, Barrett Lindgren on bass, and Ricardo Lagomasino on drums. The Blums contributed substantially to the arrangements here and created teflon-tight musical structures to shape Blum’s occasionally wordy writing. On “Things Still Left to Say,” for example, Lagomasino and Lindgren create a foot-stomping backbeat while Whitesides sprays arcing guitar riffs like rainbow confetti all over the melody. The song feels engineered to inspire head-bobbing; it’s almost impossible to take the ride without moving some part of your body along.

Pity Boy’s other tracks cleave into two fairly distinct sonic categories: cathartic pop-punk bliss and downtempo DIY acoustics. “Odds,” “I Don’t Want To” and “Gotta Go” exemplify the former through fast tempos, peppy power chords, and Blum’s slightly attitudinal delivery, recalling the adolescent paradox of raising a middle finger to the world while secretly stewing in insecurity. These songs hit a sweet spot between Green Day’s guilty-pleasure ear candy and the introspective, political observations made by Blum’s punk-leaning labelmates at Don Giovanni Records.


On its face, “I Don’t Want To” appears to be an anti-adulting anthem: a declaration of resistance to the tasks we must do to keep our lives on track under capitalism even if, like Blum, we don’t want to. Closer inspection reveals a confrontation with a friend who’s leveled up in the game of life, engaging in bourgeois activities (“You do yoga / And you don’t feel complicated about it”) and hitting their financial marks (“Pay your bills on time / Not month-to-month like some other guys”) with aggravating precision. As elsewhere, Blum deploys the musical syntax of fuck-you punk to sublimate their self doubt, as lines like this creep in: “I’ll never be like that / I can’t tell you why.” If you feel like blasting the song while doing something other than opening your mail, then Blum is giving you permission to go for it.

The second category of songs harkens back to Blum’s earlier, quieter compositions, turning down the feedback and softening the rhythm section to showcase poetic observations. “Splinter,” “Black Coffee” and “Salt Flats” all deserve a close listen, but “See Me” stands out among this group. “I don’t belong, though it helps to play along,” Blum sings, capturing a feeling that resonates between two valences of experience: the common suspicion of not fitting in and Blum’s own identity as a non-binary transgender individual in a cis-normative society. Blum may well have written the song before the Trump administration launched its assault on the civil rights of transgender people, but in its current context, Blum’s repeated plea of “Why can’t you see me when I’m right here?” insists on visibility not just in an interpersonal sense, but also at a crucial juncture in American political life. On album closer “Maybe I’ll Wait,” Blum acknowledges how their self-protective tendencies—whether stemming from brain chemistry or being hurt by others—sometimes lead to letting people down. “I’ve been trying to be better / Since I’ve known what better was,” Blum admits. Pity Boy offers both the comfort and joy of spending 38 minutes in Blum’s forthright yet mercifully light-hearted presence as they navigate how to speak politically in 2019 and try to be a better friend.

releases July 12th, 2019

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Back in 2017, the Gainesville-bred group UV-TV put out a killer full-length album, “Glass”, and and an equally exciting EP, Go Away. Today, they’re back with news of a new album, which is called “Happy”, and a change of scenery, with the group

If one’s been keeping up with the melodic punk music of UV-TV, then their new album Happy will feel like a natural evolution to the stripped-down, sped-up gazey, twee sound of past releases, Go Away and Glass (2017). For Ian Bernacett and Rose Vastola, the masterminds behind the band, 2018 was spent writing and recording the 9-track LP while simultaneously uprooting from Gainesville and migrating north to NYC, where the album was finally mixed and mastered.

The album explores the tropes of letting go of the past, with an amicable catharsis. Despite the album name, the overall tone of the record comes across as a moodier interpretation of their almost jovial punk attitude—with the title track exemplifying that this is a much more personal and thoughtful album. Right out of the gate, the production is cleaner and more buttoned up, perhaps signifying that this record is more serious in nature. While Ryan Hopewell’s charged drumming kicks off the first track, giving us the familiar UV-TV energy, stylistic nuances quickly prove that the band has been drawing on some deeper influences, including The Pastels, Echo And The Bunnymen, and Slowdive, amongst others. As the arc of the album goes to a more vulnerable place, it becomes obvious there’s a new kind of sincerity in their choices compared to the last two releases. By the final track, the entirety of the album has conceptualized the personal and musical growth of the band since last heard in 2017. UV-TV was born in 2015, in the chaos of Gainesville’s thriving DIY scene. With Ian Bernacett’s driving riffs and Rose Vastola’s rock-steady vocals, the two have a knack for writing solid, energetic songs with a sweetness that sticks in the head. As the band continues to push the genre boundaries across their discography, their roots are still deeply embedded in the prolific punk movement they’ve grown from.


First single off the new record “Happy” out July 19th on Deranged Records