Posts Tagged ‘New York’

When Claud Mintz’s mother finally heard the 13 songs on her kid’s magnetic first album, Super Monster, she asked a concerned question: Just how many people had her 21-year-old dated? From beginning to end, these sparkling pop tunes capture the assorted stages of a relationship’s delight and dejection—the giddy sensation of a first kiss during the beaming “Overnight,” the heartsick longing of a pending rejection during the yearning “Jordan,” the reluctant call for a requisite breakup during the smouldering “Ana.” Claud, though, replied that these songs detailed the phases of only two or three relationships, simply written during them or at various points after they were over.

The debut release on Phoebe Bridgers’ Saddest Factory Records, “Super Monster” is a vertiginous but joyous coming-of-age reckoning with such young love. Claud sees relationships as games of endless wonder, intrigue, and second-guesses, a roller-coaster thrilling you even when it’s terrifying. If “Gold” turns the tension and indecision of a bad match into an undeniable bit of lithe disco, “That’s Mr. Bitch To You” uses a spurt of righteous indignation to fuse a little soul and emo into one breathless hook. Super Monster is like a compulsive compilation that Claud culled from a lifetime of musical enthusiasms—the arcing alt-rock of ’90s airwaves, the rapturous pop of ’00s chart-toppers, the diligent genre-hopping of modern online life. Claud emerges as the chameleonic mastermind of this mélange, channelling all of love’s emotions into songs so sharp they make even the hardest times feel fun.

Perhaps you are in the throes of one of these romantic moments yourself right now, resentful of a frustrating paramour like Claud during “Pepsi” or indulging in lust like “In or In Between.” Or maybe these songs recall those wild days and tough situations. Incisive, instant, and addictive Super Monster works on either level—to remind us of love’s wild ups and downs or to help us deal with them in real time. In that way, Mom, these songs are about dating, well, everyone.

Claud from the album ‘Super Monster’, out February 12th 2021 on Saddest Factory Records.

KATE DAVIS – ” Strange Boy “

Posted: November 27, 2020 in ALBUMS, MUSIC
Tags: ,

Kate Davis: Trophy: Exclusive Signed Vinyl

In collaboration with the Hi, How Are You Project, a non-profit organization dedicated to providing open conversations around mental health and well-being, Davis will release “Strange Boy”, a unique rendering that is named after the eighth song on Johnston’s original masterpiece. Johnston, who died on September 11th, 2019 at the age of 58, has long been a beacon to those making lo-fi bedroom pop. The crinkled quality he achieved by recording to tape made him a giant of the genre. His music, celebrated for its childlike tenderness and for the way he acutely described his own struggles with bipolar disorder, is part of his enduring legacy.

Having co-written Sharon Van Etten’s 2019 hit ‘Seventeen’, Kate Davis’s background as jazz darling (invited to join the likes of Herbie Hancock, Ben Folds, Alison Krauss and Jeff Goldblum) slowly started to fade. Her debut album is cathartic indie rock in the vein of Beach House, Elliot Smith and TV on the Radio.

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, sheco-wrote Sharon Van Etten’s hit single ‘Seventeen’ and contributed to the soundtrack for blockbuster Five Feet Apart. Yet, Kate considers her debut indie rock album her hardest-earned accolade to date. Kate grew up as a jazz darling, but she grew into something significantly more dynamic. Days spent practicing and performing became nights spent writing—cathartic indie rock—music simultaneously informed by and rebutting of her training. Forbidden chord progressions emerged like diary entries, documents of an internal reaction to routine.

As a homage to that original song — which begins with a three-minute recording of a man telling a story about meeting Johnston for the first time — Davis placed recordings of her own friends sharing memories that they have of Johnston as interludes between each of the nine songs on her new album. Most of the voices have been sped up to give the impression of someone fast-forwarding through a cassette tape. It’s a neat touch that adds both color and humour to the work.


Time intended for technique slipped into secret listening sessions of Beach House, Elliot Smith and TV on the Radio. In the same bright, arresting croon that ignited her youthful stardom, Davis created confessionals. Now 28 and audibly matured, Kate is prepared to properly share the artefacts from her late night craft, a full length reaction to ritual required of perfection, an outburst from the pedestal. Throughout twelve tumultuous tracks, she poetically reflects upon the intricacies of what it is to live, ruminating on topics too close to her heart – identity, self-worth, loss.

“Clash the Truth” is the second studio album by American indie rock band Beach Fossils. It was produced by Ben Greenberg (formerly of The Men) and songwriter Dustin Payseur. It was released on February 18th, 2013, through Captured Tracks, After recording the first Beach Fossils album in decidedly lo-fi fashion and mostly by himself, Dustin Payseur decided to make a change for the group’s second album, 2013’s Clash the Truth. First, he teaming up with producer Ben Greenberg (of the Men) and headed to a real studio (then another after the first one flooded during Hurricane Sandy). He also replaced the drum machine he’d been using with a real drummer, Tommy Gardner, and recorded the bass and drums live together. For many bands that start out as intimate bedroom recording projects, this kind of shift signals the beginning of the end as the very things that made them interesting (intimacy, weirdness, and immediacy) are discarded in favour of fidelity and some degree of professionalism. In Beach Fossils‘ case, moving to a studio with better sound has served to strengthen the impact of the music. Payseur and Greenberg don’t change the basic reverb-heavy sound or the surf-riding guitars or the general feel of the music; instead they make it a little clearer and more punchy, which helps the songs hit harder. I originally preffered their first two EP’s, but fell in love with Clash the Truth because of the substance and depth it has in comparison to their early stuff.


The live bass and drums, too, give the songs a raw energy that their previous recordings didn’t have. Gardner turns out to be an ideal addition to the sound, never just playing the beat robotically but colouring it in with crisp fills and strong cymbal work. Payseur sings a little louder and with more force too, delivering some aggression on the up-tempo tracks and giving the slower, more introspective ones some extra depth. There’s a nice bit of variety, as well, with quite a few songs that stretch the Fossils‘ range. While most of them fall right into the sweet spot of hard-charging, underwater indie pop — with a couple (“Careless,” “Shallow”) sounding like modern reverb-pop classics — there are diversions into acoustic balladry (on the absolutely beautiful “Sleep Apnea,”) jittery post-punk (“Caustic Cross”), and best of all, a wonderfully atmospheric shoegaze dreamer that features Payseur sharing wistful vocals with Blonde Redhead’s Kazu Makino. All in all, Clash the Truth is exactly the record Beach Fossils should have made at this point, reinforcing all the things that made them good while adding some excellent new wrinkles and boosting the production values.

Originally released February 19th, 2013

There’s a new Rilo Kiley covers compilation titled No Bad Words For The Coast Today: The Execution Of All Things Covers Comp, out today via Bandcamp. The compilation features Sad13, Mannequin Pussy, Diet Cig, Adult Mom, Lisa Prank, Anika Pyle, Gladie and more. Half of the proceeds will go to the artists and the other half will go to G.L.I.T.S., a NYC-based non-profit, social justice, advocacy and service organization addressing the health and rights crises faced by transgender sex workers.


No Bad Words For The Coast Today: The Execution Of All Things Covers Comp is a compilation featuring 14 artists, celebrating Rilo Kiley and their seminal 2002 album.

Released November 6th, 2020

Painted Zeros is Katie Lau’s recording project. Her debut full-length album “Floriography” was released 10/30/2015 on Don Giovanni Records, and demonstrates the breadth of her musicality while being unmistakably punk at heart. Lush strings colour the spaces between melodic guitar hooks and Lau’s dreamy (often buried) vocal delivery, offering the listener an intimate look inside a world that echoes the heyday of shoegaze and demands that they listen closely–and loud. Based out of Brooklyn, NY, the band is a trio live, and in concert Lau’s songs burst to life with the help of two of her best friends. Love the fuzzy sound, and the guitar work is wonderful. I wish I had better words to describe how much I enjoy this album. Despite, or maybe because of, the subject matter throughout, this album often feels like the beginnings of a triumphant breakthrough to the other side. 


Her new album “When You Found Forever”, her first project to be released in five years under the Painted Zeros name. It’s an uncompromising journey into a person stricken with a battle of the psyche, overcoming a tumultuous relationship with alcohol and breaking free from the clutches of an old love (see “”). Lau is fearless in showing the pains of addiction mixed with the beautiful colour palette that returns once its been abandoned. On her latest single that we’re thrilled to premiere, “I Will Try” Lau takes the various shades that make up ourselves to create an anthem endowed with a restored affirmation in her identity and making the best of the future.

Written, performed, engineered, and mixed by Katie Lau

Drums played by Jared Kaner on tracks 3 & 8
Bass played by Jim Hill on tracks 3 & 8

Released May 29th, 2020

Told Slant, is the solo project of Brooklyn songwriter Felix Walworth, is releasing a new album, “Point the Flashlight and Walk”, out on November 13th via Double Double Whammy. Following previous singles “Family Still,” “No Backpack and “Run Around the School,” Walworth shared “Whirlpool” this month. It’s a bare track centered on acoustic guitar rhythms and the precious, yet often tragic idea of what it is to really know a person.

Told Slant – “Whirlpool” Directed by V Haddad Shot by Emily Sprague Preorder Told Slant’s “Point The Flashlight And Walk” on Double Double Whammy . Told Slant is a bedroom punk band from New York, the music of Felix Walworth.

Told Slant is now: Felix Walworth, Oliver Kalb, Gabrielle Smith, Emily Sprague

Releases November 13th, 2020

NYC punk veteran Jesse Malin has released a new dose of Petty-esque heartland rock that was clearly inspired by the chaotic social/political climate it was released into. Proceeds from the accompanying merch benefit the Food Bank for New York City. Jesse Malin asks if you’re better off now than you were four years ago in his new protest song “Ameri’ka,” a soft but hard-hitting ballad that takes stock of our current nightmare.

“Adam got the virus like when Reagan was in charge/history repeats itself, the killers are in charge,” he sings, pointing out just who exactly has sacrificed to build this country. “No purple mountain majesty or amber waves of grain/this land was made for you and me from someone else’s pain.”

“President Donald Trump has been an arrogant, ignorant embarrassment with lies and an energy that has stoked the negativity that has existed here since our beginnings,” Malin says. “He’s out for himself and not for the people.” Written by Malin with frequent collaborator Holly Ramos, “Ameri’ka” evokes shades of Harry Chapin in its gentle, lilting production. Malin says the song is meant to ultimately bring people together. He’ll perform the track during the season finale of his popular livestream series, The Fine Art of Self Distancing, on Thursday and is pledging proceeds from the livestream, and from sales of a benefit T-shirt, to the Food Bank of New York City.

“When we travel, rock & roll music, to me, is about unity. It’s about bringing people together. We are the doctors without borders. It goes beyond government, religion and colour, just the universal heartbeat of life and blood, love and passion, and that connects us all as human beings on the same planet,” Malin says. “That’s what music and art have the power to do.”

Jesse Malin – Vocal /Guitar, Derek Cruz -Lead guitar /Vocals, James Cruz – Bass /vocals, Randy Schrager – Drums
Rob Clores – Keys

Written by Jesse Malin and Holly Ramos, Jesse Malin’s new song “Ameri’ka” out now on Wicked Cool.

A modern classic with a timeless sound! Filled with hooks and great lyrics the result is a 17 track beast of superb song-writing!, The shopping malls have closed down, the dressing rooms are filled with ghosts, and the carousel is covered in cobwebs. “Nobody Lives Here Anymore”, the latest and greatest from Max Clarke as Cut Worms, is the haunted reverie of an American landscape in-and-out of Clarke’s mind. Recorded between May and November 2019 in Memphis, Tennessee, the album is a snow globe of the mid-twentieth-century’s popular music filled with chiming guitars, honky-tonk pianos, and Telstar organs.

A constant creator – be it his Cut Worms alter-ego or his day-job illustration work (designing brand logos and beer labels with madhouse technicolour pictures) – writing and making records has always been Max’s driving force. So after an extensive eighteen-months of touring in support of 2017’s Alien Sunset and 2018’s Hollow Ground, he set about sifting through the fragment pieces and sketches of tunes he’d accumulated, along with a jet-stream of new compositions, mining his life-long devotion to the lost American songbook for inspiration. By the time he flew to Memphis to work with producer Matt Ross-Spang at Sam Phillips Studio, he’d stockpiled more than thirty new songs.


A loss of innocence lingers through this 80-minute opus as Clarke attempts to harbour love and meaning inside a world that sold itself out. He explores the wistfulness of the past in search of answers for tomorrow. And while his grand anthems overflow with timeless pop charm, his ability to dig deeper than lollipops and holding hands sets his work apart from the days of 45s and Top of the Pops.

Released October 9th, 2020

2020 relents… finally some good news. And an antidote to the “Emerald City” earworm that’s been driving me to distraction since the Melbourne and Castlemaine gigs a lifetime ago now!. Luluc will release their fourth album Dreamboat next week, and ‘Emerald City’ is a brilliant first taste. Zoë Randell’s voice is right up front, while some anxious and jittery beats scurry about beneath her. It all sounds very restrained, but there’s actually quite a lot going on when you pull it apart. This track was one of a couple that sees the group again team up with Aaron Dessner on production, and, while it sees the duo retain their identity with strength, it also shows a gentle evolution thanks to some charming new elements.


Releases October 23rd, 2020

Kate Davis A singer songwriter from New York, The first single from Kate Davis’ record ‘Strange Boy’ was originally released January 15th, 2021. ‘Strange Boy’ is a track from the album of Daniel Johnston’s ‘Retired Boxer‘. Released in collaboration with the Hi, How Are You Project, a non-profit organization that provides a platform for the exchange of ideas and education on mental well-being, Davis will release Strange Boy, a unique rendering that is named after the eighth song on Johnston’s original masterpiece.

Releases January 15th, 2021.