Posts Tagged ‘New York’

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Road warriors Frankie Cosmos have spent the better part of 2018 on tour in support of their latest and greatest,Vessel, available now worldwide via Sub Pop Records. The band currently have a handful of overseas dates in August including an appearance at the UK’s Green Man Festival on August 19th.

Then on September 13th, Frankie Cosmos will then begin a 20-date North American run with shows in Baltimore, Durham, Atlanta, New Orleans, Austin, Detroit, Pittsburgh, returning to their hometown of New York, playing area shows at White Eagle Hall in New Jersey on October 5th, Music Hall of Williamsburg on October 6th and The Bowery Ballroom on October 7th. These shows will mark the bands first headlining dates in NYC since the release of Vessel.

In celebration of the bands impending tour dates, Frankie Cosmos have delivered a new video “Duet” which was directed by Eliza Doyle. The new visual stars Greta Kline and depicts a CPR Training video, one in which she becomes completely smitten with an object, and a one-sided romance is born.”


Moon 2

On Moon 2 Ava Luna’s de facto band leader Carlos Hernandez steps back, leaving space for the rest of the band members to step up and step into roles they hadn’t occupied on previous albums.

Felicia Douglass (now a touring member of Dirty Projectors) worked with percussion and sampler, Julian Fader experimented with synths, nearly every band member ran the computer during recording sessions, and Becca Kauffman (aka performance artist Jennifer Vanilla) composed her first song for the group “On Its Side the Fallen Fire,” a deeply layered orchestral piece of kate bush grandeur meets julia holter reverie. compared with previous Ava Luna albums, Moon 2 has fewer sharp turns into dissonance, fewer celebratory guitar parts, none of Hernandez’s signature screams. nevertheless, the infectious buoyancy of “Deli run” and “Walking with an Enemy,” are warm and bright, and songs like “Centerline” and “Phoebe (set it off)” venture confidently into pop territory. the title track, paint ing the elation and tumult of a crush, is set against a swaggering reggae bassline and warbling kraftwerk synths. “it’s like, every sci-fi movie has a nightclub,” says Kauffman.


Big Crown Records is proud to present the next single from The Shacks instant classic debut album Haze.

The story goes that Max Shrager brought Shannon Wise to the studio. Max was playing guitar on a track produced by Leon Michels — the producer and co-founder of Big Crown Records — and Michels needed a vocalist. They put Shannon in the booth to try it out. It was her first time ever recording. Then, in one take, the song “Strange Boy” had a singer who completed the vibe. The Shacks were born.

The A side “My Name Is…” is one of the first songs The Shacks wrote shortly after they met. Producer Leon Michels had the track and the title for it and sent it on to The Shacks to pen the lyrics.

The B side, “Sand Song” is a beautiful tune about an ugly subject; global warming. The hauntingly beautiful guitar melody that the Shrager produced track begins with is met with the equally somber vocals from Shannon. A stand out tune from the album and the embodiment of what made iD magazine call The Shacks “classic American sounds…simultaneously recalling Sesame Street and David Lynch’s nocturnal crooners”.


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Shadow On Everything, is the third LP by Bambara and their first for Wharf Cat Records, represents a decisive step forward for the NYC-via-Georgia trio. Frontman Reid Bateh, drummer Blaze Bateh, and bassist William Brookshire have always been adept students of noise rock and post-punk, mining the work of bands like Swans and The Birthday Party to construct what NPR called their “beautifully dynamic nightmares.” Now, they’ve transcended their early influences to produce a Western Gothic concept album that sounds as big as the desert sky looming over its characters’ lives.

This is Gothic piece of Americana with many echoes of Nick Cave’s early work – seedy characters; tragic, violent tales; pulsating, writhing guitars. this is the type of rock album that comes along only once in a very long time.

As with all previous Bambara releases, the musical center of Shadow on Everything is its impossibly tight rhythm section. Blaze’s frenzied yet metronomic drumming and William’s prominent bass lines have plenty of personality on their own, but they also provide a perfect canvas for Reid’s wild guitar squalls and howled vocals. While Reid’s lyrics have always been a critical part of Bambara’s songs, his voice is pushed to the front of the mix on Shadow, placing his damaged characters and seedy locales at center stage. A stridently experimental record, Shadow features everything from violin to saxophone arrangements, and is meticulously interspersed with outré ambient noise loops distilled down from hours of manipulated vocal collages that the band sifts through to find the perfect textures. 

The production by Andy Chugg (Pop. 1280, Pill) is crisp and clear, giving life to the band’s decision to foreground the vocals, but it splashes enough darkness on the songs to help them retain their pitch-black atmosphere. By far Bambara’s most ambitious album, Shadow On Everything shows a band operating at absolute peak creativity and execution. 

Bambara has performed as a five-piece since Reid broke his hand on stage in 2016. Their pummeling and unpredictable live set has made them favorites on both under- and above-ground circuits in New York City, having impressed noise-pop auteur Angus Andrew to the extent that he asked Reid and Blaze to join Liars as members on 2017’s worldwide tour. Additionally, Bambara has toured the US and Europe extensively alongside the likes of Liars, Metz, Girl Band, APTBS, Algiers and more.
Released April 6th, 2018

Bambara is a grimy noise-rock band whose recent release “Shadow on Everything” is a cinematic achievement. The loose concept record mashes cowboy jangle with aggressive post-punk to form a scummy, empty landscape for characters to inhabit. Laced throughout is a winding, poetic tale of relationship strife and vignettes from the character’s hometown.

These guys are killing it and are unmatched in their intensity when it comes to live performances.


Band Members:
Reid Bateh – Vocals
Blaze Bateh – Drums
William Brookshire – Bass
Bryan Keller Jr. – Guitar
Sammy Zalta – Guitar
Released July 19th, 2018

Cut Worms is the nom de plume of songwriter Max Clarke, whose debut LP will seduce you right off the bat with its sparkling opening track, “How It Can Be.” With his intimate indie voice and facility for instantly memorable melodies and guitar lines, Clarke conjures a kind of garage-tested Everly Brothers, reminiscent of early Shins, with breezy pop ballads just tart enough to soundtrack lonesome summer days. Hollow Ground was recorded in the L.A. home studio of Foxygen’s Jonathan Rado, and in New York with Jason Finkel at Gary’s Electric. Check out the animated video for “Don’t Want To Say Good-bye,” and prepare to hum it for the rest of the day.

“Don’t Want To Say Good-bye” from debut LP “Hollow Ground” out May 4th on Jagjaguwar

Tons of Everly Brothers and Buddy Holly in Hollow Ground, which flies in the face of present day music. What’s wrong with this one man band Max Clarke and his compulsion of a bygone era? Who cares, when it sounds this good.


“Cash For Gold” from debut LP “Hollow Ground” out May 4th on Jagjaguwar Records

SadBad was written in Chicago then carried back to upstate NY where it was subjected to TOTAL INSTRUMENTATION courtesy of Angela Devivo and Kyra Skye. SadBad was then further illuminated via guests Sheer Mag’s Kyle Seely & multi-instrumentalist Curt Oren.

SadBad! Finally someone has created a word to describe how so many of us are feeling on a day to day basis. Sometimes a bit sad, sometimes a bit bad, sometimes a combination of the two. Izzy True named their sophomore album SadBad, a record that takes the sound of their debut and expands into new territory. Due out on August 3rd via Don Giovanni Records, the album takes True’s earnest lyricism and adds some twang, confessional sparseness, bursts of jazzy jubilance, and emotional beauty that’s both optimistic and heartbreaking. Themed with death, break-ups, and the end of the world, you might not believe there’s much optimism to be found, but True works hard to find that comfort in the darkness. There’s a lot of moods and dynamic songwriting throughout SadBad, a terrific growth of all that was already great about Izzy True’s music.

The first single and title track, “SadBad” captures an Americana spirit to True’s usual heartbreaking pop. It’s a passionate and soulful track, built on a slow and dusty progression that just rolled in with the breeze. True’s voice is soft but powerful, quietly proclaiming “you can’t stay” before the repetition of  “it’s the wrong time”. The song’s guitar twin melodies intertwine with a jangle and harmonic warmth, the perfect compliment to the relaxed rhythm and True’s gorgeous Angel Olsen reminiscent voice. Joined together by Angela DevivoKyra Skye with guest appearances from Sheer Mag’s Kyle Seely and Curt Oren, Izzy True and company have made a record that only gets better with every listen.

Releases August 8th, 2018

With a heart – stopping voice & wide – ranging instrumental talent, Odetta Hartman carries cowboy soul into an era where country can clash with computers, and bluegrass isn’t afraid of bass. Her debut LP 222 – an experimental, bedroom-produced hybrid of folk, musique concrète and psychedelia – was released on Northern Spy Records in 2015 to critical acclaim. Alongside her partner, sound artist & radio producer Jack Inslee, Odetta continues to explore the sonic vernacular created by their uncanny collaboration: badass banjos, detuned violins, field recordings, superstitious soundscapes, and vocal stylings ranging from sensual to spooky. A new album, Old Rockhounds Never Die, is slated for release on Northern Spy Records / Memphis Industries on August 10th, 2018.


This NYC art-punk/new wave group is one of the most interesting new bands I’ve heard in 2018. At times I’m reminded of The B-52’s, Pylon, X, Cake and Lithics. They are an exciting live band too:

That image-heavy universe which Bodega operate in is essential to their make-up. They talk of their on-stage light boxes as “the sixth member of Bodega, while their sound – equal parts Matrix-esque futurism (they all walk on stage later this evening clad head-to-toe in black and copious amounts of leather and PVC), and dusty, New York-indebted post-punk – occupies the kind of stylistic realm that art students dribble over.

“I think we were all really excited about a kind of rock minimalism,” says Ben, “which can mean a lot of different things. For example, not having cymbals in the drum set, or doing anything frilly in the guitar parts; not repeating parts or lyrics, just in and out.”

It’s easily picked up on ‘Endless Scroll’, and its brittle, brilliant lead single ‘How Did This Happen?’, a track that’s all sharp angles and cutting pontifications on consumerism – “This machine? You know it don’t kill fascists? / This machine, it’s just a guitar,” Ben quips at one point. He calls that stark approach to music-making their “sonic mission statement”, while also referring separately to an ethical one.


The first moment of Endless Scroll’s winkingly-titled second track, “Bodega Birth,” states the album’s thesis: “I use my computer for everything / Heaven knows I’m miserable now.” In both its content and its monotone delivery, the line addresses the ways our technological access leads to a kind of internal deadening. “Bookmarks” is even more direct: “All day at work / Stare at computer/ Come home from work / Stare at computer,” drilling down on the banality of constant access. It’s not all screens, though: On opener “How Did This Happen?!,” Bodega A lament how technology has led to political complacency and “slacktivism”; “Can’t Knock The Hustle,” with its quips about nine-dollar smoothies and hourly salaries—and a sardonic chorus that goes, “You can’t knock the hustle / When the cats are making capital”—is an anti-capitalist anthem that socialist organizations could adopt as their fight song.

Such straightforward lyricism demands music that’s equally unflashy, and Bodega’s simple, wiry arrangements rise to the occasion. The songs are built from little more than slightly overdriven guitars, simple, driving drums, and Belfiglio and Hozie’s yelped vocals. Just as Bodega’s lyrics plainly and boldly analyze our current state, so too are the songs striking in their direct, yet incisive, arrangements.

Band Members
Ben Hozie
Nikki Belfiglio
Montana Simone
Heather Elle
Madison Velding-VanDam

ANMLPLNET by Charlotte Chanler 6.jpg

Slothrust band leader Leah Wellbaum and drummer/singer Mickey Vershbow met while both
immersed in the Boston music scene & then went on to pursue separate musical careers on opposite coasts. ANMLPLNET displays their magnetic musical bond, even while withstanding the physical distance andtheir hectic schedules. 

Nobody is more surprised about having created a full ANMLPLNET album than the group itself: Slothrust leader Leah Wellbaum along with drummer/singer Mickey Vershbow. The project and debut LP truly displays their magnetic musical bond, even while withstanding physical distance and hectic schedules. The band was formed originally on four disparate rules:

1. Always drink absinthe while rehearsing.
2. Write lyrics that are antonymic translations, meaning nouns,
adjectives and verbs were replaced with their antonyms.
3. Play songs straight through as one giant piece, no breaks.
4. Accept mostly unusual gigs, like their performances at a Dorchester
rave and in a wooden shack on the tiny Star Island off New Hampshire.


Yeah, sure, so many bands have used these same precepts for vast success, so what? Even while seeking to create a dream-like soundscape, ANMLPLNET is surprisingly gimmick-free music being, both epochal in scope and surprisingly melodic. Their goal is to explore the space between songwriting and improvisation, and the result is an uncontrived melding of their personal styles and technical mastery of their instruments. Wellbaum and Vershbow basically plan, dig, then embark on a fresh road towards rock brilliance. Fall Asleep is their debut album and the first 500 copies are pressed on unique gold marble vinyl.

released April 20, 2018 on Ba Da Bing Records.