Posts Tagged ‘NY’

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Devin Tuel may consider herself to be an artist meant for a different time, but she now finds herself inhabiting her own true place. The singer-songwriter is at home in Newburgh, NY reflecting on her third album, “Happier Now”, released under her nom de plume, Native Harrow, as well as the difficult sojourn the former ballerina and classically trained singer has had to traverse to become the writer and performer she was meant to be.

Happier Now, is a set of nine songs recorded and mixed by Alex Hall (JD McPherson, The Cactus Blossoms, Pokey LaFarge) at Chicago’s Reliable Recorders. The album was co-produced by Hall, Tuel, and her bandmate, multi-instrumentalist Stephen Harms.

Native Harrow cuts out clear and vibrant narratives on fear, love, the open road, ill-fated relationships, and coping with the state of the world. Happier Now oscillates between feeling the sting of uncertainty (Can’t Go on Like This), the beauty of California (Blue Canyon) and the ache for lavish stability (Way to Light). You could say Tuel wears her heart proudly on her sleeve, but that’d be underplaying the exact gravity of her stories. Each starlit image is framed within her warm, enveloping vocals and the careful, profound considerations of Harms’ musicianship. Start to finish, the new record pours forth from her very bones, and you get the overwhelming sense she has never been more daring and honest than right now.


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U.F.O.F. is the highly anticipated third record by Big Thief, set to be released on 3rd May 2019 via 4AD Records.

U.F.O.F. was recorded in rural western Washington at Bear Creek Studios.  In a large cabin-like room, the band set up their gear to track live with engineer Dom Monks and producer Andrew Sarlo, who was also behind their previous albums.  Having already lived these songs on tour, they were relaxed and ready to experiment.  The raw material came quickly.  Some songs were written only hours before recording and stretched out instantly, first take, vocals and all.

“Making friends with the unknown… All my songs are about this,” says Lenker; “If the nature of life is change and impermanence, I’d rather be uncomfortably awake in that truth than lost in denial.”

Band Members
Adrianne Lenker, Buck Meek, James Krivchenia, Max Oleartchik

‘UFOF’ by Big Thief, from the new album ‘U.F.O.F.’, released May 3rd on 4AD Records.

Premiere: Mail The Horse “Throw Shade”

Garage country band Mail the Horse recently raised funds through a Pledge campaign to record their new album. The sessions were mixed by Drew Vanderberg (Futurebirds, Mothers, Drive By Truckers) and mastered by John Baldwin (Benjamin Booker, Jessica Lea Mayfield, Diamond Rugs). This is follow-up to the group’s Magnolia EP and will be released in early 2019.

The band have released “Throw Shade” from the forthcoming record. The band say that the song “is a love letter to rock and roll. Its important to our band to be stewards of the genre while pushing it forward at the same time. We came back to the city after a long tour of ours all hyped on what we were doing out on the road and got back into the swing of seeing local shows in New York, and were shocked to find that sometime in the summer of 2016, rock music in this town had just died somehow. No one was playing loud anymore, no one was playing from the heart, everyone was just staying out of each other’s way. That’s where “Throw Shade” came from. It’s a call for someone to play me a frigging rock song that makes me sweat – something that I can talk about with my friends after the show.”


Band Members
Donny Amidon
Michael Hesslein
Chris May
Brendan Smith
Andrew Weaver

Mail the Horse have described themselves as “a country clunker of a five-piece careening down a highway laid to waste with Stones psychedelia and heartbroken hymnals, What’s not to love?

Mutual Benefit shares new couplet of tracks, “Shedding Skin” and “Come To Pass”

Multi-instrumentalist Jordan Lee, aka Mutual Benefit, has shared another duo of tracks that follow from the first couplet “New History”, and “Storm Cellar Heart”.

Having announced his forthcoming album at the same time as the first two tracks, today Lee shares the second wave of singles, “Shedding Skin” and “Come To Pass”.

His forthcoming album Thunder Follows The Light will consist of tracks accumulated over the past two years and will hold both returning and new collaborators.

On the first of two, “Come To Pass”, Lee states, “These songs came about at the same time on a busted 5 string guitar when I shut off my phone and declared my bedroom a makeshift, artist residency for a week. I had just returned from a tour that did a lot of meandering around the Appalachian Mountain region right as the “Make America Great Again” signs started popping up more and more. “Come to Pass” is a refutation of the idea that there was ever a golden age to return back to. Both personally and politically I’m afraid of this sort of constructed nostalgia that keeps us looking backwards instead of a having a powerful enough imagination to see the hard truths of the present but work towards a better future.”


On the second track “Shedding Skin”, Lee explains, “I kept thinking about a town where I saw hundreds of these translucent cicada bodies from where they had clung to a tree, hardened, and then burst out of their own shell. This ghostly sight made me pay more attention to how things naturally regenerate, how loss is part of the fuel of growth. It became a powerful reminder that things shouldn’t stay the same, including parts of ourselves.”
Thunder Follows The Light is due out 21st September via Transgressive on all platforms, including a special edition vinyl. Mutual Benefit has announced a UK and US tour that sees him play London’s Oslo on 30 October.

The Essex Green are a neo-psychedelic pop outfit from Brooklyn, NY, via Burlington, VT. The band is primarily composed ofsongwriters Jeff Baron, Sasha Bell, and Chris Ziter and specializes in a classic sound inspired by 1960s–1970s pop and folk in the tradition of bands like The Left Banke and Fairport Convention.


Originally released February 21st, 2006

endless scroll

‘the best critique is self-critique’ is the mantra of Brooklyn art rock unit Bodega.

With wild minimalism and sharp wit, Bodega revitalize the rock and roll vocabulary under the influence of post punk, contemporary pop, hip-hop, kraut rock, and folk-derived narrative songwriting. Bodega’s debut lp ‘Endless Scroll’ is a collective dialogue with the machine and the public. ping-ponging vocals are set to Ben’s deconstructed guitar, Nikki’s samples of old and new technology, the driving minimalism of standing drummer Montana Simone (idio gallery), the angular spasms of lead guitar Madison Velding-Vandam (the wants) and the tight, hypnotic bass lines of Heather Elle (please no radio). “Endless Scroll” was recorded and produced by Austin Brown (parquet courts) on the same tascam 388 tape machine used for their lp “light up gold”. it was mixed and mastered by jonathan schenke (eaters) at dr. wu’s. the lp’s fourteen songs offer a high-energy, humorous but earnest thirty-four minutes.

Bodega‘s debut album is a masterpiece. Produced by by Parquet Courts’ Austin Brown, it’s rhythmic post punk with a splash of wry wit and tunes to die for. For fans of Parquet Courts, The Fall and Wire. Available on Rough Trade Exclusive clear vinyl with download and bonus CD.

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


Mikaela Davis is a young harpist, pianist, singer and songwriter who crafts sweet and salty songs that straddle the lines of folk and funk, AM rock and 80s pop experimentation.  Mikaela had dreams of joining a symphony and studied classical harp at music conservatory, but after she began writing her own songs and touring them on school breaks her path changed course.  Mikaela will make her full-length debut with ‘Delivery’ on Rounder Records July 13th, which was produced by John Congleton (St. Vincent, Future Islands, Angel Olsen, Alvvays).  She is also about to embark on a nearly sold-out tour with Lake Street Dive beginning May 4.  ‘Delivery’ is a thrilling adventure over 10 tracks: a sonic exploration that challenges what the harp can do, and one that details the sometimes arduous path to self-acceptance and feeling comfortable in your own skin.

Album opener and title track “Delivery” is a stunning entry point, a touch of gospel piano and plucked bass that bursts into a wall of sound.  It begins with lyrics of disillusionment: “Well you know I tried prayin’ / tried to wish it all away / even tried to meditating / but the feeling stayed the same,” and shifts to a triumphant acceptance of steadfast love.  As the album unfurls, it’s dabbed with synths, fuzzed out bass and guitar, harp cascades and ping-pong effects.  Mikaela’s voice shines on top – a little raspy with a range that goes from whisper to wail.

Mikaela Davis“Delivery” Debut album coming July 13th, 2018 on Rounder Records

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Filmed in the quiet comfort of a living room, Nashville indie pop band Frances Cone delighted us with a Buzzsession that carries an openness and honesty not often found in the genre.  The band has been praised for their compelling, emotional live show and captivating recording Lead vocalist Christina Cone comes from a line of musicians, and it is clear that music runs through her veins in these energized, emotional performances. Director Sonya Goddy chose black and white visuals to mesh with the purity of Cone’s voice and the band’s sound, and we think you will love their sincere, simple style.

A song about the desperation of impending loss, “85” features the spacey whine of a pedal steel and the buzz of a beautifully arranged guitar, creating an undeniable electricity in the room. What starts as a lullaby-like whisper from Cone crescendos into something full of power. Her angelic vocals morph into an edgy grunginess that creates an enticing blend of folk and rock. In “Unraveling,” a militant snare drum contrasts with the gentility of the male vocals, and Cone erupts with a warm, soulful narrative about breaking down. By the last verse, Cone has learned to embrace the calm of letting something go, and you can feel the catharsis with her. We cannot wait for more from this captivating, inspired group.

Band Members
Christina Cone,
Andrew Doherty,
Adam Melchor,
Aaron Hamel,

A collaboration with Way Better Snacks, ‘Buzzsessions’ is an original video series produced by The Wild Honey Pie. With each new episode, we capture footage of our favorite bands as they record alternate studio versions of their songs.

PLAIN DOG – ” All My Friends “

Posted: February 11, 2018 in ALBUMS, MUSIC
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Plain Dog is a band of many genres. We all met in Brooklyn, NY. We all play music,

Plain Dog are a Brooklyn band who play a scuzzy, psych-laced strain of rock music. Built on the founding duo of guitarist/vocalist Russell Efros and guitarist Willie Almack, the band has undergone a few line-up changes as they’ve gigged around New York since their 2015 formation, most recently adding Ian Devaney — frontman of recent Band To Watch Nation Of Language on bass. Over the course of these early years and one EP, they moved from grungy garage rock roots to a more layered, washed-out sound. Today, their music’s DNA is equal parts ’80s and ’90s American indie and the blearier corners of Britpop and its immediate predecessors, bringing to mind the mix a band like Yuck was messing around with at the beginning of the decade.

The group is now gearing up to release their sophomore EP tomorrow, entitled All My Friends. You may have stumbled across some of its songs already: “Cherry Cola” was featured in an episode of Brooklyn Nine-Nine, and “Girl Named Phil” was included on Glassnote Records’ recent Noteworthy 01 Compilation. On this EP, Efros wanted to inject a bit more shoegaze qualities into their sound, leading to songs that toe the line between rough-hewn and dreamy.


The band

russell efros – vocals, guitar
willie almack – lead guitar, backing vocals
alex thompson – bass
didi leduke – drums

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Jesse Marchant is the artist formerly known as JBM,  It could almost be inferred that Jesse Marchant wrote the songs for his new album over a period of months in New York City during which a lot of his world had come out from under him, in what he has described as “a general period of falling outs, absence and abuse, both of self and of what should or could have been surrounding”. But in the process of finding an end to that Marchant feels to have grown. One is not left to wonder why he chose to drop the moniker of his former releases (his initials JBM) for the use of his proper full name, nor why his voice and lyrics, recorded with a mouth-to-ear intimacy, emphasizing his deepening and wearying baritone, sit loud and naked atop the widescreen backdrop of the deep synthesizer and orchestral pads and arrangements, often reminiscent of “I’m on Fire” era Springsteen. There is a sense of wanting to take responsibility and a desire to have things seen and said clearly for what they are, directly.

The production of the record reflects that same growth, balancing a new, vivid sound with matured control and rootedness. The lyrics were written later in that same year, when Marchant toured the country twice alone, on early mornings in motel rooms and for a period that he spent following, in a rented house far into the desert around 29 Palms, CA. The tone and image of this is carried throughout the record – drenched in a blinding white sunlight, in the heat, in a dream.

The songs that make up this eponymous album are menacing, dreamy worlds of their own, each one unique for each listener, instantly relatable and surprisingly therapeutic: Marchant’s revelations are infectious. He is processing internal and external problems that aren’t just personal but feel like signs of our times, and in doing so has created an album that feels particularly important, relevant, and powerful.

Starting with the ambitious 6-minute, lyrically dense album opener “Words Underlined,” Marchant quickly establishes this tone. “Where were you,” he asks, “when all of this was fucked and on it’s side?”

“I am on your side,” he sings in the very next song “All Your Promise”, with a feeling like the dilemma has been resolved. But this is not an album of resolution; it’s an album of disillusion. Even the album’s poppiest song, “The Whip”, contains a biting social commentary: “everybody likes to feel they’re holding the whip.”

But for all its philosophical, world-weary tendencies, the album is really based in themes of lost love and failed relationships. Not in a conventional sense, but in the decidedly 21st century conundrum of looking for love in the age of disconnection. Marchant’s disillusionment is rooted in this disconnection, and ironically, it exists in opposition to his uncanny ability to articulate himself through music and, in turn, connect with listeners. But when focused on an individual, these theoretical ideas become painful realities.

Later in “The Whip” he sings, “I felt the sun…then I lost you…and I never got it back.” In “Every Eye Open,” he continues, “I’ve been living in lies too… and the secret sin that I’ve loved you for more than a little while.” And in “Stay On Your Knees,” “love was real, but the meaning was wrong.”

Whether at odds with the outside world or the world within him, the battles Marchant fights on this record are such that any intuitive, conscientious listener will relate. Perhaps the entire notion is contained in a single couplet from “Snow Chicago,” that feels at once exhausted and revelatory: “I just wanna feel at ease / And that for once I do belong.”