Posts Tagged ‘New York’

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U2’s second album, “October”, was released in October 1981. The October Tour ran from August 1981 to August 1982 split across five legs encompassing Europe and North America. This stunning performance broadcast from The Ritz, New York took place on 18th March 1982.

This deluxe vinyl edition is limited to 1000 copies only and is presented with a permanent heavy weight glass clear vinyl cover to provide permanent protection for your priceless album. The deluxe limited edition also includes a unique code that unlocks an amazing suite of digital companions to enhance your enjoyment of the music on the CD. Included here, a free 120 page e-book featuring the definitive guide to the lives and music of U2 – We Will Follow, containing QR codes which accesses a series of companion video podcasts to complement and enhance your enjoyment of the music on the album.

Setlist:

01. Gloria 0:00:00 02. Another Time, Another Place 0:04:50 03. I Threw A Brick Through A Window 0:09:03 04. A Day Without Me 0:13:06 05. An Cat Dubh / Into The Heart 0:16:29 06. Rejoice 0:24:08 07. Happy Birthday Adam / The Cry / The Electric Co. 0:27:50 08. I Fall Down 0:34:26 09. October 0:37:54 10. Tomorrow 0:40:13 11. I Will Follow 0:46:46 12. Twilight 0:50:51 13. Out Of Control 0:55:14 14. Fire 1:00:51 15. 11 O’Clock Tick Tock / Give Peace A Chance 1:04:28 16. The Ocean 1:10:22 17. Southern Man 1:14:49 18. A Celebration 1:20:11

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From Indian Lakes started out in 2009 as an emo band — an atmospheric, post-rock-leaning emo band, but an emo band nonetheless — and they eventually signed to Triple Crown Records and toured with bands like Balance & Composure, so they got pigeonholed into that whole “emo revival” thing. They’ve been clearly moving away from that for a while, though, and with “Dimly Lit” their most ambitious and genre-defying album yet  there’s really no way to pigeonhole them into anything. For this album, From Indian Lakes took a more DIY route than they’d taken since the early days. Frontman Joey Vannucchi wrote, recorded, and produced the whole thing himself in his apartment in Harlem, and they self-released the record, and just put the early singles out straight to the fans, without premieres or press releases or anything like that. If Dimly Lit ends up being referred to as a “hidden gem” or an “overlooked record” or something, that might be part of why.

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But DIY doesn’t mean rawer or more bare-bones in the case of Dimly Lit; it’s From Indian Lakes’ most expansive and collaborative album to date. Joey worked with a handful of impressive guest vocalists, including Half Waif’s Nandi Rose Plunket, Queen of Jeans’ Miriam Devora, PVRIS’ Lynn Gunn, Lemolo’s Meagan Grandall, and Tummyache’s Soren Bryce, and their voices all make for a nice contrast with Joey’s airy, boyish croon.

Instrumentally, it’s still an indie rock record, but synths are the driving force, and the result is just great electronic indie pop, the kind of thing that could appeal to fans of anything from The Postal Service to Imogen Heap to M83. Like those artists, Dimly Lit has an alluring synthy atmosphere on the surface, but at their core, these are singer/songwriter songs that would work just fine on an acoustic guitar. It’s easy to let the aesthetic do all the work with music that sounds this pretty, but From Indian Lakes always make sure there’s substance and depth in the mix too.

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Wives debut LP, “So Removed”, opens with the timely and befitting lyrics: “Happy ever after / this place is a disaster.” According to Jay Beach, the vocalist, guitarist and primary songwriter of the four-piece Wives, this is the track that best embodies their sound. It’s Drone-y, crammed with clever observations, and still catchy enough to make you forget the world is ending despite being told straight to your face. “Waving Past Nirvana” embraces my favorite sentence in the band’s bio, which describes the sentiment of their debut as “tethered to daily anxiety without resorting to cynicism.”

Wives’ creation story plays out much like their sound: a confident teetering and self-assured stumbling that somehow leads you to the exact right place. Beach, guitarist Andrew Bailey, drummer Adam Sachs, and bassist Alex Crawford were all embedded in New York’s DIY music scene working on their own music projects when the unraveling of a previous project and an uncanceled studio session lured them into the studio. Beach puts it succinctly, sharing, “It was a lot of fun and when we heard the tapes we were like, ‘Wow, that’s really good.’ So, we just became Wives.” The album was created over a two-year span of time with the friends taking advantage of stolen moments in the studio, never taking it too seriously and just following what felt and sounded right.

“When the four of us came together, it was definitely a unique sound none of us had hit on before in our other musical lives. I think everyone brings something quite unique to the table. I write songs that are, I guess, more traditional. Our bass player is a huge My Bloody Valentine fan, and his vibe is really shoegaze-ey, our guitar player is more modern. Our drummer Andrew is super into death metal and hip-hop. I know the sound of WIives makes a lot of sense because I know where everyone is coming from, but everyone is coming from separate places,” Beach explains.

The band got their start in Queens, New York City’s largest borough, and the nation’s most diverse large county. Much like Wives, it’s full of people coming from different places, but it plays out harmoniously.

“We have mad Queens love, and I think Queens is the best borough in New York by far,” Beach shares when asked about the backdrop of their start. “People are a little more chill in Queens; it’s a little more of a family vibe, and there are still many ethnic communities that are intact. There’s [a] flourishing Polish community and Eastern European community, little Bangladesh, little Nepal,” Beach says. “It’s like a good social experiment. Like let’s take the most diverse amount of people you can and, like, throw them into a place, and it mostly works out, you know?”

That organic coming together can be heard in tracks like “Even The Dead.” It’s anything but over-practiced or contrived; it’s exactly what you would hear live. “There are no overdubs, no nothing,” Beach shares when asked about the track. “We just started playing this one riff and went for it for those five minutes and recorded it on tape. That’s it. That’s the final track. Obviously that kind of lightning in a bottle doesn’t happen all the time. That’s rare. But when we have a piece, like, we really believe in, we just keep it. We don’t fuck with it. It might not be perfect. It might not be a No. 1 single but it has something, a spontaneity, that’s really hard to find.”

One of the albums poppier moments comes by way of “The 20 Teens.” Beach shares that while listening to A Flock of Seagulls playing at a Bushwick restaurant, he had the thought that all the lyrics might as well have been “This is the ’80s, this is the ’80s,” since the track seemed to embody the decade so well. He decided to square up to that track, and create his own version for the 2010s, full of references to people reading paper magazines and donning dungarees. The track starts with a sharp and inquisitive “some records are so twisted that they actually happened,” a line Beach found in an old journal he’d been writing in while listening to old 45s.

“You could say it’s positively ironic; I think in our songs there’s a strain of sweetness and nostalgia,” Beach says, and laughs, when I share that the songs seem like perfect listening for both pre-party and post-breakup. “Even though there’s also this stance of New York cynicism, it’s in there too,” he adds.

There’s something in the way Beach sings that makes your ears perk up. Like Lou Reed from a pulpit, it feels biblical. You can’t help but attempt to decipher messages hidden in the lyrics, something that could save us from our present-day chaos, or at least make us more comfortable with it. The album has moments of respite, but it magnetizes you back toward careful chaos. See, you can dance through a track like “Hideaway” and move to forget, but then the closing track, “The Future is A Drag” reminds you of the state of things again. Much like the bustling Queens borough, there’s a calm, but not without a commotion.

“When I’m listening to music, it’s more about just being here and now in this time and place and listening to these sounds. Sometimes it’s an old blues record, sometimes it’s a T-Rex record, sometimes it’s Vince Staples — whatever it is. There’s something that just gets captured sometimes that I call ‘the slow within the fast.’ To me, it’s the most amazing thing I can think of experiencing. It’s this marriage between rhythm and, I guess, melody and, not to sound lame, but there’s a shifting thing that happens on really good records like My Bloody Valentine or something like that, where there’s something shifting underneath your feet. The ground is shifting. It could be a fast song — hip-hop does it really well — or it can be a really shoegaze-y thing that’s slower. But, that’s kind of what we’re going for. We want to move people in the way we know is possible to be moved because we’re just lovers of music.”

Debut album ‘So Removed’ – Out now on City Slang

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Orindal Records is proud to present the first vinyl release by Chicago singer/songwriter/guitarist Julie Byrne.

The first time we heard Julie’s debut cassette, You Would Love It Here, It’s The Perfect Place For You (Solid Melts), we immediately fell in love with her gentle, understated folk songs. Accompanying herself on a fingerpicked acoustic guitar, Julie sings about memory, hope, and coping with loss. There is restraint and measure in her singing and playing, and both ache with the same fragile beauty.

The two songs on this brief EP tell a complete story; “Holiday” recalls a New Year’s Eve in New York City, future plans made, and the fall-out of a fleeting romance, while the b-side, “Marmalade,” carries a dimming torch into the future, through changing seasons, bringing peace and closure to uneasy memories.

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Faster or Greener than Now was recorded live to tape on an April afternoon by Owen Ashworth. Vintage echo and spring reverb effects were added to color Julie’s performances, lending a haunted atmosphere to these raw and intimate recordings.

The title of this record was taken from a Frank O’Hara poem.

Originally released December 4th, 2012

Songs, vocals & guitar by Julie Byrne

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The debut album of Wives! The Queens, NY four-piece is the latest fit into a long lineage of New York’s gritty, melodic-meets-punk.

Wives as a band came together by happenstance — a random realization amidst friends busy with other musical projects. Jay met Adam Sachs, Wives’ drummer, while interning at a New York recording studio where Adam worked as an assistant. The two became fast friends, their constant hanging out growing to include guitarist Andrew Bailey (DIIV) and bassist Gabe Wax, who’d eventually be replaced by another friend, Alex Crawford. All were embedded in New York’s DIY music scene through their respective projects, with years of playing house shows and booking their own tours under their belts. It wasn’t until a random day of extra studio time booked for another project that the four of them actually played together.

So Removed is grungy dark-wave, tethered to daily anxiety without resorting to cynicism. The noisy dissonance of Sonic Youth, the edgy hooks of early Pixies, and the clever, cerebral sneering of The Fall simmer as touchstones within the album, sharp and prodding at the details, pulsing with urgency. So Removed plunges into the void of unknown, a tangle of contemporary dread and optimism, mapping the gray areas of alienation.

Our new track ‘Hit Me Up’ is out now! check out our videos and newly announced tour dates!

‘Hit Me Up’ was written form the point of view of a New Yorker who can’t let go. His everyday reality does not jibe with what is going on in his head, and he’s holding onto a past that never existed in the first place.

Some are in search of modernity and clear virgin territories, others are content to follow the pack; others still decide to take the history of rock where the Pixies have left, a little as if you returned to the scene of your first gallon thirty after and nothing had moved. The kids of Wives, a quartet made in New York City poised to become the new darling of Queens, are part of this glorious category. Just one month after unveiling their first single, Waving Past Nirvana , their debut album is due out anytime soon.

With “The 20 Teens,” Queens, NY-based quartet Wives take a stab at writing a timely ode to the present. In an interview with frontman Jay Beach admits, “I heard a song by A Flock of Seagulls. My friend turned to me and said “why don’t they just call this song ‘the 19 eighties’, cuz when I listen to it that’s all I can think of.” I laughed and said I would write a song called ‘The 20 Teens’.”

“The 20 Teens” marks the band’s third single this year, a taste of their debut full-length So Removed which will be October 4th via City Slang Records.

Wives may have been the grittiest group encountered at NON-COMM this year, but “Workin'” shows off a different side to this Queens-based, grunge four-piece. With their rumbling guitars and singer-guitarist Jay Beach’s languid vocals, Wives weaves together a thick, bassy carpet of sound in this cut. A good old guitar chugging in a strident back and forth, a rhythmic part backwards I’m Waiting for My Man , schizophrenic words chanted in a nonchalant morgue, Workin is a little hymn that should make you stamp impatience until you know more (we’ll tell you soon) about the bright future of this bunch of dirty kids too good to be true.

They tell us: “‘Workin” was a poem written while having a nervous breakdown in a 3rd floor walk up in Brooklyn, NY. My inward turmoil became the outward predicament of all of us workin’ stiffs. The ground actually did turn over and the floorboards were shifted. It must have been a manifestation of something going on inside my brain, and all the visions were coming at me in stop motion waves. The band played this track in one take and it was so good that we had to keep it and adjust the vocals slightly to fit the contours, which is how the chorus came about. The chorus being more or less the macro view of what was going in inside of my micro consciousness. From the personal out into the universal, but only because of that great guitar line!”

The track is the sound of four men in a room, doing exactly what the song title suggests: ‘Workin”. The track grinds and grooves along in waves of squalling guitar and unwearying percussion, dragging your tired mind through the rest of your work day and out into the sunshine of freedom. Even when surrounded by chaos and stress, as described in the above quote, they haul themselves through it, finding musical and emotional strength in one another and reproducing it as the alt-rock juggernaut that is ‘Workin”.

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Debut album ‘So Removed’ – 4th October 2019 on City Slang

If your PR piece touts Sharon Van Etten and Bob Boilen as big fans, there’s a good chance I’ll (eventually) open that email. And I’m glad I finally got around to Kate Davis. In a nutshell, this is wonderfully executed mid-tempo indie sung by someone with a lovely voice. “Trophy” is out on 11/8 on Solitaire Recordings. Here’s some more info on Kate.

Kate Davis’ story is one of elegant artistic evolution. Having grown up in the spotlight as a jazz prodigy, she performed in the Grammy Jazz Ensemble, won ASCAP’s Robert Allen Award, played slots at Carnegie Hall and Lincoln Center, and collected fervent endorsements from Herbie Hancock, Ben Folds, Alison Krauss and Jeff Goldblum among others. But — Kate outgrew her accolades. Days spent practicing and performing standards became nights spent writing — cathartic indie rock. Forbidden chord progressions emerged like diary entries, documents of an internal reaction to routine. 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 artifacts 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.

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The classic sophomore LP, available in a limited white vinyl pressing and available for the first time ever as a coloured LP. After two years of seemingly endless tours, the quartet returned in early 2004 to Peter Katis’s Tarquin Studios in Bridgeport, Conn., to record their second album. They had already debuted a handful of songs earmarked for Antics on the road: Length of Love, Narc, C’mere. Meanwhile, having revisited – and reinvented– the material from Bright Lights night after night, they discovered new strengths. There was more room for experimentation in these songs, for toying with arrangements and intricacies of individual parts, than on their debut.

The acclaimed record, which was originally released back in 2004, is set to be reissued on limited-edition white LP. It will arrive on September 27 – the album’s original release date – via Matador Records.

All 10 tracks from ‘Antics’ will appear on the reissue, including ‘Evil’, ‘Slow Hands’, and ‘Narc’

With Antics, Interpol has delivered a disc even more engaging than its celebrated predecessor, without sacrificing any of the depth that has made them such an important band for so many. The songs are at once catchier and more variegated, revealing themselves over time to a degree heard on few current releases, and nothing is ever obvious. Frontman Paul Banks describes, “A lot of time, there are specific topics or events that that inspire the songs, but it’s not explicit in my lyrics.“ Indeed, with Interpol, things are rarely what they seem.

Interpol is a New York-based rock band formed in 1998. The band currently consists of Paul Banks (vocals, guitar), Daniel Kessler (guitar) and Sam Fogarino (drums). 

Interpol’s second album ‘Antics‘ 15th Anniversary out now on Matador Records

New York City’s Toebow, are the kind of band that is quintessentially New York, with a bunch of friends and former bandmates from here and there finally getting together and putting out that album after years playing together. That album is Themes, which came out back in May, and it’s a bubbly treat of candy-coated weirdness. Part Delicate Steve, part Dirty Projectors, part over-the-horizon, part instrumental and a whole lot of fun. Try not to wiggle your toes to this one, it’s a real treat!

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Toebow is a cartoon psych pop party. Originally conceived in 2013 by friends and alumni of indie dream-pop group BOBBY (formerly active via Partisan Records), the band has been marinating and simmering their music in the NYC music scene for a few years. Their first full-length record “Themes” is out May 24th on Imaginator Records. 

“Break the rules you think you are bound by.”

That’s the recurring sentiment Lætitia Tamko carried with her through the writing and recording of her second album under the Vagabon moniker. Her first, 2017’s Infinite Worlds, was an indie breakthrough that put her on the map, prompting Tamko to tour around the world and quit her job in electrical/computer engineering to pursue a career in music full-time. Tamko’s self-titled Nonesuch Records debut finds her in a state of creative expansion, leaning fully into some of the experimental instincts she flirted with on the previous album. This time around, she’s throwing genre to the wind. Vagabon is a vibrant culmination of influences, emotional landscapes, and moods; a colorful and masterful statement by an artist and producer stepping into her own.

Following her 2017 debut Infinite Worlds, Vagabon (aka Laetitia Tamko) became one of the most distinct voices in indie rock. Her husky alto is warm and unforgettable. Now add indie pop to that faction of genres. Her next album, a self-titled effort, breezes through synthy breakdowns and horn numbers with ease, never content to be just one thing. Tamko’s voice remains each song’s focal point, especially on the bouncing pop numbers, but the album as a whole feels most like a low-lit mood. Hypnotic and transportive, Vagabon feels even more like Tamko’s arrival than her warmly received debut.

releases October 18th, 2019

Produced by Laetitia Tamko

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The fearsome New York band Bethlehem Steel are releasing a new self-titled album this Autumn. It’s the follow-up to 2017’s excellent debut, Party Naked Forever, and a new member has been added to the band this time around in the form of Christina Puerto, who wrote and sings on a handful of songs on the album. At the project’s center is still Becca Rsykalczyk, though, whose smoky voice grounds Bethlehem Steel’s lead single “Bad Girl”: “Woke up early to hate myself/ Am I a bad girl?” she wonders on it, her swirl of anxieties giving way to a terse, knotted breakdown.

“‘Bad Girl’ is about all the nights that my brain keeps me awake. Irrationally telling me I’m a terrible person. Going over and over and over all of the things I might have done to upset or inconvenience another human,” Ryskalczyk said in a statement. “Singing the line ‘am I a bad girl?’ to my bandmates or even just out loud to myself was definitely embarrassing. I wasn’t sure if I should even keep it as a lyric until I decided to just lean into it.

The song’s music video, which was directed by Ryskalczyk, takes place at a raucous New York City backyard party.

With “Empty Room” we get Bethlehem Steel as we’ve literally never heard them before, with lead vocals from the band’s own Christina Puerto (guitar/vocals), who joined the band shortly after the release of their last album. In Puerto, band mastermind Becca Rsykalczyk found not only a deep companionship, but also another strong song writer with an understanding of Bethlehem Steel’s aesthetic choices and impassioned soul searching lyrics, as explored in “Empty Room,” one of several Puerto contributed to the band’s self-titled album, due out next month. It opens with a caustic rumble and wriggles its way into crunching chords and sinewy guitar melodies from there, led by Puerto’s dazzling vocals and a few well placed harmonies.

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Releases September 13th, 2019

Rebecca Ryskalczyk – guitar & vocals
Christina Puerto – guitar & vocals
Patrick Ronayne – bass
Jonathan Gernhart – drums

Additional Instrumentation:
Paul Swenson – cello
Mike Gagliardi – sax

All songs written by Bethlehem Steel