Posts Tagged ‘New York’

Frankie Rose 'Cage Tropical' LP

After spending years as a major presence in Brooklyn’s thriving music scene, Frankie Rose relocated to her familial home of Los Angeles for 18 months with the intention of establishing yet another moment in her storied indie rock métier. Gradually, she found herself short on sleep, funds and optimism. “I moved to LA, drama ensued and I ended up on a catering truck. I was like, how can this be my life after being a touring musician and living off of music. I had really lost my way and I thought I was totally done.”

Through sleepless nights of listening to broadcaster Art Bell’s paranormal-themed archives, Frankie’s thoughts had turned to “who am I, I’m not cut out for this business, it’s not for me.” She continues, “I was literally in my room in L.A., not knowing how I was going to get out. But out of it all, I just decided to keep making music, because it is what I love and what I do – regardless of the outcome.”

Towards the end of her time spent in Los Angeles, Frankie reached out to Jorge Elbrecht (Tamaryn, Gang Gang Dance, Violens) and began sketching what became the basic outline of what felt like a new album. Then, rather fortuitously, Frankie ended up back in Brooklyn with the realization that “in the end, I’m on my own. I have to do these things on my own.”

The months that ensued meant basically working with no budget and finding ways to record in-between days. This time enabled Frankie to experiment musically with a variety of people that ultimately changed the way she worked. “I got a lot of input from people like Dave Harrington (Darkside), who was helpful reconstructing the songs, adding dynamics and changing up the rhythms.”

The result of this existential odyssey is “Cage Tropical,” Frankie’s 4th album. It is awash with vintage synths, painterly effects pedals, upside down atmosphere and reverberating vocals. It evokes a new wave paranormality of sorts that drifts beyond the songs themselves. “My references aren’t just music,” says Frankie, “I love old sci-fi. They Live is one of my favorite movies ever, same with Suspiria. 80’s sci-fi movies with a John Carpenter soundtrack, with silly synths – that makes it into my file, to the point that I’ll write lyrics incorporating that kind of stuff. It’s in there.”

Beginning with the shimmery, cinematic and percussive sparkling of the album’s opening track “Love in Rockets,” the song’s refrain of “a wheel, a wheel of wasting my life: a wheel, a wheel of wasting my time” immediately alludes to those darker circumstances that led to the creative origins of “Cage Tropical.”“It’s all essentially based on what happened to me in Los Angeles and then a return to Brooklyn,” says Frankie. “Misery turned into something good. The whole record to me is a redemption record and it is the most positive one I’ve made”


“I feel like I am finally free from worrying about an outcome. I don’t care. I already lost everything. I already had the worst-case scenario. When that happens, you do become free. In the end, it’s about me rescuing myself via having this record.”

Originally released August 11th, 2017

Emily Yacina’s new song “Gleaming” is an upward rush of momentum. “Meet me here/ I’ll show you/ The same light/ I’m feeling,” she sings, her delivery breathless, words spilling out in an incantatory pulse. The track was originally supposed to be entirely instrumental, and it wasn’t until late in the process of making her new album, Remember The Silver, that Yacina stumbled on a melody that fit. The result feels like getting sucked up into space, a hermetic environment where only you and your object of affection exist.

“It’s inspired by throwing yourself into a situation and letting your heart determine your feelings,” Yacina explains. “Letting go and just enjoying someone — for a night or an experience.” In only 90 seconds, she captures that feeling of love without consequence, that glowing moment of rapture where next-steps don’t matter.

“Gleaming” is the lead single to Remember The Silver, the latest in a series of stellar releases from Yacina, whose voice you might recognize as the foil to many a (Sandy) Alex G song. She grew up in the same Philadelphia suburb as Alex Giannascoli, and it was during high school that she first started putting music online. Since then, she’s carved out a niche for gauzy and emotionally earnest songs. Her string of Bandcamp releases, including 2015’s Soft Stuffand 2017’sHeart Sky, are a treasure trove of wrenching melodies and delightfully off-kilter meditations on time and absence. Heart Sky is particularly great, made up of songs that Yacina wrote while isolated in Alaska for a couple of months during a summer. Her songs often operate at that kind of remove, like she’s trying so intimately to document a feeling that she ends up questioning whether that feeling even really exists at all.

Her new album is her most fully-realized project yet, recorded with Eric Littmann — who has also produced similarly introspective albums by Yohuna and Julie Byrne — and put together over the course of the last couple years as Yacina finished school, getting a degree in Environmental Studies, and settling down in New York City as an adult. Remember The Silver captures those first few tentative steps into adulthood, when suddenly who you are is defined entirely by what you make of it.

The video for new single “Gleaming” was directed by Caroline Pigou. “Getting to work with one of my dearest friends, Caroline Pigou, on this video makes it so special to me,” Yacina said. “I was so comfortable shooting because it was her and I, and I feel like that intimacy / confidence comes through like magic.

The album’s title is taken from a book about UFO abductions. The songs themselves play out sort of like a series of abductions in the form of relationships which take over your entire being. They explore what happens when all of a sudden a relationship is over, and you’re left figuring out how to fit into the world once again on your own. That search for definition drives the album, which sounds ecstatically sad in that exploration of the unknown.


Released December 6th, 2019

Written & Recorded 2017 – 2019 in New York City
Written by Emily Yacina

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).

Released April 5th, 2019

Alice Suh – drums
Loren DiBlasi – bass, vocals
Lindsey-Paige McCloy – guitar, vocals

Released in mid-August, Oso Oso’s third full-length could not have arrived at a more opportune moment, brilliantly evoking the lazy afternoons and blazing dusks of a coastal summer’s waning days. Occupying either the lo-fi end of the emo spectrum or one of pop-punk’s scuzzier bandwidths, Jade Lilitri’s songs meander through gorgeously tossed-off chord progressions before settling in as inescapable earworms. The luminescent album intro gradually builds into “The View”’s glorious melody, submitting “Basking In The Glow’s” coming-of-age touchstones. Lilitri’s lyrics capture a young man trying to figure things out at his own pace, and his writing nestles earnest portraits within a relatable universality.

In the title track’s hooky punk there are shades of Ocean Avenue, if Yellowcard were from the tri-state area and less self-pitying; “Dig” conjures early Death Cab, if Death Cab were less self-impressed. The record’s unobtrusive engineering sands down Lilitri’s nasally voice, lending the effect of a vocalist slightly more grizzled than his twenty-six years. “A Morning Song” is perhaps the track which best captures the greater album’s wide-eyed yearning, but in Oso Oso’s case, the journey appears to be the destination.

Oso Oso’s ‘basking in the glow’ is out everywhere.

Two years ago, Guerilla Toss leader Kassie Carlson underwent open-heart surgery to remove a blood clot that had formed as a result of opiate addiction. “What Would The Odd Do?” is where Carlson and the rest of the band confront that near-brush with death. It’s one of the most concise and overpowering examples of the chaotically beautiful psych-dance sound that Guerilla Toss have been perfecting over the last few years, expertly constructed songs about the struggle to get clean and the wonder of seeing every day life through sober eyes.


Guerilla Toss returns to NNA Tapes with a brand new EP, ‘What Would The Odd Do?’, an exploration into new territories and an expansion on their recipe for twisted, addictive rock & roll mania: fried funk, damaged dance, and cosmic cacophony. Fans of 70’s prog and rock greats like King Crimson and Todd Rundgren as well as modern torchbearers like Sheer Mag and Deerhoof will be joyfully united by GT’s uniquely familiar world of wonder and excitement.

For Kassie Carlson — singer, songwriter, and bandleader of Guerilla Toss — What Would The Odd Do? is unarguably the group’s most personal release in their impressive history as a music-making collective. Carlson has found a new joy in life. She has since cleaned up for good, moved to Upstate New York with her partner and Guerilla Toss drummer, Peter Negroponte, and has never felt more inspired.

Kassie Carlson is a true poet of punk, the voice of an unheard generation, the leader of The Odd. Few people have been through what she has, and making it out alive is just the beginning. With her band of musical misfits, Guerilla Toss is an unstoppable force of nature.

KATE DAVIS – ” Trophy “

Posted: December 12, 2019 in ALBUMS, MUSIC
Tags: , ,

Kate Davis picked up a violin at age five, a bass at age thirteen. She entered the Portland Youth Philharmonic before puberty, the Grammy Jazz Ensemble before adolescence. By the time she graduated high school, Kate won the Presidential Scholar in the Arts Award and a full ride to the Manhattan School of Music. By the time she graduated college, ASCAP’s Robert Allen Award and slots at Carnegie Hall and Lincoln Center. As a young adult, the virtuoso claimed enthusiastic endorsements from NPR, MTV, PBS and BBC as well as coveted invitations to the stage from Herbie Hancock, Ben Folds, Alison Krauss, Jeff Goldblum and the like. Most recently, she co-wrote Sharon Van Etten’s hit single “Seventeen.”


On Trophy, Kate Davis embraces indie rock after an adolescence spent as a jazz darling. She uses her experiences in that world both as lyrical fodder—on “Cloud,” she imagines more typical teenage years—and to inform her unique music sensibility (“I Like Myself” incorporates elegant strings arrangements). Her instrumentation is complex, but all of it ultimately works to serve her distinct voice. On Trophy, Kate Davis has discovered herself at last.

Luna have a new digital EP that collects of of their recent limited 7″ singles released on Sonic Cathedral, PIAPTK and Feral Child. They include a few covers plus “Something in the Air” (with Sean Eden on lead vocal), instrumental “The Oort Cloud and Kuiper Belt” (a pair of Luna original instrumentals) and a remix of “Gin.”

Postscripts collects Luna’s recent limited 7″ singles (now out of print) Among other tracks are “California Blue” (Roy Orbison), “Inside Your Heart” (Monochrome Set), “Lonesome Cowboy Bill” (VU),
released September 6th, 2019

Luna was formed in 1991 by Dean Wareham after the breakup of Galaxie 500, with Stanley Demeski of The Feelies and Justin Harwood of The Chills. Guitarist Sean Eden joined in 1994, Lee Wall replaced Demeski on drums in 1997, and Britta Phillips replaced Harwood on bass in 2000. Luna released their final album, “Rendezvous”, in 2005 after playing their final concert at the Bowery Ballroom in NYC.

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Maggie Rogers is back with a new song. The track, “Love You for a Long Time,” follows her nomination for Best New Artist at the 2020 Grammy Awards. Check out the song below.

This past January, Maggie Rogers released debut album “Heard It in a Past Life”. In a press release, Rogers said of the new track, “It’s a song about love in all its forms—romantic love, the love I feel for my friends, the love I feel for my band, and the love I’ve shared with all of you. I wanted it to sound like the last days of summer. I wanted it to sound as wild and alive as new love feels.

For a long time, I’ve introduced myself as a banjo player from the Eastern Shore of Maryland. I’m a hiker and an environmentalist. I’m an optimist. I’m loud.
I’m still all those things, but I went quiet for a few years. I cut my long hair short. I got a cat named Cat Stevens. I fell in love. I moved to New York,

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Purr began in 2017 as the second project from New York City born, raised and forever-based songwriting partners Eliza Barry Callahan and Jack Staffen. Today they announce the debut album “Like New”, produced by Jonathan Rado (Weyes Blood, Father John Misty, Whitney, The Lemon Twigs) which will be released on February 21st, 2020 via ANTI-Records.

The duo – who had previously captured attention releasing deft, stripped down, warm-toned pysch-pop under their names, Jack and Eliza – shifted to what naturally felt like their next musical gear. If Jack and Eliza showcased the songwriting prowess of a promising young duo (they are both still in their early twenties), then Purr lets Callahan’s and Staffen’s work bloom in the fertile ground of a fully realized soundscape. Purr builds upon an ageless, classic sound that at once looks at the past while leaning into their own, individual future – with Staffen’s and Callahan’s vocals humming at the center.

Like New was written in the band’s basement studio in downtown Manhattan, a repurposed storage space beneath a restaurant in the building where Callahan once lived as a young child—thanks to the goodwill of the very last kind landlord in New York City. In the territory of a New York City upbringing, Callahan sites her late close friend and old next-door neighbor, whom she met on the sidewalk when she was eight, the jazz guitarist Jim Hall, as her primary influence in music and life.

While the is band heavily rooted in New York City, the album was recorded at Rado’s East Los Angeles studio with and takes on a distinctly west coast feel which glows with a sunny warmth, whirrs with breeziness and is at times a little noir too. As Callahan and Staffen were working on the album opener “Hard to Realize,” they couldn’t stop hearing tubular bells in the full swell of the chorus. They rented a set from a nearby drum shop, only to learn upon their delivery that they were the exact bells used in the soundtrack for the 1933 classic, King Kong. As Hollywood ghosts swirl through Like New, Callahan and Staffen’s voices knit together forging at times what can eerily sound like one voice.

Callahan and Staffen write: “We wrote the songs that make up this album at the outset of a transitional and particularly uncertain moment in our lives. That early twenties tide change. New patterns took hold as we tried to hang onto old ones. The songs each have their own stories — but at the time they were collectively written, we were dealing with a push and pull between dependence on and independence from people we love, and coming to terms with our own self-expectations. We were resisting and (sometimes) accepting of the inevitable changes in our relationships and friendships, a moment, a specific and strange time in our lives…and, of course, in this… world. That thread was just naturally pulled through the songs.


releases February 21st, 2020

Queens, New York outfit Wives have shared powerful new single ‘Waving Past Nirvana’.

The band’s debased, electronic-leanings recall post-punk and cold wave, while emphatically occupying a space of their own. With perhaps more in common with The Residents than, say, Joy Division, their bold sound is pinned down by lyrics that veer from absurdist humour to dense philosophical wisdom.

Snapped up by City Slang Records, Wives released the two-part seven inch single in May. ‘Waving Past Nirvana’ is all slo-mo synths, a chugging rhythm, and a leering vocal that actually references Buddhist philosophy.

Frontman Jay Beach offers: “‘Waving Past Nirvana’ is a literal interpretation of the bodhisattva—one who has achieved the release, the awakened eye, and yet wants to trade it back for the painful life of desire because she/he/they predominantly feels compassion. This ‘entering back into the world’ to fight a fool’s battle is the essence of ‘Waving Past Nirvana’, and the video depicts one young woman’s journey along these lines.”

The video was directed by Milah Libin (Beach Fossils, Princess Nokia), who adds: “When I listened to ‘Waving Past Nirvana’ it evoked the beauty and the mundane in a never-ending routine. The closeness to finding some sort of fulfilment, or ‘nirvana’, that keeps bringing one back. It happens to all types of people, but particularly in New York where the beat is so fast and so many come here searching. It’s not quite sad; there’s something admirable in that search – a sort of dedication.”