Once during a sticky New York City summer weekend amongst a web of personal chaos, I called up a friend and sometimes lover from my couch and said: “Let’s go on an adventure.” An hour later we had taken his friend’s car and were driving lesisurely to Coney Island. The best word for a lover and friend I’ve come up with is “sex friend” – straight to the point – but “Homeshake” is far more fun.
Homeshake is the solo project of Montreal-based musician Peter Sagar (formerly guitarist for Mac Demarco). He left life on the road to create a calmer exhistence and get in touch with his own groove. This track, off his sophomore effort Mid-night Snack due out September 18th via Sinderlyn, feels like the calm undercurrent below anxieties, and reminds me of my own day at Coney Island: footage cutting from stoned serene stares to nearly puking your brains out. A dreamy effort reflective of Sagar’s switch from guitars to synthesizers, the duality of the song’s nature (it would be great for both solo meditation music and creating partner orgasms) is reflective of a project that demonstrates the beauty that occurs when you throw away what you should do and follow your instincts. Watch “Give it to me” below.
“They say people never change, but that’s bullshit/ They do.”
That’s a line from Currents, the latest album by Tame Impala. If you’ve been following their music for the past seven years, you’ll notice immediately that the album is quite a change for the Australian psychedelic rock band led by Kevin Parker. Tame Impala’s debut album,Innerspeaker, was filled with the bluesy guitar riffs of “Half Full Glass Of Wine” and quirky pysch-pop of “Solitude Is Bliss.” The 2012 release Lonerism, which included the heavy, time-shifting rock track “Elephant,”mostly continued this sound.
But on Currents, little is the same as before. The guitars have been replaced with synths, except for a few lines on “Disciples” and some delay-heavy melodies in “Love/Paranoia.” I cringed when an euphoric, Avicii-like synth melody started halfway through the opening track, but then it turned into a broken-record loop of noise, which melted into a psychedelic jam and finally a funky hook before fading out. That song is titled “Let It Happen,” as if Parker had a feeling this new direction would cause some resistance in listeners (or even have them double-checking their screens to make sure that yes, that is a Tame Impala album they’re streaming.) But go with it – though it sounds strange at first, the album is as good as it is different. I miss the old Tame Impala’s guitar riffs, but Parker proves that his songwriting talents extend beyond rock to soulful ballads and electronic music. “Elephant” showed us that he has an amazing feeling for rhythm and beats, which makes him a natural when it comes to dance music. You can get anyone to move to something with a good beat, but Parker’s substantial, introspective lyrics will also hold the attention of listeners.
Key tracks are the long lost Tears For Fears single “Moment,” the shimmery pop of “Reality In Motion” and the soul-filled single “Cause I’m A Man.”
There may not be much overlap between Tame Impala’s old fans and the ones he gains from Currents – or, like in my case, someone could like both Innerspeaker and Currents, but for completely different reasons. Before, Kevin Parker wanted us to know he likes being alone. Now, he wants to make you dance. At least he hasn’t gone country.
Currents will be released July 17th via Interscope. You can check out the new song “Let It Happen” below stream the album via NPR here.
Art lives on heartbreak. I was first introduced to Gallant, the young soaring R&B star when I saw him perform at the Westway earlier this summer. I can be socially anxious, and the tight-packed, beer-drenched crowd wasn’t helping. Until he began performing, and then everything was okay. His music is like Xanax. We’re on the comedown from an Era of Frills, when artists’ teams put a lot of attention on “everything else,” choreography, costumes, perhaps a fashion line. Gallant hints that as a community we’re ready to get back to the soul of music. As a performer a sincerity burst through, an honesty to his vocals and organic dancing that melded the passion in the music.
His new single “Weight in Gold” is an exemplary introduction to the artist if he hasn’t crossed your radar. The overflowing ballad pairs crunchy hip hop beats with an R&B soul we’ve been craving. “I’m pulling my weight in gold/but I can’t lift this on my own.” Lyrics translate the agonizing frustration of realizing sometimes a partner can only meet you as far as they’re willing to meet themselves. That being said, his voice is beautiful enough to make you believe that love is actually enough.
He has the right look, at the right time, with more than enough talent; keep an eye on Gallant and listen to “Weight in Gold” below.
Where are you going for summer vacation? Well, Vacationer wants to take you on a trip via a new remix of “Go Anywhere,” a track from last year’s release Relief.TAPES, an experimental electronic artist, transformed the track into a sultry song for the summer by slowing down the original’s bongo beat and adding tribal elements to the rhythm (and, of course, more reverb). The original “Go Anywhere” is a poppy, hopeful anthem, while the new version has the perfect touch of danceable playfulness: the sound of waves crashing on the shore, a pulsing beat, and squealing, squawking synths.
Check out both the original and TAPES remix of “Go Anywhere” below! (And, you can soften the blow of the end of summer by catching Vacationer on their Fall tour with Great Good Fine OK).
The 5th annual 4Knots Music Festival approaches. Held Saturday, July 11 at Pier 84, this year brings performances from Welsh psych-stars Super Furry Animals and Portland rockers Stephen Malkmus and the Jicks along with: Twin Peaks, Mikal Cronin, Screaming Females, Happyness, Meatbodies, Heaters, Heaven, and Surfbort. Thankfully nothing overlaps so you can see them all ’cause they all rock. I just picked the top three to talk about that at this point in my existence made me feel something.
I used to think this band’s name was just too obvious, but the Chicago rock ‘n’ rollers won me over with their haunting and heartbreaking guitars and melody.
You can’t miss these London boys, who also make the list of one of our favorite AudioFemme interviews of all time. My favorite part of their songs is their lyrics, in particular the highly intelligent yet playful musings on love. They just make it sound so fun!
If you’re a blues fan and looking for a music festival to attend this fall, head over to Vegas for a fun-filled weekend of amazing music. Legends will be flying in from all over the country to grace the stages of the all-star event known as the Big Blues Bender. As the “best blues fest in all the land,” this is definitely something to add to your bucket list.
Though the lineup is dominated by male acts, there are several notable female artists that will be featured at Bender.
Samantha Fish
Eclectic modern electric blues is the style Samantha Fish and the rest of her band live by. Although she’s only in her mid 20’s, she’s already accomplished a lot having performed all over the world and played alongside some of the industry’s most recognized artists, such as Buddy Guy and Jonny Lang.
Lisa Mann
A powerhouse on the bass guitar, Lisa Mann’s talent on the instrument made her a clear contender for a 2015 Blues Music Award for the Sean Costello Rising Star, which she unsurprisingly won. Other career highlights include the Jimi Award for Best Rock/Blues Release for her song “Move On,” and induction in the Cascade Blues Association Hall of Fame.
Deanna Bogart
Deanna Bogart’s natural talent for playing music by ear instead of reading wasn’t something that the Brooklyn Conservatory of Music could condone, but it has helped her in learning several instruments at once. The award winning artist will be performing with Jimmy Carter as a featured artists for The Bender Brass.
The festival was originally going to be held at the Riviera Hotel & Casino, but after 50 years of providing Sin City with bustling entertainment, it shut its doors this past May. The Big Blues Bender is now going to be held in the Plaza Hotel. The best hotel in downtown Las Vegas is also known to house the world’s leading automated poker table, which some players might be hesitant towards because of its ability to randomize the cards. Much like InterCasino describes, many poker websites have “sought solutions to make the game appear to be fair and random just like in a live game setting,” any computer generated software used on the gaming floor ensures equal opportunities among the patrons, with outcomes depending on their skill level.
To see what other amenities the hotel offers, attendees of the event can purchase tickets complete with accommodation options so that the fun never has to stop.
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“We had affection, but you couldn’t handle passion,” Xan Young sings on “Passion.” While I feel for anyone stuck in the friend zone, I’m kind of glad his heartbreak inspired this track.
Xan Young is new to the electronic music scene, and “Passion” is the first song ever released from the Brooklyn musician. It’s an impressive debut, with a sound that fills the whole room: a heavy bass, fluttering synths, and Xan’s whispery,soulful vocals. The siren-like squeal of synths and street drumming percussion during the bridge lightens the mood as he laments that, at least, “There’s pleasure in the pain” of his unreturned affection.
Check out “Passion” below, and stay tuned for Xan Young’s debut album The Flood in August.
Controller makes New York City rock ‘n’ roll. They have a July residency at Pianos, and we’re giving away two tickets to their show on the 28th. Just head to AudioFemme’s Facebook page and “like” or “comment” on the photo of these handsome devils . And, as they say themselves, it’s great music to drink too, so we’ll throw in two Brooklyn Passports with each.
Their single “Flame” builds to a mega-fun and catchy rock tune that will have you shaking your hips and kissing the grooving fool next to you. Let your hair down, win some tickets, and grab a drink. While they sound mighty fine from speakers as a party soundtrack, it’s the stuff that’s meant to be soaked in live.
Winners will be chosen at random. Best of luck and listen to “Flame” below!
Brooklyn’s Of Clocks and Clouds just premiered a new music video for “What You Need,” and it’s hella captivating. The video opens with a girl waking up in a hotel room, appearing hungover, disheveled, and heartbroken – eye liner smeared. She showers, applies make up and classic black lingerie, and the curiosity sets in for the viewer. She looks stunning. The same cannot be said for her costar – a slimy looking man she meets in a hotel room down the hall. Oh yeah, she’s getting ready for a porn shoot. The song itself features elegantly placed vocals over dark, driving, electric guitar. Guitars and porn, it’s rock ‘n’ roll, but not for shock value. The video watches like a well-directed short story that does what the best art is meant to: raises questions and leaves you wanting more.
In case you missed it, we premiered a really rad EP earlier this month, from Brooklyn’s Scam Avenue. But we felt you deserved more, and are hereby declaring the dark electro-pop trio our Artist of the Month. As most miracles happen in New York, they met through Craig’s List. The rest is well, history unfolding, as they’ve only just begun. Scam Avenue is Devery Doleman, Tara Chacón, and Lawrence Kim. They dress in black and reprogram your brain with the intelligence of Star Trek and the compassion of Brian Wilson. I chatted with Devery and Lawrence about Roberta’s Pizza, synaesthesia, and the power of projections. (In live shows, not like when when you convince yourself it’s your cat that really misses your ex-boyfriend.) Check out the interview below.
AF: Do you have any favorite memories from recording the EP?
Lawrence: I ate a lot of Roberta’s pizza. Also it was a real pleasure collaborating with Pete Cafarella, who engineered the EP. Super-talented and a lovely guy to boot.
Devery: My happiest memories are of hanging out in the studio with Pete and Lawrence laughing until I literally cried. Also: I have really intense synaesthesia and primarily communicate about music synaesthetically – and Pete and Lawrence would understand when I‘d give feedback in visual terms – like “the floor needs to collapse here” or “this is where it should jump into hyperspace.”
AF: What does it mean “Scam Avenue?” – and is it a street in Brooklyn? ;)
L: “Scam Avenue” is a nickname of a street in Brooklyn where a lot of weird stuff goes down. It’s kind of a black hole of strangeness.
AF: In your live shows you collaborate with the same guys who helped with “Mercury” video, will you tell me about that relationship?
D: I rely on the projector as an anchor/point of focus when we play live, so the projections are like a 4th band member to me. It’s like a conversation with the projector. The work EyeBodega did for us is gorgeous, I’m incredibly grateful for what they do.
L: We wanted to find a way to make our live show more of an overall experience. Like what Pink Floyd does live. I kind of can’t stand it when a band just gets up there on stage and hunches over their synths or whatever and there’s nothing else going on. You might as well just stay home and listen to the record. I had seen some stuff that EyeBodega had done and I really liked it so I reached out to them and asked if they would be down to collaborate. So they handle the visual side of our shows and (as mentioned above) they also provided the animations that are in the “Mercury” video.
AF: What’s your favorite Brooklyn venue?
D: Cameo Gallery, Union Pool (especially the sound woman at Union Pool who is amazing) and I love playing Grand Victory – Scenic NYC has been great to work with, really supportive of us. I love seeing bands at Baby’s All Right and hope to play there soon.
AF: Do you all dress in black on purpose, or is that just your individual style?
D: What I’m wearing in that band photo is pretty much what I wear 70% of the time — there has always been a lot of black in my closet.
L: We wear black because it reflects the darkness in our souls. That was a joke. I actually don’t wear a lot of black personally. We just decided to wear black for that photo shoot because we thought it would look good in black and white.
AF: Who are your style muses?
D: Debbie Harry, since forever. (We have the same birthday.) I like her raw, retro/futuristic elegance. For our EP release show I wore this fantastic silver denim jumpsuit designed by my friend Saira Huff that I describe as “Debbie Harry from outer space.” I’m into jumpsuits lately and the idea/feeling of having an “uniform”. Also Anna Karina, Jane Birkin, & Harriet Wheeler.
AF: What is your writing process like?
L: The songs on the EP are based on a bunch of demos I had lying around before I met Devery and Tara. The way I usually write is, I’ll be on the subway or whatever and a musical idea will occur to me. Later, when I’m home, I’ll flesh it out, figuring out the structure and finding the right sounds. Words come last.
D: Lawrence is a songwriting machine.
AF: Will you speak to your love of Beach Boys? Who is your favorite? Have you seen Love & Mercy yet?
L: Brian Wilson once said something like he wanted to make records that were like arms reaching out of the speakers and wrapping themselves around the listener and making the listener feel loved. I think that’s really beautiful, and that’s something I try to to do with our songs. Haven’t seen Love & Mercy — looking forward to checking it out.
AF: What are you looking forward to in the future?
D: Playing more shows, writing new songs. People have been really enthusiastic about the material and our live show, and I hope to keep sharing that as much as possible.
L: I’d just like to continue to create good music and share it with people.
I just bought Modest Mouse’s 2015 album, Strangers to Ourselves (Epic), which is the band’s sixth record. A couple of months ago, I also snapped up a 10th anniversary reissue of their Moon & Antarctica (that reissue being now five years old). The tough thing for Strangers to Ourselves is being compared to the 2000 classic, which still hits me.
Moon & Antarctica (Epic) is an over-all solid album but there’s some songs I really could live without. When it clicks though, it feels amazing. There are several songs that just fit perfectly together and flow seamlessly into one another. I love the sequence of “3rd Planet,” “Gravity Rides Everything” and “Dark Centre of the Universe,” and then “Alone Down There” and “The Stars are Projectors.”
Modest Mouse excels at storytelling. Their songs aren’t just verse-chorus-verse. They are stories, parables and theories of our human existence. There’s also some really intricate layering going on, musically. “3rd Planet” swings like a pendulum. “Gravity” feels like riding down a long, rolling road infinitely. “Cold Part” sounds hollow. “Life Like Weeds” starts upbeat and jangly and devolves into a dirge. There’s a symmetry to this album.
That being said, I think Strangers to Ourselves will take some time to grow on me. That’s not to say that I don’t like the album enough, but I’m not enchanted with it. There are delightful moments of melody and foot-tapping rhythm on “Be Brave,” “The Best Room” and “Pups to Dust.”
I have no doubt the upbeat songs will play well live. Actually, with each listen as I am reviewing the record, I am catching more little rifts that I like. To be honest, when Moon came out, I was still humming The Lonesome Crowded West. It’s possible that it’s just a problem of delayed reaction. In five years, I’m sure that I will fully appreciate all the special pieces of this record. It’s not them; it’s me.
Packaging: Both albums have well-designed packages that show the care and thought put into a quality vinyl release. Moon & Antarctica includes lyrics, a digital download code and vibrant cover art. Strangers to Ourselves includes beautifully-designed sleeves, lyrics and a digital download code.
Mauro Remiddi has had quite a life. The Italian born singer/songwriter once joined a Berlin circus at age 21, playing percussion, accordion, and violin to accompany the acts. He’s visited North Korea as an Italian musical ambassador and shaken hands with Kim Jong-un. Recently, a new adventure brought him to Brooklyn, where he recorded the EP Half Awake under the name Porcelain Raft.Not content to settle down for long, he soon moved to Los Angeles to mix the tracks and start his own label, Volcanic Field.
Remiddi has the weary voice of an artist who’s seen a lot, but managed to hold onto some hope and gentleness. The songs on Half Awake, true to the release’s name, are mellow and dreamy with an infusion of energy just below the surface. On the opening track “Leave Yourself Alone,” that energy comes from fuzzy synths under sparse guitars. On “All In My Head,” a less subtle dance beat works perfectly under an organ intro and Remiddi’s smooth vocals. He proves his versatility by ending the EP with the folkier track “Something Is After Me,” a song are heavy on piano and soulfulness.
All of these elements are put into play on the title track. It starts with Remiddi humming a soulful intro, then a bass beat kicks in under his singing: “Should I come over? It seems that I’m half awake.” More drums and the plucking of a guitar are added as he makes up his mind: “I’m coming over/ I need to see you again.”
Half Awake is available now via Volcanic Field, and Porcelain Raft will be playing an album release show on Friday, June 26 at Baby’s All Right! Check out “Half Awake” below.
An unlikely lineup at the last night of Brooklyn’s seventh annual Northside Festival, one angsty crooner Shilpa Ray opening for the sparkly and jubilant Sun Ra Arkestra. In a way it was the perfect bill, not only due to the heightened quality of the musicians on it, but that their disparity satisfies every longing you would ever have. To feel deep pain and anger out the mouth of Shilpa Ray, and then to have it lifted and kicked into the cosmos by Sun Ra…what more could you want?
If you haven’t heard of Shilpa Ray, I am so sorry. Now you have. There was a time when I too had not. I saw her by chance at an Eric Garner benefit gig at Shea Stadium, and was instantly bowled over. She was center stage playing a harmonium with an angry sensuality, and had voice like Patti Smith wrapped in Bette Midler. Her performance was gritty and passionate, and quite frankly left me stunned. Where had this woman been all my life????
Her impact was no less intense last Sunday at Rough Trade. Her backing band, or, her Rayettes as she calls them (“aren’t they sexy???”) includes guitarist Alistair Paxton, the energetic drumming of Russ Lemkin, and Jon Catfish DeLorme on a wailing pedal steel. Ray puts out a mixture of arrogance and sweetness-she’s one of those performers you can’t quite explain…there’s no quantifiable measurement of her charisma, she’s just got it. “This song’s called “Shilpa Ray’s Got a Heart Full of Dirt.” One time a journalist asked me why I put my name in my song titles, and I told her, ‘because I’m a narcissist.’” It’s the kind of remark that rubs you in two different directions, but you can’t begrudge Ray for the honesty. In some ways that’s shorthand for how her music makes you feel, like a cat being pet backwards.
If Shilpa Ray brushes your fur the wrong way (in the best manner possible, of course) then Sun Ra Arkestra will no doubt have you purring. Though the original Sun Ra died over twenty years ago, his Afrofuturistic, psychcosmic funk deities keep the son of Saturn’s soul very alive. The Arkestra’s set up is incredible. No fewer than a dozen men in their seventies playing some of the most searing avant-garde jazz you’ve ever heard-all while wearing sparkly capes and hats. Fronted by saxophonist Marshall Allen, the group is an indefinable tour de force of soul, jazz, funk, and experimental jams. Occasionally punctuated with the vocals of Tara Middleton, the sound was predominantly instrumental, even if some of the instruments were sublime and unrecognizable.
The crowd was fully entranced by the performance-how could you not be? Even if the deepest thought you could muster was: “Will I ever be half as cool as these geriatrics?” (no) there was no resisting sheer enjoyment. By the tail end of the set, three quarters of the band trailed off of the stage, blowing their horns in the air and shimmying through the audience in a slack conga line. We encircled the musicians and danced first around and them with them. It was as if, for a moment, that barrier between performer and observer had been completely dissolved. Just like Sun Ra believed he belonged to the cosmos, so we believed we belonged to Sun Ra.
“Do you want to know my name?” teases Devery Doleman, as the lead single “Mercury” creeps in between your ears. Their name – is Scam Avenue. Doleman is one third of the dark electro-pop trio, joined by Tara Chacón (backing vocals and synth) and Lawrence Kim (backing vocals and guitar).
Made in Brooklyn, they tend to dress in black, and fans of New Order and Brian Eno will severely creep on this. The four-track EP, engineered by Pete Cafarella (Shy Child, Passion Pit, Ryn Weaver) is moody, dreamy, and intelligently intricate all the while managing to be a rather relaxing listen. The tracks create a coherent package leaving you craving the eventual full-length – just like a good EP should.
Joanie Wolkoff, former vocalist of Her Habits (and my forever crush) has moved onto something new and isn’t going back. She recently released “Going Back,” the first single from her new project, named straight to the point – Wolkoff. If Her Habits was a persona, from the name alone I’m excited to fall in love with the person.
Putting aside all music blog jargon – I love this song. Like, listen on repeat love it, play it on a rooftop in the summer love it, put it on my sex play list love it, cry in the shower love it. “Of the lies you told when you kept me down now I’m building speed just cant turn around…Not going back again.” It breaks my heart to hear about anyone hurting the goddess that is Joanie, but dear girl, your artistic expression of pain (with a triumphant ‘tude) is musically pure pleasure. It’s slowed-down synth pop that hits the soul, something pop music rarely achieves, but when it does it’s enough to make you dizzy.
Wolkoff is finishing up her new EP, a collaboration with producer Icarus Moth that we can expect to see out in late August.
Sara Curtin, one half of the DC folk-pop duo The Sweater Set just released the single “Careless” from her forthcoming sophomore solo album Michigan Lilium, and AudioFemme is pleased to premiere it. Strummed like the folk star she is, the song both sounds pretty yet carries some seriously emotionally intelligent lyrics (“Boy I’m troubled, I should know). It’s smart yet delicious, like a kale smoothie as yummy as a milkshake. Listen to “Careless” below.
“There’s not enough songs about Squash.” Are there not? Not according to Australian singer/songwriter Darren Hanlon. On paper, Hanlon wouldn’t entice me all that much. Solo artist. Acoustic guitar. Singer/songwriter. Cheeky and cheerful folk numbers. Australian. With those keywords I’d fear a Southern Hemisphere Jack Johnson. But, there are exceptions to everything, and it doesn’t hurt that Hanlon is impossibly charming. Even better, his style of songwriting is truly original, merging jaunty folk melodies with lyrics of the most heightened wit and whimsy. In a blurb Hanlon calls to mind Billy Bragg (if he’d never been angry).
Having just released his fifth studio album, Hanlon is doing well for himself, opening for Courtney Barnett on her streak of sold-out shows at Bowery Ballroom. If charisma has any hand in success, Hanlon should be well on his way to it. His banter is enviably candid and hilarious, his lyrics no less of either. “If I had a dollar for every time I should have been paid…then I would have been paid.”
Next up were Seattle all-girl group Chastity Belt, who’ve just released their second full length Time to Go Home on Sub Pop subsidiary Hardly Art Records. Their set was tight and inspired, with just an appropriate dose of nonchalance and snark. There wasn’t much banter to be had-it is difficult to follow up Hanlon’s act in that department-but the gals were focused, fun, and very badass. Lead singer Julia Shapiro bobbed her frizzled mane around while rattling off shouts in her blasé, slightly grungy tone. Guitarist Lydia Lund was on point with tangy, Johnny Marr-ish surf licks while bassist Annie Truscott bopped around the stage in rhythm with her own thumping strings.
Before Courtney Barnett could even take the stage, the crowd had filled out to maximum capacity. With only one full-length album and merely 26 years on this earth, Barnett seems to be doing very well for herself in the realm of music (and not having to suffer a day job). Her debut Sometimes I sit and Think, and Sometimes I Just Sit has garnered rave reviews from the likes of KEXP, Pitchfork, and BBC 6 Music alike. It’s a simple record, but one that is overflowing with neat little hooks and ripe with witty lyrics. Barnett’s peculiar phrasing could be likened to Jonathan Richman of the Modern Lovers-at once of kilter and oddly relatable.
Live Barnett fronts a three piece, which creates much more volume than the eye would suspect. Though her demeanor is no match for her wailing guitar riffs-she is surprisingly short of words on stage. Less coy was the audience, who were bawdy and excited, shouting lyrics, requests, and compliments to a shy and deflecting Barnett. She played a sizable chunk of her latest release, as well as covers of The Breeders’ “Cannonball” and “Being Around” by The Lemonheads.
With a first record and big US tour going this well, it’s hard to imagine Courtney Barnett will be slowing down any time soon. Well, at least we hope she doesn’t.
Breathe in and exhale a new track from Jojee produced by Mickey Valen. The song was inspired by forbidden love, an unfiltered reaction so magnetic sometimes you just have to let go of social constructs and allow it to swallow you up. According to an inside source, the song “…is the declaration of not giving a f*ck anymore and following your heart.” A lot of people often mistake love for joy, but the definition that resonates with me, is an acceptance. Acceptance of passion, acceptance of flaws, acceptance of situation, and learning to just go with the flow – an emotion, perhaps both the most basic yet difficult for humans, that Jojee perfectly pins down musically. The New Yorker has been described as “future pop,” but this sounds more like modern day soul to me. The intersection of dream pop and R&B (Wet, Banks, FKA Twigs) has created an exciting new corner of music. Like, what you’d make love to post-abduction on an UFO.
Meet Plague Bubonika. They play thrash-psych-surf-rock, so basically the auditory form of eating sand as a wave tosses your body-surfing ass: oh fuck I think I might die but this is really fun. Fitting for their sound, I was introduced to them in a rad turn of cosmic events, a Twitter friendship and micro family reunion at Williamsburg’s Trash Bar – a perfect night for the memory shelves as the music venue is slated to close due to raising rent price. The show caught you off guard in that sense where you had to hold your breathe as you felt something important was happening. Strings popped off a guitar, the boys conjured a new one from the arms of the sweaty audience and continued playing with a mere brush off the shoulder. Plague Bubonika is Tony, Dreamy, Atilla Hunk and Zacky Boy coming live from Wilmington, DE. As if it wasn’t a rockin’ special time already, they dedicated a song to yours truly, which I must shamelessly brag about and request you listen to below.
The take away from this post is that nepotism is fine with the talent and originality to back it up, and journalists are attention seeking narcissists who can absolutely be won over. Oh yeah, and get sick on Plague Bubonika without losing eye contact – I see big things ahead.
When Milhaus isn’t paying homage to that classic late 60s film, Paulina Mandeville, Charlie Kaplan, and Ian Wayne are making some sweet music. Their debut EP released in May, “The Graduate,” is only a mere four-track ensemble. You won’t grow tired of hearing it over and over, though. Milhaus has branded their debut as a quality piece; each song is marvelous on its own. And the chick is on drums, what more do you need? The guitar work is dazzling, the lyrics—mostly hilarious. “The Graduate” is obviously awesome while speaking for itself, “Uncle Skunk” is a bit jazzy, “Young Creatives” is a bit Tokyo Police Club, and “Hopin’ Strings” is just so melodically beautiful. They’ve touched base with four completely different sounds. Really looking forward to Milhaus releasing more material so we can see what they’re really capable of. Based in our very own Brooklyn neighborhood, we better soon see more of these guys.
Hey Brooklyn! What are you doing next weekend? Really, the only acceptable answer is seeing at least one of these bands at Northside Festival, which runs from June 11-14 and hosts shows in venues from Acheron to Warsaw. The schedule is packed with amazing artists, and to help you choose which shows to see, we made you a list of our favorites. You’re welcome.
1. Diet Cig (6/11 at Alphaville)
This duo from New Paltz plays catchy, light-hearted pop that will have you copying the dancing in this video:
2. Beverly (6/11 at Alphaville)
This band comes with a warning: their lush, relaxing harmonies are addictive.
3. Luna (6/11 at McCarren Park)
Luna is the indie band formed by former Galaxie 500 member Dean Wareham, featuring guitar-centric, dreamy rock.
4. Drenge (6/12 at Knitting Factory)
Their name is a little challenging to pronounce, but these brothers from the UK have an amazing sound: heavy, grungy rock.
5. Leapling (6/12 at Palisades)
Just one in a long list of amazing local bands is Leapling, an experimental pop group responsible for gems like “Crooked.”
6. Vomitface (6/12 at Pet Rescue)
This sludge-pop band sounds way better than their name. If you’ve got some head-banging to get out of your system, go see them at Pet Rescue.
7. Frankie Cosmos (6/12 at Rough Trade)
Greta Kline formerly performed under the name Ingrid Superstar before settling on Frankie Cosmos. The daughter of actors Kevin Kline and Phoebe Cates lists James Taylor, Hall and Oates, Liz Phair, Indigo Girls and the Moldy Peaches as early influences.
8. Mitski (6/12 at Saint Vitus)
Mitski is a stunning singer-songwriter from Brooklyn, via practically everywhere else. Go see her at Saint Vitus, where we’re hoping she’ll preview some songs from her upcoming album.
9. Von Sell (6/12 at Union Pool)
Von Sell is a relatively new electro-pop artist from Berlin who is already getting praise from indie blogs. Watch him play at Union Pool and see what all the fuss is about.
10. ONWE (6/12 at Union Pool)
ONWE’s light, catchy melodies hide something darker- just check out his song “Unpaid Internship,” his scathing opinion on “trust-fund kids.”
https://www.youtube.com/watch?v=Wequcex-zXI
11. Shilpa Ray (6/14 at Rough Trade)
She plays the harmonium, and she’s one of Nick Cave’s favorite musicians: Shilpa Ray is bringing her uniquely gloomy rock ‘n’ roll to Rough Trade.
Def Jam’s Alessia Cara burst onto the scene this past April, with “Here”, a soul/R&B/jazz inspired anthem about the experience of being a wallflower amid a party full of folks who just don’t give a fuck (as the kids say) about who you really are. Surprising from an 18 year old – to be so bold about a sentiment that I can surmise many young women actually feel quite often, yet scant few are willing to admit to. The song showcases Cara’s stunning vocals (among her influences, she counts Amy Winehouse and Ed Shareen). She has been amply compared to Rihanna, etc, though I think her voice is actually much stronger.
Mickey Valen’s remix of the track, out today, transforms it into a darker, more sinister, insidious dance jam, with strategically-placed future bass that will get your heart pounding. In fact the whole song feels turned-up, indelibly so – with tiny, subtle transformations that one can’t exactly pinpoint but collectively make a huge impact: the sign of a deft remixer, indeed.
When you combine two best friends on a new adventure, a guitar and bass, and raw natural emotion, you hear the sound that is Girlpool. Newly relocated to Philly from Los Angeles, Cleo Tucker and Harmony Divided’s new sound projects this location change. The newly released track, “Cherry Picking,” follows their new trend of mellower and more emotional tracks; a vast difference from their EP released last year. Their self-titled seven track EP has a bit more of an angst-fueled rhythm to it, filled with songs about what it’s like to be a girl (including fun things like being eaten out while watching American Beauty). “Cherry Picking,” on the other hand, opens with a whispered, “I was cherry picking, I was cherry picking dreams.” The three and a half minute song continues on like a nostalgic daydream with their hazy harmonies sprinkled throughout. As the tempo picks up, the sound still stays minimal. I always found the rawness of Cleo and Harmony’s voices one of the major appeals to their genuine and relatable sound. The song closes with a harmonized yelp of “Yes I am picking cherries, I have a hard time staying clean.” You can listen to “Cherry Picking” below, or on their debut full length, Before The World Was Big, to be released this Tuesday, June 2 on Wichita Recordings.
Though his exact height is unconfirmed, we do know a few things about The Tallest Man On Earth: His name is Kristian Matsson. He’s a singer/songwriter from Dalarna, Sweden- though it’s hard to tell from his folky sound, and influences that include American artists like Woody Guthrie, Pete Seeger and Bob Dylan. He’s put out four albums, and his latest is Dark Bird Comes Home, released May 12th via Dead Oceans.
On this record, Matsson expands his sound with more instruments- keys, drums, the occasional harmonica. The new lineup doesn’t clutter his songs, but enhances them. Where his earlier relied mostly on his guitar work and rambling singing style, the band behind him now allows Matsson to leave space between his words. This makes his vocals more focused, particularly on songs like “Timothy,” and “Darkness of the Dream.” Though it’s still as quietly stunning as his earlier work, it’s now more accessible for those who need more than a voice and guitar to hold their attention.
Key tracks are the jaunty “Slow Dance,” “Darkness of the Dream” (“The letting go is here and now/ The beauty’s in your arms, no mind is out to wander/ Just let yourself out of your sight, careless/ And some love will be there”), and the bittersweet “Dark Bird Is Home.” Check out the track below!
Ticket Giveaways
Each week Audiofemme gives away a set of tickets to our featured shows in NYC! Scroll down to enter for the following shindigs.
